[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"detail-sidebar-cat-0-en-105":3,"doc-seo-299785-105":59,"doc-detail-299785-en":131},{"code":4,"msg":5,"data":6},0,"success",[7,13,18,23,28,33,38,43,48,51,55],{"id":8,"doc_module":4,"doc_module_name":9,"category_name":10,"show_sort_weight":11,"slug":12},1,"Document","Story & Novel",90,"story-novel",{"id":14,"doc_module":4,"doc_module_name":9,"category_name":15,"show_sort_weight":16,"slug":17},2,"Literature",80,"literature",{"id":19,"doc_module":4,"doc_module_name":9,"category_name":20,"show_sort_weight":21,"slug":22},4,"Exam",70,"exam",{"id":24,"doc_module":4,"doc_module_name":9,"category_name":25,"show_sort_weight":26,"slug":27},5,"Comic",60,"comic",{"id":29,"doc_module":4,"doc_module_name":9,"category_name":30,"show_sort_weight":31,"slug":32},6,"Technology",50,"technology",{"id":34,"doc_module":4,"doc_module_name":9,"category_name":35,"show_sort_weight":36,"slug":37},7,"Healthcare",40,"healthcare",{"id":39,"doc_module":4,"doc_module_name":9,"category_name":40,"show_sort_weight":41,"slug":42},8,"Research & Report",30,"research-report",{"id":44,"doc_module":4,"doc_module_name":9,"category_name":45,"show_sort_weight":46,"slug":47},9,"Religion & Spirituality",20,"religion-spirituality",{"id":46,"doc_module":4,"doc_module_name":9,"category_name":49,"show_sort_weight":46,"slug":50},"World Cup","world-cup",{"id":52,"doc_module":4,"doc_module_name":9,"category_name":53,"show_sort_weight":52,"slug":54},10,"Lifestyle","lifestyle",{"id":56,"doc_module":4,"doc_module_name":9,"category_name":57,"show_sort_weight":24,"slug":58},19,"General","general",{"code":4,"msg":60,"data":61},"ok",{"site_id":62,"language":63,"slug":64,"title":65,"keywords":66,"description":67,"schema_data":68,"social_meta":124,"head_meta":126,"extra_data":128,"updated_unix":130},105,"en","poetics-volume-two-part-two-of-the-seventy-first","POETICS - Volume Two - Part Two of the Seventy-First","","This excerpt from Aristotle’s Poetics, in Jonathan Barnes’s revised Oxford translation (Volume Two), introduces Aristotle’s framework for understanding poetry as a system of imitation. It explains that epic, tragedy, comedy, dithyrambic poetry, and related performance arts differ by their means, their objects (actions by good or bad agents), and the manner of representation. It further distinguishes narrative versus character speech and dramatic enactment, laying out a structured classification that connects poetic forms to ethical and stylistic parameters.",{"@graph":69,"@context":123},[70,84,106],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":15,"@type":76,"position":81},"https://docshare.wps.com/document/literature/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/poetics-volume-two-part-two-of-the-seventy-first/299785/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/poetics-volume-two-part-two-of-the-seventy-first/299785.png","ImageObject",300,407,{"name":92,"@type":93},"Emma Wilson","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-11-01","2026-09-18",true,{"@type":102,"interactionType":103,"userInteractionCount":105},"InteractionCounter",{"@type":104},"ViewAction",11,{"@type":107,"mainEntity":108},"FAQPage",[109,115,119],{"name":110,"@type":111,"acceptedAnswer":112},"How does Aristotle define poetry in this section?","Question",{"text":113,"@type":114},"Poetry is treated as a mode of imitation. Different poetic and performance forms are grouped together but distinguished by how they imitate.","Answer",{"name":116,"@type":111,"acceptedAnswer":117},"What are the three ways Aristotle says imitation arts differ?",{"text":118,"@type":114},"They differ in their means, their objects, and the manner of their imitations.",{"name":120,"@type":111,"acceptedAnswer":121},"What kinds of objects does the imitator represent?",{"text":122,"@type":114},"The imitator represents actions, carried out by agents who are either good or bad, with character differences derived from this primary distinction.","https://schema.org",{"og:url":83,"og:type":125,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":127,"canonical":83},"index,follow",{"doc_id":129,"site_id":62},299785,1790036419,{"code":4,"msg":5,"data":132},{"doc_id":129,"user_id":133,"nickname":92,"user_avatar":134,"doc_module":4,"category_id":14,"category_name":15,"doc_title":65,"doc_description":67,"doc_content":135,"file_id":136,"file_url":137,"file_type":138,"file_size":139,"view_count":105,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":140,"language":141,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":142,"faqs":143,"seo_title":144,"seo_description":67,"update_tm":145,"read_time":146},3848291630094,"https://eur-avatar.wpscdn.com/davatar_085a072bc5b1113ac321206ff7593b45","# THECOMPLETE WOR KS OF\n\nARISTOTLE  \n# THE REVISED OXFORD TRANSLATION\n\nEdited by  \nJONATHAN BARNES  \nVOLUME TWO  \n☰6  \nBOLLINGEN SERIES LXXI·2  \nCopyright ◎1984by The Jowett