This article combines a whole translation of Aristotle's "poetics" with a working remark, published on dealing with pages, to maintain the reader in non-stop touch with the linguistic and significant subtleties of the unique whereas highlighting the most important concerns for college kids of literature and literary idea. the amount comprises essays via George Whalley that define his technique and function. He identifies a deep congruence among Aristotle's knowing of mimesis and Samuel Taylor Coleridge's view of mind's eye.
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Extra resources for Aristotle’s Poetics
That does not necessarily mean, however, that what we have is a wildly distorted or truncated relic of the original. The second "book" of the Poetics - the whole section on iambic and comedy that balanced the long account of tragedy and epic - is lost, and must have been lost before the manuscript lambda from which MSS A and B derive on one side, and on the other the Syriac version; for there is no trace anywhere of the section on comedy beyond the few, partly conjectural, words in MS A which may have introduced it.
It is conceivable that Whalley might have toned these down were he to have drafted his own introduction. The translation-and-commentary does not stand or fall with a given interpretation of catharsis, hamartia, and so on, and it seeks to avoid hasty or premature conclusions. Nevertheless, it is useful to have his own vivid interpretations recorded, for they indicate the direction or drift of the treatise as Whalley sees it, and they are very relevant to considering whether, or to what extent, he has achieved his main goal of disclosing the "peculiar spring and set"35 of Aristotle's mind, the activity of his imagination.
Now epic-making and the making of tragedy  - and comedy too - and the art of making dithyrambs, and most of the art of composing to the flute and lyre - all these turn out to be, by and large, mimeseis . But these arts differ from one another in three respects: for they do their mimesis  (a) in different matters (in-what), (b) of different subjects (of-what), and (c) by different methods (how) .  In the first sentence poiein or some derivative of it is used three times (even recognising that by Aristotle's day epipoiia often meant 'epic' rather than 'epic-making').
Aristotle’s Poetics by Aristotle