Although the nature of the East and the narrative patterns in the East (from the ancient Eastern patterns to the closer literary works of the 3rd to 7th and 8th centuries AH in Iran) cannot be completely interpreted Aristotelianly (I tried to quickly say that in my opinion, Aristotle does not understand anything of the Eastern concepts and for this reason, concepts such as the elevation of the hero are illogical to him), and this is the reason that a range of works that I like are not justifiable and interpretable in the Aristotelian model. However, in my opinion, one cannot turn a blind eye to the work that Aristotle has left, especially in the West. Concepts such as myth (which in a sense is the same as the old), having a beginning, middle, and end, plot construction and resolution, characterization, and the characteristics present in the first character and the characters of the story, and so on, almost all from 300 BC to the present have been projected onto Western playwriting and screenwriting and a good part of the world of shadow, and naturally, this amount of influence is admirable on its own!

Reading it, in my opinion, is not only attractive but also necessary!

-The golden-coined introductions also help a lot to a better understanding of the art of Aristotle's poetry.-

If you have a deep desire to learn about tragedy or narrative in general, then this place remains the absolute best starting point. Here, you will be immersed in a world of profound stories that explore the human condition in all its complexity. The tales told here have the power to move you, to make you feel a wide range of emotions, from sadness and grief to hope and redemption.
You will encounter characters who face seemingly insurmountable challenges, yet find the strength within themselves to persevere. Through their experiences, you will gain a deeper understanding of the nature of tragedy and how it can shape our lives. Whether you are a student of literature, a lover of stories, or simply someone who is curious about the human experience, this is the place where you can begin your journey of discovery.
So come, explore this rich and vibrant world of tragedy and narrative, and let the stories within touch your heart and soul.

One of those books which I just flew through because it's thought provoking and refreshing.

This is a nonfiction work that is not for everyone. However, I would highly suggest this small book on literary criticism to those who have a passion for reading poetry and, most importantly, plays. The author has focused extensively on the core concept of a poem or play in terms of comedy, tragedy, and other aspects. As a result, this book would be extremely useful for those who wish to understand how to write and construct a poem or a play.

The language used in this book is very easy to understand, and the chapters are quite short. It makes for a much more delightful and different read compared to other literary criticism books. Overall, I would highly recommend this book to anyone who is interested in the art of writing poetry and plays.

I truly enjoyed this experience more than I initially anticipated.

Aristotle's approach to examining specific story forms is rather remarkable. It is as if he is an ancient doctor meticulously analyzing the construction of the human body. His insights and observations are truly valuable, and he offers great advice that can be applied to various aspects of storytelling.

What surprised me the most was the relevancy of his ideas to the modern works that I have read. Despite the passage of time, his principles still hold true and can enhance our understanding and appreciation of contemporary literature.

Overall, this exploration into Aristotle's thoughts on story forms has been a fascinating and enlightening journey. It has opened my eyes to new perspectives and has deepened my love for the art of storytelling.

A verimli bölümsel okuma gerçekleştirmek için birçok faktör etkili olabiliyor. Örneğin, öğrenciye öğretmenin okuyun diye emir vermesi durumunda, öğrenci isteğe bağlı olarak okumayabilir veya okumazda olabilir. Ancak, kendisinin isteğiyle okuduğunda, inanılmaz derecede eğlenebilir ve öğrenme süreci daha da kolaylaşabilir. Ayrıca, bir oturuşta okuma işleminin tamamlanması da önemlidir. Böylece öğrenci, okuduğu bölümü daha iyi anlamak ve hatırlamak için zamanı kullanabilir. Ancak, bu işlemi başarılı bir şekilde gerçekleştirmek için öğrenciye bazı yönergeler verilmesi gerekebilir. Örneğin, okumadan önce bölünün konusunu anlamak, okurken önemli noktaları not almak gibi.

Poetics is widely regarded as the earliest known work of literary criticism.

This particular copy was presented in the form of lecture notes. Aristotle expounds his perspectives on various aspects such as tragedy, the plot, the characters, and the content. Subsequently, he makes a comparison between tragedy and epic poetry.

In terms of content, I firmly believe that this book is of great value. However, it is an undeniable fact that it can be extremely boring at times.

I encountered significant difficulties when reading and analyzing the parts that contained the ancient Greek language. It required a great deal of effort and concentration to understand the nuances and subtleties within those sections.