Copyright TrusteesPublished by Princeton University Press,41 William St.,Princeton,New Jersey  \nIn the United Kingdom:Princeton University Press,Guildford,Surrey  \nAll Rights Reserved  \nTHIS IS PART TWO OF THE SEVENTY-FIRSTIN A SERIES OF WORKS SPONSOREDBY BOLLINGEN FOUNDATION  \nLibrary of Congress Cataloging in Publication Datawill be found on the last printed page of this book  \nClothbound editions of Princeton University Press booksare printed on acid-free paper,and binding materialsare chosen for strength and durability  \nPrinted in the United States of Americaby Princeton University Press,Princeton,New Jersey  \n# POETICS\n\nI.Bywater  \n1447*101·I propose to speak not only of poetry in general but also of its species and  \ntheir respective capacities;of the structure of plot required for a good poem;of thenumber and nature of the constituent parts of a poem;and likewise of any othermatters in the same line of inquiry.Let us follow the natural order and begin withfirst principles.  \nEpic poetry and tragedy,as also comedy,dithyrambic poetry,and most15 flute-playing and lyre-playing,are all,viewed as a whole,modes of imitation.Butthey differ from one another in three ways,either in their means,or in their objects,or in the manner of their imitations.  \nJust as colour and form are used as means by some,who(whether by art or20 constant practice)imitate and portray many things by their aid,and the voice isused by others;so also in the above-mentioned group of arts,the means with them asa whole are rhythm,language,and harmony--used,however,either singly or incertain combinations.A combination of harmony and rhythm alone is the means in  \n25 flute-playing and lyre-playing,and any other arts there may be of the samedescription,e.g.imitative piping.Rhythm alone,without harmony,is the means inthe dancer's imitations;for even he,by the rhythms of his attitudes,may representmen's characters,as well as what they do and suffer.There is further an art whichimitates by language alone,and one which imitates by metres,either one or aplurality of metres.These forms of imitation are still nameless today.We have no  \n144710 common name for a mime of Sophron or Xenarchus and a Socratic Conversation;  \n0 and we should still be without one even if the imitation in the two instances were intrimeters or elegiacs or some other kind of verse-—though it is the way with peopleto tack on ‘poet'to the name of a metre,and talk of elegiac poets and epic poets,  \n15 thinking that they call them poets not by reason of the imitative nature of theirwork,but generally by reason of the metre they write in.Even if a theory ofmedicine or physical philosophy be put forth in a metrical form,it is usual todescribe the writer in this way;Homer and Empedocles,however,have reallynothing in common apart from their metre;so that,if the one is to be called a poet,the other should be termed a physicist rather than a poet.Weshould be in the same  \n20 position also,if the imitation in these instances were in all the metres,like theCentaur(a rhapsody in a medley of allmetres)of Chaeremon;and Chaeremon one  \nPOET I CS  \nhas to recognize as a poet.So much,then,as to these arts.There are,lastly,certainother arts,which combine all the means enumerated,rhythm,melody,and verse,25  \ne.g.dithyrambic and nomic poetry,tragedy and comedy;with this difference,however,that the three kinds of means are in some of them all employed together,and in others brought in separately,one after the other.These elements ofdifference in the above arts I term the means of their imitation.  \n2·The objects the imitator represents are actions,with agents who are 1448*1necessarily either good men or bad—the diversities of human character beingnearly always derivative from this primary distinction,since it is by badness andexcellence men dif","cbCaiuYZD7E4df54","https://ap.wps.com/l/cbCaiuYZD7E4df54","pdf",1760772,27,"English","# Poetics\n## Introduction: poetry as imitation\n## Differences by means, objects, and manner\n## Means of imitation (rhythm, language, harmony)\n## Objects represented (actions and ethical character)\n## Manner of representation (narrative, assumed character, dramatic enactment)","[{\"question\":\"How does Aristotle define poetry in this section?\",\"answer\":\"Poetry is treated as a mode of imitation. Different poetic and performance forms are grouped together but distinguished by how they imitate.\"},{\"question\":\"What are the three ways Aristotle says imitation arts differ?\",\"answer\":\"They differ in their means, their objects, and the manner of their imitations.\"},{\"question\":\"What kinds of objects does the imitator represent?\",\"answer\":\"The imitator represents actions, carried out by agents who are either good or bad, with character differences derived from this primary distinction.\"}]","POETICS - Volume Two - Part Two of the Seventy-First | PDF",1789771301,42]