He assures us, early in the Poetics, that all art is `` imitation '' and that all imitation gives pleasure, but he distinguishes between art in general and poetic art on the basis of the means, manner, and the objects of the imitation.

In his Poetics, the ancient Greek philosopher Aristotle argues that kinds of poetry ( the term includes drama, flute music, and lyre music for Aristotle ) may be differentiated in three ways: according to their medium, according to their objects, and according to their mode or manner ( section I ); " For the medium being the same, and the objects the same, the poet may imitate by narration — in which case he can either take another personality as Homer does, or speak in his own person, unchanged — or he may present all his characters as living and moving before us " ( section III ).

In his Poetics, the ancient Greek philosopher Aristotle argues that kinds of " poetry " ( the term includes drama, flute music, and lyre music for Aristotle ) may be differentiated in three ways: according to their medium, according to their objects, and according to their mode or " manner " ( section I ); " For the medium being the same, and the objects the same, the poet may imitate by narration — in which case he can either take another personality as Homer does, or speak in his own person, unchanged — or he may present all his characters as living and moving before us " ( section III ).

* 20th century-Although the text is still little quoted, it maintains its status, apart from Aristotle's Poetics, as " the most delightful of all the critical works of classical antiquity.

But Aristotle kept the principle of levels and even augmented it by describing in the Poetics what kinds of character and action must be imitated if the play is to be a vehicle of serious and important human truths.

Invoking the so-called unities from Aristotle's Poetics ( as interpreted by Italian and refined by French scholars over the last century ), the four speakers discuss what makes a play " a just and lively imitation " of human nature in action.

In Aristotle's analysis of tragedy in the Poetics, we find an attempt to isolate the art, to consider only those things proper to it, to discover how it differs from other arts, and to deal with the effects peculiar to it.

Most of his written musical observations are found in his commentary on Aristotle's Poetics.

" Psychological reversals are common and sometimes happen so suddenly that inconsistency in characterization is an issue for many critics, such as Aristotle, who cited Iphigenia in Aulis as an example ( Poetics 1454a32 ).

The classical unities, Aristotelian unities or three unities are rules for drama derived from a passage in Aristotle's Poetics.

Poetics developed for the first time the concepts of mimesis and catharsis, which are still crucial in literary study.

Equally important to later developments are texts on poetry, rhetoric, and sophistry, including many of Plato's dialogues, such as Cratylus, Ion, Gorgias, Lesser Hippias, and Republic, along with Aristotle's Poetics, Rhetoric, and On Sophistical Refutations.

With many paradoxes, with many criticisms which are below contempt, and many indecent displays of personal animosity — especially in his reference to Etienne Dolet, over whose death he gloated with brutal malignity — it yet contains acute criticism based on the Poetics of Aristotle, imperator noster ; omnium bonarum artium dictator perpetuus, an influential treatise in the history of literary criticism.

It was commonly attributed to Homer, as by Aristotle ( Poetics 13. 92 ): " His Margites indeed provides an analogy: as are the Iliad and Odyssey to our tragedies, so is the Margites to our comedies "; but the work, among a mixed genre of works loosely labelled " Homerica " in Antiquity, was more reasonably attributed to Pigres, a Greek poet of Halicarnassus, in the massive medieval Greek encyclopedia called Suda.

The clarification theory of catharsis would be fully consistent, as other interpretations are not, with Aristotle's argument in chapter 4 of the " Poetics " ( 1448b4-17 ) that the essential pleasure of mimesis is the intellectual pleasure of " learning and inference.

There are two different Arabic interpretations of Aristotle ’ s Poetics in commentaries by Abu Nasr al-Farabi and Averroes ( i. e., Abu al-Walid Ibn Rushd ).

In Problems of Dostoevsky's Poetics, Bakhtin treats Menippean satire as one of the classical " serio-comic " genres, alongside Socratic dialogue and other forms that Bakhtin claims are united by a " carnival sense of the world ", wherein " carnival is the past millennia's way of sensing the world as one great communal performance " and is " opposed to that one-sided and gloomy official seriousness which is dogmatic and hostile to evolution and change ".

The Psychoanalysis of Fire ( 1938 ) and The Poetics of Space ( 1958 ) are among the most popular of his works.

In Aristotle's Poetics, Aristotle states: Homer, for example, makes men better than they are ; Cleophon as they are ; Hegemon the Thasian, the inventor of parodies, and Nicochares, the author of the Diliad, worse than they are.

