Aristotle's Poetics is the most influential book on poetry ever written. A founding text of European aesthetics and literary criticism, it has shaped much of our modern understanding of the creation and impact of imaginative writing, including poetry, drama, and fiction. This brief volume brims with Aristotle's timeless insights into such topics as the nature of tragedy and plot-a veritable gold mine for writers and anyone with a serious interest in literature.
Moreover, this volume boasts a marvelous new translation by our greatest living historian of philosophy, Anthony Kenny, who also provides an illuminating introduction to this classic work. Kenny sheds light on the philosophical underpinnings of Aristotle's literary criticism and he illuminates the ideas about poetry, drama, and tragedy that have influenced writers and dramatists ever since. Kenny also includes excerpts from key responses to Aristotle, ranging from Sir Philip Sidney's Apology for Poetry and Shelley's Defense of Poetry, to Dorothy L. Sayers' Aristotle on Detective Fiction.
The book also features helpful notes, a glossary of key terms, an index, a useful bibliography, and a chronology of Aristotle's life.
About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.
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About the poetic art itself and the forms of it, what specific capacity each has, and how one ought to put together stories if the making of them is going to hold together beautifully, and also how many and what sort of parts stories are made of, and likewise about as many other things as belong to the inquiry into poetic art, let us speak once we have first started, in accord with nature, from the things that come first.
Now epic poetry and the making of tragedy, and also comedy and dithyrambic poetry, as well as most flute-playing and lyre-playing, are all as a whole just exactly imitations, but they are different from one another in three ways, for they differ either by making their imitations in different things, by imitating different things, or by imitating differently and not in the same way. For just as some people who make images imitate many things by means of both colors and shapes (some through art and others through habituation), and others by means of the voice, so too with the arts mentioned, all of them make imitations in rhythm, speech, and harmony, and with these either separate or mixed. For example, both flute-playing and lyre-playing, and any other arts there happen to be that are of that sort in their capacity, such as the art of the Pan-pipes, use only harmony and rhythm, while the art of dancers uses rhythm itself apart from harmony (for they too, through the rhythms of their gestures, imitate states of character, feelings, and actions). But the art that uses bare words and the one that uses meters, and the latter either mixing meters with one another or using one particular kind, happen to be nameless up to now. For we have nothing to use as a name in common for the mimes of Sophron and Xenarchus and the Socratic dialogues, even if someone were to make the imitation with [iambic] trimeters or elegiac [couplets] or anything else of that sort. Instead, people connect the poetic making with the meter and name “elegiac poets,” or others “epic poets,” calling them poets not as a result of the imitation but as a result of the meter as what is common to them, for even when they bring out something medical or about nature in meter, people are accustomed to speak of them in that way. But nothing is common to Homer and Empedocles except the meter, and hence, while it is just to call the former a poet, the latter is more a student of nature than a poet. By the same token, even if someone were to make an imitation by mixing all the meters, the very way Chaeremon made the Centaur as a patchwork mixture of all the meters, one would have to call him too a poet. As for these things, then, let them be distinguished in this way. And there are some arts that use all the things mentioned—I mean, for instance, rhythm and melody and meter—as do the making of both dithyrambs and nomes, and both tragedy and comedy.
Table of ContentsIntroduction
Note on the Texts and Translation
Chronology of Aristotle
Outline of the Poetics from Plato's Republic, Books II, III, and X
Aristotle's Poetics from Sir Philip Sidney's Apology for Poetry from P. B. Shelley's Defence of Poetry from Dorothy L. Sayers's Aristotle on Detective Fiction
Note on Metre
Glossary of Key Terms
Designed for courses in undergraduate philosophy, as well as for the general reader interested in the major works of western civilization.