In an article based on an unpublished paper by Professor Cornford, Mr. I. M. Glanville returned to the suggestion that the words S0009838800011605_inline1 at the beginning of Chapter 11 of the Poetics , which are part of the definition of peripeteia, refer back to the phrase S0009838800011605_inline2 S0009838800011605_inline3 , thereby raising the question whose expectation it is to which events turn out contrary, that of the audience or of the characters in the play.

In an article based on an unpublished paper by Professor Cornford, Mr. I. M. Glanville returned to the suggestion that the words S0009838800011605_inline1 at the beginning of Chapter 11 of the Poetics, which are part of the definition of peripeteia, refer back to the phrase S0009838800011605_inline2 S0009838800011605_inline3, thereby raising the question whose expectation it is to which events turn out contrary, that of the audience or of the characters in the play.

Aristotle'sRhetoricdefines fear as a kind of pain (lypē) or disturbance (tarachē) and pity as a kind of pain (2.5.1382 a 21 and 2.8.1385 b 13). In hisPoetics, however, pity and fear are associated with pleasure: ‘ The poet must provide the pleasure that comes from pity and fear by means of imitation’ (τ⋯ν ⋯π⋯ ⋯λέου κα⋯ ɸόβου δι⋯ μιμήσεως δεῖ ⋯δον⋯ν παρασκευάζειν14.1453 b 12–13). The question of the relationship between pleasure and pain in Aristotle's aesthetics has been studied primarily in (...) connection withcatharsis.Catharsis, however, raises more problems than it solves. Aristotle says nothing at all about the tragiccatharsisin thePoeticsexcept to state that tragedy accomplishes it. Though he gives a more complete account ofcatharsisin thePolitics, the context of this passage is so different from that of thePoeticsthat its relevance is questionable. A more promising, but largely neglected, approach to Aristotle's theory of tragic pleasure and pain is through a study of his psychological works. Here, Aristotle describes a number of emotional and cognitive responses to kinds of objects that include works of art. These descriptions support an interpretation of thePoeticsaccording to which (1) a tragedy is pleasurable in one respect and painful in another, and (2) pity and fear, though painful and not in themselves productive of pleasure, are nevertheless essential to the production of theoikeia hēdonē, ‘proper pleasure’, of tragedy. This interpretation has the advantage of not depending on a particular view ofcatharsis. It also makes much better sense than alternative views, once its seemingly paradoxical aspects are explained with the help of the psychological works. (shrink)