Finally, the question are often raised about whether the epic or tragic sort of imitation is superior. Some claim the less vulgar genre is superior, and therefore the one addressed to a better class of listener is a smaller amount vulgar. it might follow, then, that an art that imitates anything—that isn’t discriminating in its subjects—is vulgar, which tragedy are often thought of this character. heroic poetry, they say, is addressed to a better audience that doesn’t get to see the exaggerated gestures and effects of tragic actors, which tragedy is directed to a standard audience, which therefore epic is superior to tragedy.
This is wrong because the complaint only concerns the art of acting. But even as a tragic actor can exaggerate certain effects, so too a rhapsode can exaggerate when reciting heroic poetry, as Sosistratus did. Moreover, the bodily movement can’t be condemned in itself, because such a condemnation would also imply criticism of dance. Only the attitudes and gestures of ignoble people deserve condemnation. But tragedy produces its effect with none movement within the same way as heroic poetry. Thus, if it’s superior in other ways, acting isn’t deserved consideration.
The tragedy is actually the higher form because additionally to having everything the epic form has, it also has music, and may provide superior pleasure. Moreover, tragedy has vividness either when read or acted, and excels because the imitation in tragedy is more concentrated, pulling off its effect during a shorter space of your time, as for instance comparing Sophocles’s Oedipus to a neighborhood of an equivalent length within the Iliad. and therefore the imitation of epic poets is a smaller amount unified than that of the creators of tragedy. Thus, since tragedy is superior to epic in these respects, and is additionally more suited to performance, tragedy may be a better sort of the 2.
Chapter 26, Analysis
Here, Artistotle looks at the differences between the epic form and therefore the tragic form, evaluating their pros and cons. He approaches the argument by examining the varied criticisms that are leveled against tragedy by those that hold the epic form to be superior, breaking them apart, and suggesting that a lot of those criticisms are limited, if not simply false, therein they’re limited to acting. Tragedy, Aristotle argues, is really superior to epic for several reasons. it’s more concentrated than epic, and a neighborhood of a tragedy will necessarily be richer than a neighborhood of comparable length from an epic. The performed aspect of tragedy is thus something of a supplement instead of a legitimate aspect to be critiqued. Ultimately, tragedy is more unified and is best at achieving its desired end.
Aristotle's Poetics Chapter 26 = Aristotle's Poetics Chapter 26 = Aristotle's Poetics Chapter 26 = Aristotle's Poetics Chapter 26 = Aristotle's Poetics Chapter 26 = Aristotle's Poetics Chapter 26 = Aristotle's Poetics Chapter 26