When someone objects to a poem or story, what does Poetics XXV (Butcher) say the poet may have been imitating, and which kinds of fault count against the work itself?
In Butcher's rendering, XXV opens with two preliminary distinctions that every later answer rests on. First, the poet, like a painter, imitates one of three objects: things as they were or are, as they are said or thought to be, or as they ought to be. Second, faults inside the art are of two kinds: those that touch its essence (imitating incorrectly through want of capacity) and accidental ones (a wrong choice, such as a horse's legs or medical details from another art). The text calls these the points of view for answering critics; it states no thresholds, and the passage reads as a first triage before the specific objection types.
In Butcher's rendering, XXV opens with two preliminary distinctions that every later answer rests on. First, the poet, like a painter, imitates one of three objects: things as they were or are, as they are said or thought to be, or as they ought to be. Second, faults inside the art are of two kinds: those that touch its essence (imitating incorrectly through want of capacity) and accidental ones (a wrong choice, such as a horse's legs or medical details from another art). The text calls these the points of view for answering critics; it states no thresholds, and the passage reads as a first triage before the specific objection types.
Curator qualifications: Three objects of imitation; essential vs accidental faults.
Evidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.
Structured fields
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"url": "https://www.gutenberg.org/cache/epub/1974/pg1974.txt",
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- [sourced_fact] In Butcher's rendering, XXV opens with two preliminary distinctions that every later answer rests on. First, the poet, like a painter, imitates one of three objects: things as they were or are, as they are said or thought to be, or as they ought to be. Second, faults inside the art are of two kinds: those that touch its essence (imitating incorrectly through want of capacity) and accidental ones (a wrong choice, such as a horse's legs or medical details from another art). The text calls these the points of view for answering critics; it states no thresholds, and the passage reads as a first triage before the specific objection types. · locator: candidate evidence excerpts source
Rights
| component | license | hosting | redistribution | modification | training | Evidence and notes |
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| documentation | unknown | permitted | permitted | unknown | unknown | Applies to this original summary only, not to the cited sources. |