Until 1923 most critics were content to interpret as ‘a reversal o fortune’. Then, in ‘The Reverse of Aristotle’ , Mr. F. L. Lucas argued persuasively for Vahlen's interpretation of the term as ‘a reversa of intention’, ‘any event where the agent's intention is over-ruled to produce an effect the exact opposite of his intention’. The result has been wide acceptanct for Vahlen's theory. This may be a case of truth prevailing after two thousanc years of error, but it looks (...) to me more like an instance of quid facundia posset I suggest that we simple-minded Ajaxes have fallen victims to the wit of Odysseus. (shrink)

In chapter 9 of the Poetics Aristotle states that poetry is concerned with the universal. In this paper I shall consider three questions arising out of this statement. First, what does it mean? Secondly, what constraints does it impose on the construction of tragic plots? I shall consider this question with special reference to the possible role of chance in tragedy. Thirdly, why is poetry concerned with the universal – that is, why is poetry such that these constraints are appropriate?

In an important recent article T. C. W. Stinton reaffirmed the case that in Aristotle's Poetics, ch. 13, has a wide range of application. I do not wish to dispute the general conclusion of what seems to me a masterly analysis of the question but simply to discuss two areas where Stinton's argument may be thought defective–the interpretation of the examples given by Aristotle in Poetics 13, 5 3all and 53a2O–1 and the problem of the contradiction between 13, 53a13–15 and (...) 14, 54a4–9. (shrink)

In chapter 9 of the Poetics Aristotle states that poetry is concerned with the universal . In this paper I shall consider three questions arising out of this statement. First, what does it mean? Secondly, what constraints does it impose on the construction of tragic plots ? I shall consider this question with special reference to the possible role of chance in tragedy. Thirdly, why is poetry concerned with the universal – that is, why is poetry such that these constraints (...) are appropriate ? (shrink)