13 Matching Annotations
  1. Jan 2018
    1. Epic poetryis addressed to a cultivated audience, who do notneed gesture; Tragedy, to an inferior public. Being then unrefined, it is evidently the lower of the two.

      This feels like a very classist statement. He's saying that people of lower classes are too dumb to understand the "refined" "complexity" of Epic Poetry because it doesn't include aids like gestures and spectacle. Given my basic understanding of class systems in Ancient Greece, I get it. But can you imagine someone saying this today?

    2. things as they are said or thought to be

      Expressionism? Am I correct in thinking that expressionism won't become "a thing" for a few centuries? I find it interesting to see some of the things Aristotle comments on and knowing how it relates to drama today.

    3. Euripides, faulty though he may Those who employ spectacular means to create a be in the general management of his subject, yet is sense not of the terrible but only of the monstrous, felt to be the most tragic of the poets.

      I believe this is what we would call "throwing shade" today. What justification do you think Aristotle has for calling Euripides out like this? What is it about Euripides' work that Aristotle wouldn't agree with?

    4. For a thing whose pres-ence or absence makes no visible difference, is not . an organic part of the whole

      He is saying that if you can take away a certain plot point or event, and the story would have the same outcome, then there is no point to including it at all. No superfluous spectacle here, folks.

    5. The Spectacle has, indeed, an emotional attrac-tion of its own, but, of all the j,arts,.it is the least artis-tic and connected least with the art of poetry

      Ouch. I'm curious what everyone else thinks of this in modern drama? Our book says something about how modern critics still don't always love spectacle, but I would be interested in looking at how much this perception of spectacle has shifted. I'm a design major who is literally getting a degree to learn how to better create spectacle that is connected to the text so this is conflicting.

    6. for Tragedy endeavours, as far as pos-sible, to confine itself to a single revolution of the sun

      I think this is the first introduction of the three unities of drama? This one being time

    7. the fact that conversational speech runs into iam-bic lines more frequently than into any other kind of verse

      I read something on the internet once, about how Shakespeare wrote in iambic verse because the stressed-unstressed syllables imitate a heartbeat. Bout as true to life as you can get

    8. phallic songs

      Was anyone else alarmed and intrigued by this? Because I totally was. Apparently the Greeks did this thing called "Phallic Processions" (read: penis parades). They were common in Dionysiac celebrations, where people paraded to a town center flaunting obscenities and "fetishized phallus".

      I think Aristotle is telling us that the only people who could possibly have conceived comedy were the people leading Penis Parades? Fascinating.

    9. Persons, ther~ore, starting with this natural gift developed by degrees their special aptitudes, till their rude improvi-. sations gave birth to Poetr

      I love the way this describes people who make art, do it because they HAVE to do it by their nature. Very moving sentiment that I think about a lot

    10. Comedy aim, at representing men as worse, Tragedy as better than in actual life

      I wonder why this is. We feel a greater catharsis by seeing someone of great affluence and power fall from grace because we tend to care for them more. An average Joe falling down is less interesting. In comedy, we'd much rather feel validation knowing that people who are "less than" are portrayed as such onstage.

    11. People do, in-deed, add the word 'maker' or 'poet' to the name of the metre, and speak ofelegiac poets, or epic (that is, hexameter) poets, as ififwere not the imitation that makes the poet, btit the verse that entitles them all in-discriminately to the naine .

      This reminds me of a debate we got into in our Design II class last semester, where we were debating over how we define an "artist". Like how do you measure the point where you're no longer scribbling words or lines on a page, but creating a work of art? I wish I had had this to bring up at the time. If the intention is to imitate life, then it is art, and you are an artist.