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Download Classical Literary Criticism (Penguin Classics) by Various, Penelope Murray, T. S. Dorsch PDF

By Various, Penelope Murray, T. S. Dorsch

The works accumulated during this quantity have profoundly formed the historical past of feedback within the Western global: they created a lot of the terminology nonetheless in use at the present time and formulated enduring questions on the character and serve as of literature. In "Ion", Plato examines the god-like strength of poets to rouse emotions akin to excitement or worry, but he went directly to assault this manipulation of feelings and banished poets from his excellent Republic. Aristotle defends the worth of artwork in his "Poetics", and his research of tragedy has stimulated generations of critics from the Renaissance onwards. within the "Art of Poetry", Horace promotes a mode of poetic craftsmanship rooted in knowledge, moral perception and decorum, whereas Longinus' "On the chic" explores the character of suggestion in poetry and prose.

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Extra info for Classical Literary Criticism (Penguin Classics)

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1 38 ARISTOTLE: ON T H E ART OF POETRY serious attention, complete in itself, and of some amplitude; in language enriched by a variety of artistic devices appropriate to the several parts of the play; presented in the form of action, not narration; by means of pity and fear bringing about the purgation of such emotions. By language that is enriched I refer to language possessing rhythm, and music or s o n g ; and by artistic devices appropriate to the several parts I mean that some are produced by the medium of verse alone, and others again with the help of song.

With pleas in the law-courts. >AAIV 42 ARISTOTLE: ON T H E ART OF POETRY carry out many actions from which n o single unified action will emerge. It seems, therefore, that all those poets have been on the w r o n g track w h o have written a Heracleid, or a TAeseid, o r some other poem of this kind, in the belief that, Heracles being a single person, his story must necessarily possess unity. H o m e r , exceptional in this as in all other respects, seems, whether by art or by instinct, to have been well aware of what was required.

CHAPTER I 5 The Characters of Tragedy I N characterization there are four things to aim at. First and foremost, the characters should be good. Now character will be displayed, as I have pointed out, if some preference is revealed in speech or action, and if it is a preference for what is good the character will be good. There can be goodness in every class of person; for instance, a woman or a slave may be good, though the one is possibly an inferior being and the other in general an insignificant one.

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