Compare contrast horace and longinus

Sources[ edit ] Five ancient sources contain all the recorded details of Pindar's life. One of them is a short biography discovered in on an Egyptian papyrus dating from at least AD P. Commentaries on Pindar by Eustathius of Thessalonica ; Vita Vratislavensis, found in a manuscript at Breslau, author unknown; a text by Thomas Magister ; some meagre writings attributed to the lexicographer Suidas. Although these sources are based on a much older literary tradition, going as far back as Chamaeleon of Heraclea in the 4th century BC, they are generally viewed with scepticism today:

Compare contrast horace and longinus

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The goal of this piece seems to be to trace parallels between the complicated process of writing poetry with other arts, such as painting for the purpose of elevating the cultural status of poetry. The texts by Plato, Aristotle, Longinus and Horace seem to make many of the same assumptions about who their audiences might be and which values they might hold.

All texts except Plato share in common a prescriptive--sometimes an almost textbook-like--style to describing and defining the arts. The style of these texts, then, brings me back to something we discussed within our groups last week--that aesthetics are a kind of codification.

The tone in which these three texts define successful writing, good tragedy, or a great poem are seemingly matter-of-fact albeit, there is some discussion on how the parts must work together to form a successful whole thus indicating that following prescriptive rules is correlated with success yet does not simply determine it ; yet, if we think about aesthetics as a process of codification and consider for a moment the time in which these texts were written, then rhetorically it makes sense that these writers would be attempting to define and re-define what was involved in the process and what the ideal product would look like.

Put differently, because these textual forms were in their earlier stages of development, it was necessary for all of these texts to try to clearly define some generic rules that those less familiar could use as a basis to better understand and respect a given text as well as, of course, to think in new ways about composing a text of that sort.

To extend this even further, given that these genres were still being developed and discussed, it would make sense for the writers writing about these crafts would attempt to convey the difficulty and complexity involved in engaging in these practices. The constant comparisons between artistic processes in these texts is particularly striking to me given that artistic process if often talked about as being quite idiosyncratic today i.

Granted, there are still many current texts that attempt to do the kind of defining and describing that these authors are doing; however, texts that do this today would likely we read only by novices whereas it seems that these texts were read by if not exclusively insiders than an audience that at least included them.

Compare contrast horace and longinus

Yet, I have mentioned little regarding the textual clues informing us of who--in terms of social position--the audience for these texts might be. Although I am certainly no expert in classical Greek philosophy, all of these texts seemed to privilege the elite e.

I find it funny to think about the original audience for texts that discuss audiences in relatively static ways.

There is much discussion throughout all four of these texts regarding which genres and features are appropriate for which audiences. How does Aristotle trouble this distinction? In Ars Poetica, Horace seems to offer insight regarding the limitation of beauty alone. What is Horace suggesting here about beauty?

What does this passage suggest about realism and its relationship to beauty?

Je vois, j'écoute On Plato, Aristotle, Horace & Longinus

Who do beauty and realism belong to within this society? Yet, he goes on to write the treatise. These types of texts listing technical rules and observations are given mostly today to novices; yet, to what degree do these authors sense that these technical rules need to work together in ways that cannot be easily described or expressed?

What exceptions do they allow for and how do these exceptions introduce a kind of fluidity to the otherwise rigid treatment of text and context?Feb 04,  · Plato, Aristotle, Longinus and Horace (despite the fact that they weren’t all writing during the same time period) seem to approach the texts they write about in ways that attempt to determine the pieces, parts, to reflect on the exigencies and to, in a sense, set the rules.

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This essay traces the time-honored literary concept “mimesis” from Plato to Longinus, mainly dealing with four classical critics from the Greco-Roman period—Plato, Aristotle, Horace and Longinus.

Through comparison and contrast, it focuses on the “hard-core” essence of each critic’s. Agathon. Agathon (c.

BCE) was an Athenian tragic poet and friend of Euripides and Plato. He is best known from his mention by Aristophanes (Thesmophoriazusae) and in Plato's Symposium, which describes the banquet given to celebrate his obtaining a prize for his first tragedy ().

Horace and Longinus - Download as Powerpoint Presentation .ppt), PDF File .pdf), Text File .txt) or view presentation slides online. Scribd is the world's largest social reading and publishing site.

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This essay traces the time-honored literary concept “mimesis” from Plato to Longinus, mainly dealing with four classical critics from the Greco-Roman period—Plato, Aristotle, Horace and Longinus.

Through comparison and contrast, it focuses on the “hard-core” essence of each critic’s. Get an answer for 'Are there any points of agreement among Plato, Aristotle, Horace, and Longinus about mimesis?' and find homework help for other questions at eNotes.

The Republic, Poetics, Ars Poetica and On the Sublime - Alice