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P. Vergilius Maro, Aeneid (ed. Theodore C. Williams) 332 0 Browse Search
John Conington, Commentary on Vergil's Aeneid, Volume 1 256 0 Browse Search
P. Vergilius Maro, Aeneid (ed. John Dryden) 210 0 Browse Search
Apollodorus, Library and Epitome (ed. Sir James George Frazer) 188 0 Browse Search
Pausanias, Description of Greece 178 0 Browse Search
Homer, The Iliad (ed. Samuel Butler) 164 0 Browse Search
Homer, The Odyssey (ed. Samuel Butler, Based on public domain edition, revised by Timothy Power and Gregory Nagy.) 112 0 Browse Search
Euripides, The Trojan Women (ed. E. P. Coleridge) 84 0 Browse Search
P. Ovidius Naso, Metamorphoses (ed. Brookes More) 82 0 Browse Search
Apollodorus, Library and Epitome (ed. Sir James George Frazer) 80 0 Browse Search
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Browsing named entities in Aristotle, Poetics. You can also browse the collection for Troy (Turkey) or search for Troy (Turkey) in all documents.

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Aristotle, Poetics, section 1456a (search)
een good poets in each style, to demand that a single author should surpass the peculiar merits of each. One must remember, as we have often said, not to make a tragedy an epic structure: by epic I mean made up of many stories—suppose, for instance, one were to dramatize the IIiad as a whole. The length of the IIiad allows to the parts their proper size, but in plays the result is full of disappointment. And the proof is that all who have dramatized the Sack of Troy as a whole, and not, like Euripides, piecemeal, or the Niobe story as a whole and not like Aeschylus, either fail or fare badly in competition. Indeed even Agathon failed in this point alone. In "reversals," however, and in "simple" storiesi.e., those that have no "Discovery" or "Reversal." See chapter 10. too,they admirably achieve their end, which is a tragic effect that also satisfies your feelings. This is achieved when the wise man, who is, however, unscru
Aristotle, Poetics, section 1459b (search)
narrative of each), few plays can be made out of them but many out of the Cypria or the Little Iliad, which are merely collections of lays on similar themes. The result is that out of an Iliad or an Odyssey only one tragedy can be made, or two at most, whereas several have been made out of the Cypria, and out of the Little Iliad more than eight, e.g. The Award of Arms, Philoctetes, Neoptolemus, Eurypylus, The Begging, The Laconian Women, The Sack of Troy, and Sailing of the Fleet, and Sinon, too, and The Trojan Women. The next point is that there must be the same varieties of epic as of tragedySee Aristot. Poet. 18.4.: an epic must be "simple or complex,"See chapter 10. or else turn on "character" or on "calamity." The constituent parts, too, are the same with the exception of song and spectacle. Epic needs reversals and discoveries and calamities, and the thought and diction too must be good. All these were used
Aristotle, Poetics, section 1460a (search)
B happens if A happens, people think that if B is true A must be true or happen. But that is false. Consequently if A be untrue but there be something else, B, which is necessarily true or happens if A is true, the proper thing to do is to posit B, for, knowing B to be true, our mind falsely infers that A is true also. This is an example from the Washing.Odyssey 19. Odysseus tells Penelope that he is a Cretan from Gnossus, who once entertained O. on his voyage to Troy. As evidence, he describes O.'s dress and his companions (Hom. Od. 19.164-260). P. commits the fallacy of inferring the truth of the antecedent from the truth of the consequent: “If his story were true, he would know these details; But he does know them; Therefore his story is true.” The artist in fiction uses the same fallacy, e.g.: “If chessmen could come to life the white knight would be a duffer; But he is a most awful duffer (look at him!); Therefor