Poética
- Idioma:
- inglés
- Estado:
- Obra completa
- Autoría:
- Escrita por el autor
- Estado del texto:
- Sin ruido de escaneo detectado (medición automática sobre todo el texto, no revisada a mano)
- Extensión:
- ~15.400 palabras · 73 pasajes
Cita esta obra
- APAAristóteles. (n.d.). The Poetics of Aristotle [Poética]. Digital reproduction: SigPhi. https://sigphiai.com/es/works/aristotle/the-poetics-of-aristotle
- MLAAristóteles. The Poetics of Aristotle [Poética]. Digital reproduction, SigPhi, https://sigphiai.com/es/works/aristotle/the-poetics-of-aristotle.
- ChicagoAristóteles. The Poetics of Aristotle [Poética]. Digital reproduction, SigPhi. https://sigphiai.com/es/works/aristotle/the-poetics-of-aristotle.
Referencia de la edición que reproduce SigPhi: SigPhi es su reproducción digital, no el editor. El año de la edición no consta en los metadatos (por eso «n.d.») y el traductor solo aparece cuando consta.
De qué trata
La primera teoría de la literatura: qué es la tragedia y cómo funciona — la trama antes que los personajes, el giro y el reconocimiento, y la purificación de la piedad y el temor que el público extrae.
Contexto e historia
Apuntes del Liceo, hacia el 335 a. C., escritos cuando la gran tragedia ática ya era historia y podía estudiarse con frialdad. De las dos partes que tenía, sobre la tragedia y sobre la comedia, la segunda se perdió — la ausencia más célebre de la literatura, hasta el punto de que Umberto Eco la convirtió en el móvil de 'El nombre de la rosa'. Ningún texto ha mandado tanto sobre cómo se cuentan historias: las tres unidades del clasicismo francés, los manuales de guion de Hollywood y medio vocabulario de la crítica — catarsis, peripecia, anagnórisis — salen de estas páginas.
Contexto editorial, no una fuente citable: a diferencia de los pasajes de la obra, estos datos no se pueden comprobar contra el corpus.
Whether Tragedy has as yet perfected its proper types or not; and whether it is to be judged in itself, or in relation also to the audience,--this raises another question. Be that as it may, Tragedy--as also Comedy--was at first mere improvisation. The one originated with the authors of the Dithyramb, the other with those of the phallic songs, which are still in use in many of our cities. Tragedy advanced by slow degrees; each new element that showed itself was in turn developed. Having passed through many changes, it found its natural form, and there it stopped. Aeschylus first introduced a second actor; he diminished the importance of the Chorus, and assigned the leading part to the dialogue. Sophocles raised the number of actors to three, and added scene-painting. Moreover, it was not till late that the short plot was discarded for one of greater compass, and the grotesque diction of the earlier satyric form for the stately manner of Tragedy. The iambic measure then replaced the trochaic tetrameter, which was originally employed when the poetry was of the Satyric order, and had greater affinities with dancing. Once dialogue had come in, Nature herself discovered the appropriate measure. For the iambic is, of all measures, the most colloquial: we see it in the fact that conversational speech runs into iambic lines more frequently than into any other kind of verse; rarely into hexameters, and only when we drop the colloquial intonation. The additions to the number of 'episodes' or acts, and the other accessories of which tradition; tells, must be taken as already described; for to discuss them in detail would, doubtless, be a large undertaking. V Comedy is, as we have said, an imitation of characters of a lower type, not, however, in the full sense of the word bad, the Ludicrous being merely a subdivision of the ugly.…