Editing Aristotle (section)

=== Poetics ===
{{Main|Poetics (Aristotle)}}
Aristotle writes in his ''Poetics'' that [[epic poetry]], tragedy, comedy, [[dithyramb]]ic poetry, painting, sculpture, music, and dance are all fundamentally acts of ''[[mimesis]]'' ("imitation"), each varying in imitation by medium, object, and manner.{{sfn| Halliwell | 2002 | pp=152–159}}{{sfn| Poetics | p= I 1447a}} He applies the term ''mimesis'' both as a property of a work of art and also as the product of the artist's intention{{sfn| Halliwell | 2002 | pp=152–159}} and contends that the audience's realisation of the ''mimesis'' is vital to understanding the work itself.{{sfn| Halliwell | 2002 | pp=152–159}} Aristotle states that ''mimesis'' is a natural instinct of humanity that separates humans from animals{{sfn| Halliwell | 2002 | pp=152–159}}{{sfn| Poetics | p= IV}} and that all human artistry "follows the pattern of nature".{{sfn| Halliwell | 2002 | pp=152–159}} Because of this, Aristotle believed that each of the mimetic arts possesses what [[Stephen Halliwell (academic)|Stephen Halliwell]] calls "highly structured procedures for the achievement of their purposes."{{sfn| Halliwell | 2002 | pp=152–59}} For example, music imitates with the media of rhythm and harmony, whereas dance imitates with rhythm alone, and poetry with language. The forms also differ in their object of imitation. Comedy, for instance, is a dramatic imitation of men worse than average; whereas tragedy imitates men slightly better than average. Lastly, the forms differ in their manner of imitation – through narrative or character, through change or no change, and through drama or no drama.{{sfn| Poetics | p=III}}

[[File:Bénigne Gagneraux, The Blind Oedipus Commending his Children to the Gods.jpg| thumb | upright=1.35 | ''The Blind Oedipus Commending his Children to the Gods'' (1784) by [[Bénigne Gagneraux]]. In his ''[[Poetics (Aristotle)|Poetics]]'', Aristotle uses the tragedy ''[[Oedipus Tyrannus]]'' by [[Sophocles]] as an example of how the perfect tragedy should be structured, with a generally good protagonist who starts the play prosperous, but loses everything through some ''[[hamartia]]'' (fault).{{sfn| Kaufmann | 1968 | pages=56–60}}]]

While it is believed that Aristotle's ''Poetics'' originally comprised two books – one on comedy and one on tragedy – only the portion that focuses on tragedy has survived. Aristotle taught that tragedy is composed of six elements: plot-structure, character, style, thought, spectacle, and lyric poetry.{{sfn| Poetics | p=VI}} The characters in a tragedy are merely a means of driving the story; and the plot, not the characters, is the chief focus of tragedy. Tragedy is the imitation of action arousing pity and fear, and is meant to effect the [[catharsis]] of those same emotions. Aristotle concludes ''Poetics'' with a discussion on which, if either, is superior: epic or tragic mimesis. He suggests that because tragedy possesses all the attributes of an epic, possibly possesses additional attributes such as spectacle and music, is more unified, and achieves the aim of its mimesis in shorter scope, it can be considered superior to epic.{{sfn| Poetics | p=XXVI}} Aristotle was a keen systematic collector of riddles, folklore, and proverbs; he and his school had a special interest in the riddles of the [[Delphic Oracle]] and studied the fables of [[Aesop]].{{sfn| Aesop | 1998 | pages=Introduction, xi–xii}}