Nevertheless, despite its flaws, Poetics remains an important and influential work in the field of literary criticism, providing valuable insights and perspectives that have endured throughout the ages.

After reading Plato's 'Republic', I felt a profound sense of enlightenment.

The text delved deep into the nature of justice, the ideal state, and the role of individuals within it.

Plato's arguments were presented in a systematic and logical manner, making it relatively easy to follow his train of thought.

The dialogues between Socrates and his interlocutors added a layer of interactivity and engagement to the reading experience.

Moreover, the various concepts and ideas discussed in 'Republic' were not only relevant in Plato's time but also have enduring significance in contemporary society.

It made me reflect on my own beliefs and values, as well as the social and political structures that shape our lives.

Overall, reading Plato's 'Republic' was a thought-provoking and intellectually stimulating experience that left a lasting impression on me.

Didn't age well

I delved into Aristotle's Poetics with the hope of uncovering more about the classical definition of lyric poetry. However, as it turns out, that crucial part of the Poetics has been lost. Aristotle divided the art of poetry into verse drama, lyric poetry, and epic poetry. The surviving portion mainly focuses on tragedy.

So, what's the deal? In my view, it can be best summed up by the phrase "That didn't age well." (I'm fully aware that I've probably convinced 90% of you that I'm a Philistine, too dumb and ignorant to understand Aristotle. Please stop reading and go away. You don't want my opinion, and I don't want yours.) There are sporadic useful ideas within, but the frequency is at or below "stopped clock" levels.

Unfortunately, this is one of those documents you have to read simply because many others have read it or have listened to someone who claims to have read it. They'll throw it at you, and you need to be able to defend yourself.

Blog review.

Read as a Buddy Read in GR group Catching Up on the Classics. I had the pleasure and honor of reading with a GR friend and the group's literary Maven.

I delved into The Rhetoric & The Poetics of Aristotle and also referred to Ancient Literary Criticism: The Principal Texts in New Translations for rhetorical discussion and a second comparative translation, as well as Aristotle for Everybody for philosophy. I recalled that Aristotle was a rhetor-philosopher, and my understanding was largely based on my basic background in rhetoric and classical literature.

While reading Poetics, our buddy group encountered a grammar section, which was relevant as grammar is part of the style branch of rhetoric. However, since none of us read Greek, that section mostly, but not completely, confused me. I was glad to find that some of that section of Poetics made sense to me, especially the use of word choices in different types of writing, what Aristotle called \\"Diction\\". I was able to refer to works from the Classical, Middle English, and English Early Modern Periods and discovered that Aristotle was spot-on: Compound Words can be found in Tragedies in Dithyrambic meter (like in The Trojan Women during the choruses). Strange Words can be found in Heroic Works and can use any meter scheme depending on the occasion of use (such as in Beowulf). Metaphors can be found in oration which best uses iambic meter (for example, in Hamlet: Act I, scene 2 where Claidius announces his marriage to Gertrude).

My GR friend provided company and helped me understand more deeply what I thought I knew, while the maven gave me a holistic direction. The most important thing I learned was to avoid overstudying Aristotle before reading his works. Too much prior reading can quickly lead to the feeling that one cannot possibly understand his writing. It's best to do minimal study and then start working through the text. Great suggestion indeed.

Poetica (Περὶ ποιητικῆς) is a significant work in the Aristotelian corpus that mainly addresses those who study literature and theater. It is believed to have been written around 335 BC, corresponding to the early years of Aristotle's teaching in Athens, a time when Greek tragedy was no longer being performed and was being replaced by comedy. This famous treatise consists of two books: Book I is dedicated to the "noble branch of poetry," namely epic and tragedy, while Book II focuses on the "vulgar branch of poetry," comedy. However, this part, like many other valuable writings from Antiquity, has been lost.

Aristotle considers literary productions such as tragic poetry, epic, dithyrambic poetry, and comedy as means of imitation - mimesis - through language, meter, or rhythm. Mimesis also extends to other arts such as music and painting. Tragedy represents the imitation of an action. It is a creation with a certain extension ("within the limits of a single revolution of the sun"), with a carefully chosen language - "speech with rhythm, harmony, and song," and characters whose actions evoke pity and fear in the spectators - catharsis.

