Poetics E-Book

Aristotle

• Herausgeber: Aristotle
• Kategorie: Geisteswissenschaft
• Sprache: Englisch
• Veröffentlichungsjahr: 2015

Beschreibung

Aristotle's Poetics (335 BCE) is the earliest surviving work of dramatic theory and the first extant philosophical treatise to focus on literary theory.Aristotle's Poetics is the most influential book on poetry ever written. A founding text of European aesthetics and literary criticism, from it stems much of our modern understanding of the creation and impact of imaginative writing, including poetry, drama, and fiction.In it, Aristotle offers an account of what he calls "poetry" (a term which in Greek literally means "making" and in this context includes drama—comedy, tragedy, and the satyr play—as well as lyric poetry and epic poetry).In examining its "first principles", Aristotle finds two: 1) imitation and 2) genres and other concepts by which that of truth is applied/revealed in the poesis. His analysis of tragedy constitutes the core of the discussion. Although Aristotle's Poetics is universally acknowledged in the Western critical tradition, "almost every detail about his seminal work has aroused divergent opinions".

Leseprobe

Poetics

By Aristotle

Translated by S. H. Butcher

About the Author

Aristotle (384–322BC) was a Greek philosopher and scientist born in the Macedonian city of Stagira, Chalkidice, on the northern periphery of Classical Greece. His father, Nicomachus, died when Aristotle was a child, whereafter Proxenus of Atarneus became his guardian. At eighteen, he joined Plato's Academy in Athens and remained there until the age of thirty-seven (c.347BC). His writings cover many subjects –including physics, biology, zoology, metaphysics, logic, ethics, aesthetics, poetry, theater, music, rhetoric, linguistics, politics and government– and constitute the first comprehensive system of Western philosophy. Shortly after Plato died, Aristotle left Athens and, at the request of Philip of Macedon, tutored Alexander the Great starting from 343BC. According to the Encyclopædia Britannica, "Aristotle was the first genuine scientist in history ...  every scientist is in his debt."

Teaching Alexander the Great gave Aristotle many opportunities and an abundance of supplies. He established a library in the Lyceum which aided in the production of many of his hundreds of books. The fact that Aristotle was a pupil of Plato contributed to his former views of Platonism, but, following Plato's death, Aristotle immersed himself in empirical studies and shifted from Platonism to empiricism. He believed all peoples' concepts and all of their knowledge was ultimately based on perception. Aristotle's views on natural sciences represent the groundwork underlying many of his works.

Aristotle's views on physical science profoundly shaped medieval scholarship. Their influence extended into the Renaissance and were not replaced systematically until the Enlightenment and theories such as classical mechanics. Some of Aristotle's zoological observations, such as on the hectocotyl (reproductive) arm of the octopus, were not confirmed or refuted until the 19th century. His works contain the earliest known formal study of logic, which was incorporated in the late 19th century into modern formal logic.

About the Translater

Samuel Henry Butcher (1850–1910) was an Anglo-Irish classical scholar and politician. He was born in Dublin to Samuel Butcher, Bishop of Meath and Mary Leahy.

He was educated at MarlboroughCollege in Wiltshire and then received a place at TrinityCollege, Cambridge, attending between 1869 and 1873 where he was Senior Classic and Chancellor's medalist. Elected fellow of Trinity in 1874, he left the college on his marriage, in 1876, to the daughter of Archbishop Trench. From 1876 to 1882 he was a fellow of UniversityCollege, Oxford, and tutored there From 1882 to 1903 he was Professor of Greek at EdinburghUniversity.

One of the two Members of Parliament for CambridgeUniversity, between 1906 and his death, representing the Unionist Party. He was President of the British Academy, 1909-1910. He died in London on 29 December 1910, but was returned to Scotland and interred at the DeanCemetery in Edinburgh. His grave has a pale granite Celtic cross and is located near the northern path of the north section in the original cemetery.

Poetics

I

I PROPOSE to treat of Poetry in itself and of its various kinds, noting the essential quality of each, to inquire into the structure of the plot as requisite to a good poem; into the number and nature of the parts of which a poem is composed; and similarly into whatever else falls within the same inquiry. Following, then, the order of nature, let us begin with the principles which come first.

Epic poetry and Tragedy, Comedy also and Dithyrambic poetry, and the music of the flute and of the lyre in most of their forms, are all in their general conception modes of imitation. They differ, however, from one another in three respects — the medium, the objects, the manner or mode of imitation, being in each case distinct.

For as there are persons who, by conscious art or mere habit, imitate and represent various objects through the medium of color and form, or again by the voice; so in the arts above mentioned, taken as a whole, the imitation is produced by rhythm, language, or ‘harmony,’ either singly or combined.

Thus in the music of the flute and of the lyre, ‘harmony’ and rhythm alone are employed; also in other arts, such as that of the shepherd’s pipe, which are essentially similar to these. In dancing, rhythm alone is used without ‘harmony’; for even dancing imitates character, emotion, and action, by rhythmical movement.

There is another art which imitates by means of language alone, and that either in prose or verse — which verse, again, may either combine different meters or consist of but one kind — but this has hitherto been without a name. For there is no common term we could apply to the mimes of Sophron and Xenarchus and the Socratic dialogues on the one hand; and, on the other, to poetic imitations in iambic, elegiac, or any similar meter. People do, indeed, add the word ‘maker’ or ‘poet’ to the name of the meter, and speak of elegiac poets, or epic (that is, hexameter) poets, as if it were not the imitation that makes the poet, but the verse that entitles them all to the name. Even when a treatise on medicine or natural science is brought out in verse, the name of poet is by custom given to the author; and yet Homer and Empedocles have nothing in common but the meter, so that it would be right to call the one poet, the other physicist rather than poet. On the same principle, even if a writer in his poetic imitation were to combine all meters, as Chaeremon did in his Centaur, which is a medley composed of meters of all kinds, we should bring him too under the general term poet.

So much then for these distinctions.

There are, again, some arts which employ all the means above mentioned — namely, rhythm, tune, and meter. Such are Dithyrambic and Nomic poetry, and also Tragedy and Comedy; but between them originally the difference is, that in the first two cases these means are all employed in combination, in the latter, now one means is employed, now another.

Such, then, are the differences of the arts with respect to the medium of imitation