One of these implications is concerned with the rigidity of the connection between form and object of representation: if the people represented are kings or gods, tragedy must be the form, since this is what is appropriate in order to educate the spectator in the right values, which should be the main goal of any art for Aristotle. Conversely, comedy is the proper form to reproduce the ugly, underclass people. This conception of aesthetic representations seems to be very influenced by Plato’s praise to the government of the king who governs for everyone as the unreachable ideal, even if Aristotle introduces (with this text) the differentiation of criteria between politics and art analysis.
Once a form is considered the proper form to imitate the lives of certain social strata (for Aristotle all art is mimesis, an imitation of “things as they are or were; as it is believed they are; or as they should be” (XXV)), it is useful to specify the characteristics of this form, to avoid misconceptions in both public and creators. This is why Aristotle focuses his notes on describing the elements of the main forms: he wants to establish the good specific criteria to judge art, and they all will derive from the one main criter...
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... foundation to the idea of characters as examples.
Epic is made to be read, not performed as tragedy. Although it has to share tragedy’s unity, and also needs vicissitude, acknowledgment and suffering. But it allows a more thorough and a richer narration, since it can be longer. Also, since tragedy is the place for the marvelous, epic shows the irrational, but it is very important to keep the irrational outside of the plot.
The last boundary Aristotle establishes in his essay is related to the public: Epic is made for a more distinguished audience. However, at the end Aristotle says this hierarchy does not apply to the poetics of both arts, for tragedy can be more appealing to the public and therefore reach better its goal. By making this argument, Aristotle sets up a definition of poetics that still remains today: poetics as an aesthetic strategy to reach a goal.
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