By Kathy Eden
When Philip Sidney defends poetry through protecting the equipment utilized by poets and attorneys alike, he depends on the normal organization among fiction and criminal procedure--an organization that starts with Aristotle. during this examine Kathy Eden deals a brand new realizing of this custom, from its origins in Aristotle's Poetics and De Anima, via its improvement within the mental and rhetorical thought of past due antiquity and the center a while, to its end result within the literary conception of the Renaissance.
Originally released in 1986.
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Extra resources for Poetic and Legal Fiction in the Aristotelian Tradition
6 ) . For the trans mission of this tradition through Roman Law into the Renaissance see Ε. H. 965),PP- 3 5 3 - 6 5 · 9 Socrates' charge against the sophists is similarly on prudential and pro ductive grounds (Gorgtas 459D). For the artist's immunity from prudential concerns, according to the sophists, see Giuliana Lanata, Poetica Preplatonica, testimomanze e frammenti (Florence, 1963), pp. 214-15. POETRY AND EQUITY grounds. As a citizen, the tragedian, with the other mimetic artists, errs because he represents morally inferior objects on stage, which excite in turn the base emotions of his audience (603C-605C).
1 3 ; cf. 4). 5): See above, pp. 28-29. 5 and Tnmpi, Muses of One Mind, pp. 1 1 6 ff. 44 from P(3ETR¥ ANP EQlIIiy When therefore the law lays down a general rule, and thereafter« »§e arises which is an exception to the rule, it is then right, where the lawgiver's pronouncement be cause of its absoluteness is defective and erroneous, to rec tify the defect by deciding as the lawgiver would himself decide if he were present on the occasion, and would him self decide if he had been cognizant of the case in question.
Not surprisingly, this kind of ethical analysis is particularly characteristic of forensic or legal oratory. 40). 12), in legal cases, the advocate begins with the com pleted action as a kind of "given" and then attempts to disclose the causes of that action in the moral choices, motivations, or intentions of the agent. 6). S. 25 (1975), 233; and Jean-Pierre Vernant, "Intimations of the Will in Greek Tragedy," m Tragedy and Myth in Ancient Greece, pp. 28-62. 6; cf. 1). 16, 1417316-19): The narration should depict character; to which end you must know what makes it so.
Poetic and Legal Fiction in the Aristotelian Tradition by Kathy Eden