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Updated: June 25, 2025
That was the romance of the wood nymph. One evening I climbed on the pedestal of my divinity, my cheek was pale ..." "For God's sake, leave out the poetics, and come to the facts." "If you don't let me tell my story in my own way I won't tell it at all. Out of my agony prayer rose to Alice, for now it pleased me to fancy there was some likeness between this statue and Lady Alice.
She was like a child, playing with exhaustless spirits at the most trivial games. Not for a moment would she listen to anything of a serious nature. Bennington, with the heavier pertinacity of men when they have struck a congenial vein, tried to repeat to some extent the experience of the last afternoon at the rock. Mary laughed his sentiment to ridicule and his poetics to scorn.
Firsts were made by Bentley, who did the 220 lines of Homer in 29-3/5 minutes, scanned 100 Alcaics from Horace in 62 seconds flat, and hurdled over nine doubtful readings and seven lacunæ in the text of Aristotle's 'Poetics' in 17-1/2 minutes. Two firsts went to Ramsdell, who made only two errors in Protective Colouration and one error in explaining the mutations of the Evening Primrose."
The lore which he was believed to pass his days brooding upon so that it had rapt him from the companionship of youth was only a garner of slender sentences from Aristotle's poetics and psychology and a SYNOPSIS PHILOSOPHIAE SCHOLASTICAE AD MENTEM DIVI THOMAE. His thinking was a dusk of doubt and self-mistrust, lit up at moments by the lightnings of intuition, but lightnings of so clear a splendour that in those moments the world perished about his feet as if it had been fire-consumed; and thereafter his tongue grew heavy and he met the eyes of others with unanswering eyes, for he felt that the spirit of beauty had folded him round like a mantle and that in revery at least he had been acquainted with nobility.
The text in question is a treatise on poetics illustrating how romantic situations should best be treated in Sanskrit poetry the conduct of mature mistresses, experienced lovers, sly go-betweens, clowns or jokers being all subjected to analysis. The subject of the text is secular romantic poetry and Krishna himself is never mentioned.
Or are they that man is imitative and people delight in imitations, and the instinct for rhythm, as Professor Butcher prefers? It may seem as if the large uncertainties which we have indicated detract in a ruinous manner from the value of the Poetics to us as a work of criticism.
On the whole budget of exploded poeticals is now legibly inscribed "to be kept till called for," a period rather more indefinite than the promise of a spendthrift's payment. Let them rest in peace, those unfortunate poetics!
I have sometimes played with the idea that a ruthlessly literal translation, helped out by bold punctuation, might be the best. For instance, premising that the words poesis, poetes mean originally 'making' and 'maker', one might translate the first paragraph of the Poetics thus: MAKING: kinds of making: function of each, and how the Myths ought to be put together if the Making is to go right.
Moreover the drama is more compact; "for the concentrated effect is more pleasurable than one which is diluted." Thus, in the Poetics, Aristotle takes a non-moral attitude toward literature, although in the Politics he grants that poetry and music are eminently serviceable in conveying moral instruction to young people. His mature attitude is well illustrated in contrast with that of Aristophanes.
M. Brieux in some of his plays (not in all) is no less logic-ridden than M. Hervieu. Take, for instance, Les Trois Filles de M. Dupont: every character is a term in a syllogism, every scene is dictated by an imperious craving for symmetry. The main theorem may be stated in some such terms as these: "The French marriage system is immoral and abominable; yet the married woman is, on the whole, less pitiable than her unmarried sisters." In order to prove this thesis in due form, we begin at the beginning, and show how the marriage of Antonin Mairaut and Julie Dupont is brought about by the dishonest cupidity of the parents on both sides. The Duponts flatter themselves that they have cheated the Mairauts, the Mairauts that they have swindled the Duponts; while Antonin deliberately simulates artistic tastes to deceive Julie, and Julie as deliberately makes a show of business capacity in order to take in Antonin. Every scene between father and daughter is balanced by a corresponding scene between mother and son. Every touch of hypocrisy on the one side is scrupulously set off against a trait of dishonesty on the other. Julie's passion for children is emphasized, Antonin's aversion from them is underlined. But lest he should be accused of seeing everything in black, M. Brieux will not make the parents altogether detestable. Still holding the balance true, he lets M. Mairaut on the one side, and Madame Dupont on the other, develop amiable impulses, and protest, at a given moment, against the infamies committed and countenanced by their respective spouses. And in the second and third acts, the edifice of deception symmetrically built up in the first act is no less symmetrically demolished. The parents expose and denounce each other's villainies; Julie and Antonin, in a great scene of conjugal recrimination, lay bare the hypocrisies of allurement that have brought them together. Julie then determines to escape from the loathsome prison-house of her marriage; and this brings us to the second part of the theorem. The title shows that Julie has two sisters; but hitherto they have remained in the background. Why do they exist at all? Why has Providence blessed M. Dupont with "three fair daughters and no more"? Because Providence foresaw exactly the number M. Brieux would require for his demonstration. Are there not three courses open to a penniless woman in our social system marriage, wage-earning industry, and wage-earning profligacy? Well, M. Dupont must have one daughter to represent each of these contingencies. Julie has illustrated the miseries of marriage; Caroline and Angèle shall illustrate respectively the still greater miseries of unmarried virtue and unmarried vice. When Julie declares her intention of breaking away from the house of bondage, her sisters rise up symmetrically, one on either hand, and implore her rather to bear the ills she has than to fly to others that she knows not of. "Symmetry of symmetries, all is symmetry" in the poetics of M. Brieux. But life does not fall into such obvious patterns. The obligatory scene which is imposed upon us, not by the logic of life, but by the logic of demonstration, is not a scène
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