Chs. 1-3 MIMESIS
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Ch. 1
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The media
of poetic mimesis: language, rhythm and music
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Ch. 2
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The object
of poetic mimesis: men in action, ethically differentiated according to genre
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Ch. 3
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The modes
of poetic mimesis: narrative, dramatic enactment, or an alternation of the
two
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Chs. 4-5 ORIGINS & HISTORY OF POETRY
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Ch. 4
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Natural
causes of poetry: mimetic instinct, and the pleasure of learning from mimetic objects
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Chs. 4-5
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Literary
history and teleology: Homer the pioneer of tragedy and comedy
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Chs. 6-22 TRAGEDY
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Ch. 6
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Definition;
the six parts of tragedy, and their relative importance
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Chs. 7-14
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Plot-structure
(muthos)
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7-8
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Coherence
and unity
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9
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Poetic
universality (the distinction between poetry and history)
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9-10
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Simple and
complex plots
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11
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Elements
of the complex plot: reversal (peripeteia) and recognition (anagnorisis)
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12
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The
quantitative units of tragedy
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13-14
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The finest
tragedy: hamartia
and two approaches to the ideal
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Ch. 15
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Characterization
(ethos)
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Ch. 16
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Recognition:
a typology
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Chs. 17-18
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Miscellaneous
precepts and observations
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Chs. 19-22
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Lexis: the fundamentals of language
and style
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Chs. 23-6 EPIC
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Ch. 23
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Unity of
epic plot-structure: tragic principles applied to epic
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Ch. 24
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Differences
between epic and tragedy
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Ch. 25
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Poetic ‘problems’
and their solutions: moral and fictional licence
allowed to the poet
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Ch. 26
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Comparison
of epic and tragedy: the latter’s superiority
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...Aristotle is either unwilling or unable to offer an analysis of the element of most importance after plot, namely character, to match his study in plot-structure in scale or clarity...--Stephen Halliwell
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