Greek and Roman Aesthetics (Cambridge Texts in the History of Philosophy)

Greek and Roman Aesthetics (Cambridge Texts in the History of Philosophy)

Language: English

Pages: 294

ISBN: 052154792X

Format: PDF / Kindle (mobi) / ePub

This anthology of philosophical texts by Greek and Roman authors brings together works from the late fifth century BC to the sixth century AD that comment on major aesthetic issues such as the perception of beauty and harmony in music and the visual arts, structure and style in literature, and aesthetic judgement. It includes important texts by Plato and Aristotle on the status and the role of the arts in society and in education, and Longinus' reflections on the sublime in literature, in addition to less well-known writings by Philodemus, Cicero, Seneca, Plotinus, Augustine and Proclus. Most of the texts have been newly translated for this volume, and some are available in English for the first time. A detailed introduction traces the development of classical aesthetics from its roots in Platonism and Aristotelianism to its ultimate form in late Antiquity.

The Visual Mind II

Flow: Nature's Patterns: A Tapestry in Three Parts

The Aesthetico-Political: The Question of Democracy in Merleau-Ponty, Arendt, and Rancière

Antonin Artaud: The Scum of the Soul (Palegrave Studies in Modern European Literature)

Aesthetic Creation





















interest not only to students of philosophy but also to a wider audience of readers in the history of science, the history of theology, and the history of ideas. For a list of titles published in the series, please see end of book. Greek and Roman Aesthetics t r a n s l at e d a n d e d i t e d b y Oleg V. Byc h kov St Bonaventure University, New York A n n e Sh eppa r d Royal Holloway, University of London cambr idge university pr ess Cambridge, New York, Melbourne, Madrid, Cape Town,

s : Fine indeed! s o c r at e s : And the cause is not something which comes into being, nor is what comes into being a cause. h i p p i a s : What you say is true. s o c r at e s : Then by Zeus, my very good friend, the fine is not good, nor is the good fine. Do you think that is possible, following what was said before? h i p p i a s : No by Zeus, I do not think it is. s o c r at e s : Are we satisfied and would we want to say that the fine is not good and the good is not fine? h i p p i a s :

yourself?’ ‘What way is that?’ ‘There’s nothing very difficult about it,’ I said. ‘This kind of workmanship is often – and easily – practised. I suppose the quickest way is if you 596e care to take a mirror and carry it around with you wherever you go. That way you’ll soon create the sun and the heavenly bodies, soon create the earth, soon create yourself, other living creatures, furniture, plants, and all the things we’ve just been talking about.’ ‘Yes,’ he said. ‘I could create them as they

Sophist 235c–236c1 e l e at i c s t r a n g e r : Following the previous method of classification I think I see two kinds of imitative art here too; but I do not think I can yet tell clearly to which of them belongs the type we are looking for. t h e a e t e t us : First explain the distinction between the two kinds you mention. e l e at i c s t r a n g e r : I see one kind, concerned with likenesses, which I call ‘eikastic’. This is the kind used when someone produces an imitative copy

if in fact he writes about things which really happened, he is nonetheless a poet, for there is nothing to prevent some things which really happened from being the sort of thing that would probably happen [and that can happen] and, as a poet, he is concerned with them as probable. Of simple plots and actions, the episodic ones are the worst. By ‘an episodic plot’ I mean one in which the sequence of episodes is neither probable nor necessary. Bad poets make plots like this of their own accord and

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