Page 13 - DENG501_LITERARY_CRITICISM_AND_THEORIES

Unit 1: Aristotle: The Poetics—Introduction to the Author and the Text

as the originating motive of all poetry tended, by its very nature, to diverge in two directions. Notes
Poetry begins either as heroic or as satiric poetry : but out of heroic (or epic) poetry develops
tragedy, out of satiric comes comedy. Since then, the nature of poetry thus disposes itself into two
pairs or kinds, the principles valid for epic will, with the proper modification, be valid also for
tragedy, those applicable to satire will be similarly applicable to comedy. But Aristotle regarded
the historically later kind in each pair as a higher development of poetic art, and as, therefore,
requiring fuller discussion than the earlier kind. Accordingly, his scheme is to work out the theory
of the later development and then apply it to the earlier kind. But the Poetics, as we have it. is not
complete. The scheme of the discussion is unmistakably indicated ; but actually we are only given
the discussion of tragedy, and the application of its results to epic poetry. There can be no doubt
that the original treatise contained a second part, now lost, in which comedy and satire were
similarly treated.
Its Defects
The work is in the nature of class notes of an intelligent teacher and has certain obvious defects :
1. The handling of the subject is disproportionate.
2. Lyric poetry has been practically ignored, probably because (a) it was thought to constitute an
elementary stage in poetic development, (b) it was supposed to belong to the domain of
music, and not poetry proper, and (c) it was assimilated in the drama.
3. Most probably it is also for this last reason that descriptive poetry—poetry of nature—has also
been ignored.
4. Comedy and Epic have been slightly and cursorily treated.
5. The large part of the discussion is devoted to tragedy, but here, too, the attention has been focused
on the nature of the plot, and the effects of tragedy. Tragedy was regarded in the age as the
form in which all earlier poetry culminated and this accounts for the excessive importance
which Aristotle attaches to it. In this respect, as in many others, Aristotle was displaying
contemporary influences and limitations.
6. The style is telegrphic and highly concentrated, a style for the initiated, i.e. for those who were
already familiar with the author’s terminology and thought. Commenting on the style of the
Poetics, Abercrombie writes, “It is abrupt, disjointed, awkwardly terse, as awkwardly
digressive; essential ideas are left unexplained ; inessential things are elaborated. In short, it
has all the defects of lecture notes.” The Poetics is not self-explanatory and self-sufficient. It
must constantly be interpreted by the other works of the Greek philosopher, more specially,
his Ethics, Politics, and the lost dialogue on the Poet.
7. It is a work obviously not meant for publication. There is irregularities and anomalies, constant
disgressions, omissions, contradictions, repetitions, showing haste and lack of revision.
8. Often there are signs of hesitation and uncertainty in the use of terminology.
9. Aristotle’s theories are not wholly the result of free and dispassionate reflection.’ His views are
conditioned by contemporary social and literary influences. They are based on earlier theories’,
and are also conditioned by the fact that he had to confute certain theories current at the time.
The main trend of his argument is determined by Plato’s attack upon poetry. Aristotle takes
up the challenge of Plato at the end of Republic X, and proceeds to establish the superiority of
poetry over philosophy, and its educational value. Much of it is in the nature of special leading on
behalf of poetry, and so has all the defects of such an advocacy.
10. “Even to accomplished scholars the meaning is often obscure.” This difficulty is further increased
by the fact that the average reader is not familiar with the Greek language, its idiom, syntax
and Grammar. Many of the Greek words do not admit of literal translation into English, and
even scholars have gone astray. There is a wide gulf between Greek and English usage, and
hence the wide divergence among the numerous English translations of the Poetics.
Interpretations differ from critic to critic, to the great confusion and bewilderment of the
student.

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