This article combines a whole translation of Aristotle's "poetics" with a working observation, published on dealing with pages, to maintain the reader in non-stop touch with the linguistic and significant subtleties of the unique whereas highlighting an important matters for college students of literature and literary thought. the quantity contains essays through George Whalley that define his procedure 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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Additional info for Aristotle's Poetics: Translated and with a commentary by George Whalley
Rees, "Pathos in the Poetics of Aristotle," Greece and Rome 19 (1972): 11. Janko is especially interested in how close Aristotle comes to "redefining poetry as a representation of universals" (xiv-xv). Stephen Halliwell, Aristotle's Poetics (Chapel Hill: University of North Carolina Press, 1986), 128. In this commentary, published the year before he published his translation, Halliwell devotes a full chapter to a detailed discussion of mimesis. In the notes accompanying his translation, he remarks that "'imitation' is now the least adequate (though still regrettably common) translation of'mimesis'" (71).
Gerald F. Else (Ann Arbor: University of Michigan Press, 1967), 37. 15 Aristotle, On Poetry and Style, trans. A. Grube (Indianapolis: BobbsMerrill, 1958). Others who also say "on stage" include Kenneth A. E. , "Aristotle: Poetics" in Ancient Literary Criticism, ed. A. Russell and M. Winterbottom xxxiv 16 17 18 19 20 21 22 23 24 25 26 27 28 Preface (Oxford: The Clarendon Press, 1972); and Hippocrates G. Apostle, Elizabeth A. Dobbs, and Morris A. , Aristotle's Poetics (Grinnell, Iowa: The Peripatetic Press, 1990).
These also play an important part in controlling and shaping rhythm. The best Greek prose is wonderfully sinewy and fluent - athletic in its grace and with the superb athlete's way of disposing energy in repose; by contrast, much English philosophical prose recalls the muscle-bound rigidity of the Hellenistic and Roman boxers. When the Greek is abrupt, without deliberate grace or sustained fluency - as is the case of the Poetics, even when the text is not corrupt - even then the rhythms still trace out the inflections of a speaking voice.