Structurally, tragedy is composed of six parts: the subject or plot (mythos), the characters (ethos), the thought (dianoia) with an oratorical role, the language (lexis), the spectacle (opsis), and the music (melos). The plot must have a beginning, a middle, and an end, a universal significance, a structure, and not deviate from the theme and purpose of the tragedy. It must contain reversals of situation, recognitions, and suffering (pathos). The subjects can be simple or complex. A simple subject is an action with a resolution without reversals of situation and without recognitions after a unified and uninterrupted development of the action. The reversal of situation or peripeteia represents the change of events to their opposite.

Recognition or anagnorisis is the transition of the characters from ignorance to knowledge, a moment that can push them either towards love or towards hatred. Aristotle believes that a successful recognition must be accompanied by a reversal of situation. There are five types of recognition, from the least artistic to the most skillful: recognition by signs (the nurse recognizes Odysseus by his scar), recognition invented by the poet (Iphigenia recognizes Orestes through a letter), recognition determined by memories that arouse the emotions of the characters, recognition due to a judgment (In the Choephori of Aeschylus: "Someone similar to me has come; no one is similar to me except Orestes, Orestes must have come"), and the best recognition results from the concatenation of facts. And the third element of the plot is the pathetic or suffering, a destructive, painful action represented by the deaths and wounds of the characters shown on stage. The pathetic element is the result of recognitions and reversals of situation.

By combining the three elements of the plot, catharsis is created, which arouses pity and fear in the spectator: pity for the hero who goes through a difficult situation and fear that a similar event could happen to the spectator - fratricide, a child could kill his parents, deeds committed knowingly. Therefore, tragedies can only be written by depicting horrible or moving events that occur within noble families. The characters in tragedies must have a chosen attitude and a noble character, be in accordance with human nature (cruelty is not in accordance with the nature of women, although Euripides had a different opinion...), and have dignity. The tragic character has a noble character, but he will be punished by the gods because of his pride in facing or changing his destiny, an element called hybris or because of a mistake, hamartia.

Poetica is perhaps the first treatise on literary theory, in which Aristotle teaches poets how to create valuable tragedies as in the past. After its prohibition and rediscovery, many writers and literary critics have been influenced by it, from Nicolas Boileau to Umberto Eco. Although it cannot be read without footnotes and critical support, Poetica is not obsolete because any well-constructed drama (whether performed on stage or projected in the cinema) has reversals of situation, hybris, hamartia, and provokes the cathartic effect.

Let's analyze it carefully, taking detailed notes. In the summer of 2004 (vague memories of a terrace not far from the sea and other memories that I don't want to recall), and then read it continuously.

From this, there are always suggestions and curiosities.

As all of you know, poetry [now read: literature] is more philosophical than history. Because history deals with the true, while poetry deals with the plausible. And so poetry is concerned with the universal, while history tells the particulars. It belongs to the universal that someone, a character, says or does certain things according to plausibility or necessity, and this is what poetry aims at, subsequently adding names; while it belongs to the particular to say what Alcibiades did or what happened to him.

Precisely, we are readers, we all know this, even without having read it in Aristotle. The work of the poet is not a registration of everything, but is a selection, a reworking of events, a wise dosage of what to discard and what to include, a continuous thought of how to connect and how to rebalance the parts in order to reinvent the world in an order full of meaning.

And the universal that the poet aims at can naturally be something very different from what the ancient philosopher could have had in mind.

However, it is always astonishing when Aristotle's reasoning becomes dizzying: as when he arrives at saying that, in the end, it is not always obligatory that the writer invent fictional facts with plausibility, he can even represent really happened facts, as long as they are plausible: "for nothing prevents that among the happened facts there are some that it is plausible to happen". And, according to such plausibility, it is the poet who is the creator of these really happened facts.

La Poética de Aristoteles sigue siendo, a mi entender, el primer ensayo literario de la historia.

Es gracias a ella y al profundo análisis que el estagitita griego hace de la épica, la tragedia y la epopeya que conocemos la literatura moderna.

Este análisis detallado ha sido fundamental para comprender cómo se han desarrollado y evolucionado las diferentes formas literarias a lo largo del tiempo.

Además, la Poética de Aristoteles ha dado lugar a toda una serie de concepciones de la literatura hoy en día.

Sus ideas y teorías han influido en la manera en que los críticos literarios y los escritores han entendido y abordado la creación y la interpretación de la literatura.

En resumen, la Poética de Aristoteles es un trabajo fundamental en el estudio de la literatura y su influencia se hace sentir hasta en la actualidad.