The Rhetoric and the Poetics of Aristotle (The Modern Library, No. 246). Aristotle, W. Rhys Roberst, Ingram Bywater, Friedrich Solmsen, Introduction.

The Rhetoric and the Poetics of Aristotle (The Modern Library, No. 246)

New York: The Modern Library, 1954. Reprint. Hard Cover. Good / Very Good. Item #2324962

1954-59 printing, Toledano 246.2, binding/jacket style 8i with 408 titles on verso, no jacket price, grey Rockwell Kent endpapers. Good in very good jacket. Pencil underlining throughout, jacket lightly toned with minor wear along edges.

xxii, 289 pp. Rhetoric translated by W. Rhys Roberts. Poetics translated by Ingram Bywater. Introduction by Friedrich Solmsen. Aristotle's Rhetoric proposes that a speaker can use three basic kinds of appeals to persuade his audience: ethos (an appeal to the speaker's character), pathos (an appeal to the audience's emotion), and logos (an appeal to logical reasoning).[126] He also categorizes rhetoric into three genres: epideictic (ceremonial speeches dealing with praise or blame), forensic (judicial speeches over guilt or innocence), and deliberative (speeches calling on an audience to make a decision on an issue).[127] Aristotle also outlines two kinds of rhetorical proofs: enthymeme (proof by syllogism) and paradeigma (proof by example). Aristotle writes in his Poetics that epic poetry, tragedy, comedy, dithyrambic poetry, painting, sculpture, music, and dance are all fundamentally acts of mimesis ("imitation"), each varying in imitation by medium, object, and manner.[129][130] He applies the term mimesis both as a property of a work of art and also as the product of the artist's intention[129] and contends that the audience's realisation of the mimesis is vital to understanding the work itself.[129] Aristotle states that mimesis is a natural instinct of humanity that separates humans from animals[129][131] and that all human artistry "follows the pattern of nature".[129] Because of this, Aristotle believed that each of the mimetic arts possesses what Stephen Halliwell calls "highly structured procedures for the achievement of their purposes."[132] For example, music imitates with the media of rhythm and harmony, whereas dance imitates with rhythm alone, and poetry with language. The forms also differ in their object of imitation. Comedy, for instance, is a dramatic imitation of men worse than average; whereas tragedy imitates men slightly better than average. Lastly, the forms differ in their manner of imitation – through narrative or character, through change or no change, and through drama or no drama. While it is believed that Aristotle's Poetics originally comprised two books – one on comedy and one on tragedy – only the portion that focuses on tragedy has survived. Aristotle taught that tragedy is composed of six elements: plot-structure, character, style, thought, spectacle, and lyric poetry.[134] The characters in a tragedy are merely a means of driving the story; and the plot, not the characters, is the chief focus of tragedy. Tragedy is the imitation of action arousing pity and fear, and is meant to effect the catharsis of those same emotions. Aristotle concludes Poetics with a discussion on which, if either, is superior: epic or tragic mimesis. He suggests that because tragedy possesses all the attributes of an epic, possibly possesses additional attributes such as spectacle and music, is more unified, and achieves the aim of its mimesis in shorter scope, it can be considered superior to epic.[135] Aristotle was a keen systematic collector of riddles, folklore, and proverbs; he and his school had a special interest in the riddles of the Delphic Oracle and studied the fables of Aesop.--Wikipedia

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