The Hebrew word used here for "men" is "Ghever," and it is commonly associated with warfare. Exodus does not specify how or if the men were armed unless perhaps Exodus Yet it does not seem to occur to the fleeing Israelites to fight back against the pursuing Egyptians. They behave like a small band of trapped refugees.
References and Further Reading 1. Poetry as Imitation The first scandal in the Poetics is the initial marking out of dramatic poetry as a form of imitation. We call the poet a creator, and are offended at the suggestion that he might be merely some sort of recording device.
But Aristotle has no intention to diminish the poet, and in fact says the same thing I just said, in making the point that poetry is more philosophic than history. By imitation, Aristotle does not mean the sort of mimicry by which Aristophanes, say, finds syllables that approximate the sound of frogs.
He is speaking of the imitation of action, and by action he does not mean mere happenings. Aristotle speaks extensively of praxis in the Nicomachean Ethics. It is not a word he uses loosely, and How is there animals here essay fact his use of it in the definition of tragedy recalls the discussion in the Ethics.
Action, as Aristotle uses the word, refers only to what is deliberately chosen, and capable of finding completion in the achievement of some purpose.
Animals and young children do not act in this sense, and action is not the whole of the life of any of us. The poet must have an eye for the emergence of action in human life, and a sense for the actions that are worth paying attention to. They are not present in the world in such a way that a video camera could detect them.
An intelligent, feeling, shaping human soul must find them. By the same token, the action of the drama itself is not on the stage. It takes form and has its being in the imagination of the spectator.
The actors speak and move and gesture, but it is the poet who speaks through them, from imagination to imagination, to present to us the thing that he has made. Because that thing he makes has the form of an action, it has to be seen and held together just as actively and attentively by us as by him.
The imitation is the thing that is re-produced, in us and for us, by his art. This is a powerful kind of human communication, and the thing imitated is what defines the human realm. If no one had the power to imitate action, life might just wash over us without leaving any trace. How do I know that Aristotle intends the imitation of action to be understood in this way?
There is the perception of proper sensibles-colors, sounds, tastes and so on; these lie on the surfaces of things and can be mimicked directly for sense perception.
But there is also perception of common sensibles, available to more than one of our senses, as shape is grasped by both sight and touch, or number by all five senses; these are distinguished by imagination, the power in us that is shared by the five senses, and in which the circular shape, for instance, is not dependent on sight or touch alone.
These common sensibles can be mimicked in various ways, as when I draw a messy, meandering ridge of chalk on a blackboard, and your imagination grasps a circle. Skilled mimics can imitate people we know, by voice, gesture, and so on, and here already we must engage intelligence and imagination together.
The dramatist imitates things more remote from the eye and ear than familiar people. So the mere phrase imitation of an action is packed with meaning, available to us as soon as we ask what an action is, and how the image of such a thing might be perceived.
In each of these developments there is a vast array of possible intermediate stages, but just as philosophy is the ultimate form of the innate desire to know, tragedy is considered by Aristotle the ultimate form of our innate delight in imitation. His beloved Homer saw and achieved the most important possibilities of the imitation of human action, but it was the tragedians who, refined and intensified the form of that imitation, and discovered its perfection.
The Character of Tragedy A work is a tragedy, Aristotle tells us, only if it arouses pity and fear. Why does he single out these two passions? Some interpreters think he means them only as examples--pity and fear and other passions like that--but I am not among those loose constructionists.
Aristotle does use a word that means passions of that sort toioutabut I think he does so only to indicate that pity and fear are not themselves things subject to identification with pin-point precision, but that each refers to a range of feeling.
It is just the feelings in those two ranges, however, that belong to tragedy. He does not try to prove that there is such a thing as nature, or such a thing as motion, though some people deny both. Likewise, he understands the recognition of a special and powerful form of drama built around pity and fear as the beginning of an inquiry, and spends not one word justifying that restriction.
We, however, can see better why he starts there by trying out a few simple alternatives. Suppose a drama aroused pity in a powerful way, but aroused no fear at all. This is an easily recognizable dramatic form, called a tear-jerker.
The name is meant to disparage this sort of drama, but why? Imagine a well written, well made play or movie that depicts the losing struggle of a likable central character. We are moved to have a good cry, and are afforded either the relief of a happy ending, or the realistic desolation of a sad one.
In the one case the tension built up along the way is released within the experience of the work itself; in the other it passes off as we leave the theater, and readjust our feelings to the fact that it was, after all, only make-believe.
What is wrong with that? There is always pleasure in strong emotion, and the theater is a harmless place to indulge it.May 04, · Many Kinds of Tigers are Endangered Animals: There are nine different types of tigers.
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There is the necessity of establishing the correlation between the actin filaments and microtubules in plants, and the microtubules in animals. It is incredible to me there is still a debate over whether animals are conscious and even a debate over whether human beings can know animals are conscious.
If you watch mammals or even birds.