Combining literary and philosophical analysis, this study defends an utterly innovative reading of the early history of poetics. It is the first to argue that there is a distinctively Socratic view of poetry and the first to connect the Socratic view of poetry with earlier literary tradition. Literary theory is usually said to begin with Plato's famous critique of poetry in the Republic. Grace Ledbetter challenges this entrenched assumption by arguing that Plato's earlier dialogues Ion, Protagoras, and Apology introduce a distinctively Socratic theory of poetry that responds polemically to traditional poets as rival theorists. Ledbetter tracks the sources of this Socratic response by introducing separate readings of the poetics implicit in the poetry of Homer, Hesiod, and Pindar. Examining these poets' theories from a new angle that uncovers their literary, rhetorical, and political aims, she demonstrates their decisive influence on Socratic thinking about poetry. The Socratic poetics Ledbetter elucidates focuses not on censorship, but on the interpretation of poetry as a source of moral wisdom. This philosophical approach to interpreting poetry stands at odds with the poets' own theories--and with the Sophists' treatment of poetry. Unlike the Republic's focus on exposing and banishing poetry's irrational and unavoidably corrupting influence, Socrates' theory includes poetry as subject matter for philosophical inquiry within an examined life. Reaching back into what has too long been considered literary theory's prehistory, Ledbetter advances arguments that will redefine how classicists, philosophers, and literary theorists think about Plato's poetics.

Combining literary and philosophical analysis, this study defends an utterly innovative reading of the early history of poetics. It is the first to argue that there is a distinctively Socratic view of poetry and the first to connect the Socratic view of p.

The nineteen essays presented here aim to illuminate the ways poetry and the poets are discussed by Plato throughout his writing career. As well as throwing new light on old topics, such as mimesis and poetic inspiration, the volume introduces fresh approaches to Plato’s philosophy of poetry and literature.

In it, Aristotle offers an account of what he calls "poetry" (a term which in Greek literally means "making" and in this context includes drama - comedy, tragedy, and the satyr play - as well as lyric poetry and epic poetry). They are similar in the fact that they are all imitations but different in the three ways that Aristotle describes: 1. Differences in music rhythm, harmony, meter and melody. 2. Difference of goodness in the characters. 3. Difference in how the narrative is presented: telling a story or acting it out. In examining its "first principles," Aristotle finds two: 1) imitation and 2) genres and other concepts by which that of truth is applied/revealed in the poesis. His analysis of tragedy constitutes the core of the discussion. Although Aristotle's Poetics is universally acknowledged in the Western critical tradition, "almost every detail about his seminal work has aroused divergent opinions."

As well as producing one of the finest of all poetic traditions, ancient Greek culture produced a major tradition of poetic theory and criticism. Halliwell's volume offers a series of detailed and challenging interpretations of some of the defining authors and texts in the history of ancient Greek poetics: the Homeric epics, Aristophanes' Frogs, Plato's Republic, Aristotle's Poetics, Gorgias's Helen, Isocrates' treatises, Philodemus' On Poems, and Longinus On the Sublime. The volume's fundamental concern is with how the Greeks conceptualized the experience of poetry and debated the values of that experience. The book's organizing theme is a recurrent Greek dialectic between ideas of poetry as, on the one hand, a powerfully enthralling experience in its own right (a kind of 'ecstasy') and, on the other, a medium for the expression of truths which can exercise lasting influence on its audiences' views of the world. Citing a wide range of modern scholarship, and making frequent connections with later periods of literary theory and aesthetics, Halliwell questions many orthodoxies and received opinions about the texts analysed. The resulting perspective casts new light on ways in which the Greeks attempted to make sense of the psychology of poetic experience - including the roles of emotion, ethics, imagination, and knowledge - in the life of their culture.

Richard Janko's acclaimed translation of Aristotle's Poetics is accompanied by the most comprehensive commentary available in English that does not presume knowledge of the original Greek. Two other unique features are Janko's translations with notes of both the Tractatus Coislinianus, which is argued to be a summary of the lost second book of the Poetics, and fragments of Aristotle's dialogue On Poets, including recently discovered texts about catharsis, which appear in English for the first time.