Showalter's best known works are Toward a Feminist Poetics ( 1979 ), The Female Malady: Women, Madness, and English Culture ( 1830 – 1980 ) ( 1985 ), Sexual Anarchy: Gender and Culture at the Fin de Siecle ( 1990 ), Hystories: Hysterical Epidemics and Modern Media ( 1997 ), and Inventing Herself: Claiming a Feminist Intellectual Heritage ( 2001 ).

According to Hutcheon, in " A Poetics of Postmodernism ", works of historiographic metafiction are " those well-known and popular novels which are both intensely self-reflexive and yet paradoxically also lay claim to historical events and personages ".

But in his formal definition, as well as throughout the Poetics, Aristotle emphasizes that ” ... Tragedy is an imitation not only of a complete action, but also of events inspiring fear or pity " ( 1452a 1 ); in fact, at one point Aristotle isolates the imitation of " actions which excite pity and fear " as " the distinctive mark of tragic imitation " ( 1452b 30 ).

He writes in Poetics: " The tragedy is, therefore, in imitation of a noble and complete action [...] which means the compassion and afraid results in the purification from these passions ".

Even Neander's final argument with Crites over whether rhyme is suitable in drama depends on Aristotle's Poetics: Neander says that Aristotle demands a verbally artful (" lively ") imitation of nature, while Crites thinks that dramatic imitation ceases to be " just " when it departs from ordinary speech -- i. e. prose or blank verse.

Probably the best description Showalter gives of gynocritics is in Toward a Feminist Poetics:

Even more important, in his Poetics, Aristotle differs somewhat from Plato when he moves in the direction of treating literature as a unique thing, separate and apart from its causes and its effects.

In his Poetics, Aristotle considered plot ( mythos ) the most important element of drama — more important than character, for example.

Poetics is considered to have been less influential in its time compared with what is generally understood to be its more famous contemporary, Rhetoric.

Mark Lipovestky is the author of five books and more than seventy articles including: Russian Postmodernist Fiction: Dialogue with Chaos ( 1999 ) and Russian Postmodernism: The Essays of Historic Poetics ( 1997 ).

There is no voice of authority in the story ( see Mikhail Bakhtin's Problems of Dostoyevsky's Poetics for more on the relationship between Dostoyevsky and his characters ).

His Poetics has had an enormous influence on literary theory and served as an interpretation of tragedy for more than 2, 000 years.

For its part, Patricia Iezzi, who made his PhD thesis on " Poetics and Poetry of Julio Carreras ( h ) for the Facoltà ' di Lingue e Letterature Straniera-University of Pescara, Italy, says :" One of the stories arouses more wonder is the " Black Hand Chusa " irony, exhibitionism, boastfulness eccentricity and decorate to this character with the withered hand, Uta, who had been in the Salamanca and must address a series of surreal events and unbelievable situations.

Some attention is paid to delivery, but generally the reader is referred to the Poetics for more information in that area.

It appears that the Greek Philosopher Aristotle had something like the Renaissance meaning of the term ( that is, a serious action with a happy ending ) in mind when, in Poetics, he discusses tragedy with a dual ending.

Aristotle, in Poetics 1447a, mentions lyric poetry ( kitharistike played to the cithara, a type of lyre ) along with drama, epic poetry, dancing, painting and other forms of mimesis.

Poetics is his treatise on the subject of mimesis.

In the Poetics, Aristotle argued that poetry is superior to history because poetry speaks of what must or should be truerather than merely what is true.

In the Poetics, Chapter 17 ( 1455a lines 22 to 29 ), Aristotle discusses the necessity for a playwright to see the composition on the stage, rather than just in print, in order to weed out any inconsistencies.

" It refers to a criticism that constructs " a female framework for the analysis of women's literature, to develop new models based on the study of female experience, rather than to adapt male models and theories " ( quoted by Groden and Kreiswurth from " Toward a Feminist Poetics ," New Feminist Criticism, 131 ).

The form of tragedy depicted in The Monk's Tale is not that argued in Aristotle's Poetics, but " the medieval idea that the protagonist is victim rather than hero, raised up and then cast down by the workings of Fortune.

The section of Aristotle's Poetics dealing with comedy did not survive, but many critics also discuss recognition in comedies.