This is a nice, inexpensive book to have in your collection or even to teach an introductory poetry class from. It has a lot of good material, Poe, Dickinson, Frost, etc.

And hey, it's a buck...why not?

Philip Smith has assembled a very good sampling of the best poetry in the English language. We read Marlowe, Shakespeare, Donne, Jonson, Herrick, Milton, Gray, Blake, Burns, Wordsworth, Coleridge, Byron, Shelley, Keats, both Brownings, Longfellow, Poe, Whitman, Dickinson, Hardy, Housman, Yeats, Frost, Pound, Millay, Cummings, Auden, Dylan Thomas, and many others.

The collection is as advertised: these are the best-loved poems in the English language. These are familiar poems, poems that are accessible to casual readers of poetry, poems that continue to resonate today. Smith's compilation is fun to read and to reread. Any teacher would find it ideal for introductory English literature classes, honors high school or college.

What is missing? This collection excludes translations of classical poetry, poetry of the non-English speaking world, and contemporary English-speaking poets. But this little book contains enough gems to satisfy any treasure hunter.

This Dover edition is an excellent buy. Just imagine, great poetry for only a penny per poem.

Looking for a more eclectic anthology? See 100 Poems by 100 Poets compiled by Harold Pinter, Geoffrey Godbert, and Anthony Astbury. They present what they consider (by unanimous decision, often after heated argument) to be the best poem by each of the 100 best poets in the English language. Their choices only occasionally overlap with the better known selections in Philip Smith's Dover edition.

One Hundred and One Famous Poems, compiled by Roy J. Cook in 1927, has long been a favorite anthology of British and American poets. It is an interesting collection, as it includes many poets that are now less familiar or even forgotten, but who were popular in the early part of the last century. Take a look at this anthology. You will be pleasantly surprised. It has been reprinted many times and it is not difficult to find copies on the Internet.

Beautiful works. Major bargain. I read them to my baby.

The Nigger of the "Narcissus," though not Conrad's best work, is perhaps the best introduction to his work. Many of the themes he would explore in his subsequent works are addressed in this one; for example the psychological struggle with the incomprehsible and the problem of memory vs. reality. This work also has political overtones: the conservative captain and mates vs. the laboring crew as typified by the loathsome Donkin. It is a psychological tale and though it can probably be read in one sitting, it probably would be most enjoyable being read for the second or third time, as would most of Conrad's works.

Joseph Conrad is not the most straightforward author in the world and, for this reason, many find his works more difficult than they really are. Indeed he is not for everyone. However, one should read his texts closely two or three times before denigrating them, for there is much to be cherished within his oeuvre.

In my opinion, NIGGER OF THE NARCISSUS by Joseph Conrad is one of the truly great novels in English. It goes on the list with such works as THE GREAT GATSBY, TESS OF THE D'URBERVILLES, PASSAGE TO INDIA,and MOBY DICK. It is fascinating, gripping, deep, and entertaining. It defies description, analysis, or summary. (Nevertheless Doug Anderson in his review has done a pretty good job, so I won't even try.)

I don't like writing reviews of great literary works, but not everyone may be familiar with Conrad's NIGGER OF THE NARCISSUS and what a wonderful novel it is. ... I had no expectations about it and was taken completely by surprise. NIGGER OF THE NARCISSUS is not just another good novel. It is a masterpiece of literature.

Joseph Conrad provides a memory from life of the sea in the waning days of square-rigged ships. How far that age is gone is illustrated by the rebuilt Constitution. When she was gotten out in recent years after her reconstruction she really wasn't put under full sail--you couldn't assemble a crew to do so in the USA.

Conrad suggests he was among the crew but at other times assumes the stance of an omniscient observer (as when he reports that conversation between Donkin and Jim Wait in the closed deck house). Yet he does this in other novels and I can live with it for the reward of his evocation of the sea--at least I think it's a realistic evocation of the sea, I who have voyaged only in air conditioned cruise ships and a small inland sail boat.

More important than Conrad's nautical narration is his penetration into the psyche of nearly everyone on board. The first customer reviewer was wrong to say that "the loathsome Donkin" stands for the crew and to align the novel with political literature. A great humanistic work cannot be demeaned to the status of a political analysis, at least this one can't.

The last pages of the novel are as melancholy a picture of the vanished men of a dead age as I can imagine. They have undergone three fates (except for Donkin, who of course succeeds): death at sea, death by land, and transfer to a steam vessel, the latter equated with a sort of death.

Even the material remnants of that age are fragmentary and unsatisfactory, a few ships in dock as museum specimens and the great East India docks transformed to the trendy "Docklands" development.

I found this book in a library and read it. I was surprised that Mark Twain wrote such a serious piece -- it did not contain his typical wit or sarcasm, but was a rather sentimental account of Joan of Arc. I wasn't sure when I started or finished it if it was actually a translation he made from a real account or if he had written it himself as a sort of historically based piece of fiction. I gather from what I have seen elsewhere that this is considered fiction -- a novel -- but he was painstaking in his attention to historical details and facts. It was a wonderful book, and I found it inspiring. He persuaded me to believe her story.

Albert Paine's biography, "The Adventures of Mark Twain" says: "It was just at this time [while Clemens was still in Hannibel working for his brother's paper] that an incident occurred which may be looked back upon now as a turning-point in Samuel Clemens's life. Coming home from the office one afternoon, he noticed a square of paper being swept along by the wind. He saw that it was printed . . . . He chased the flying scrap and overtook it. It was a leaf from some old history of Joan of Arc, and pictured the hard lot of the 'maid' in the tower of Rouen . . . . Sam had never heard of Joan before -- he knew nothing of history. He was no reader. . . . But now, as he read, there awoke in him a deep feeling of pity and indignation, and with it a longing to know more of the tragic story. It was an interest that would last his life through, and in the course of time find expression in one of the rarest books ever written. The first result was than Sam began to read. He hunted up everything he could find on the subject of Joan, and from that went into French history in general -- indeed, into history of every kind. Samuel Clemens had suddenly become a reader . . . ."

Mark Twain's best. I couldn't put it down. I was away for the weekend, found it on a book table in the lobby, and bought it for bedtime reading. The rest of the weekend was devoted to living Joan's story. A great weekend. An incredible book.

This book will make you feel like you walked with Joan, knew her, loved her - READ THIS BOOK. Truly one of the greatest reads of my life! A Book that really changed my perspective on a lot of things.

Henry James, The Aspern Papers (Laurel, 1888)

One of James' shortest novels, and one of his least-known, The Aspern Papers is a (supposedly based on a true) story about a young biographer of famed poet Jeffrey Aspern (based, depending on to whom you talk, on either Browning or Keats) who contrives to get his hands on the love letters Aspern wrote to a mistress by presenting himself at the now-ancient mistress' Italian villa and passing himself off as a wealthy traveller and author looking for lodging. The mistress lives with her spinster niece, whose age is never given (one assumes mid-forties, a few years older than the narrator), and the two are impoverished. Things go as planned until the narrator finds himself starting to like the niece a bit more than he bargained for.

The novel runs a bit over a hundred pages, which makes it an excellent introduction to James' extremely dry wit; it's much lighter-weight than the ponderous tomes he's known for. The prose here has an agility which is absent from works such as The Bostonians or The Wings of the Dove, but still manages to convey emotion quite well with only a few words and a gesture. The novel's last pages are a triumph of minimal writing, and probably deserve closer scrutiny than the works of James' that are normally assinged in English classes around the globe.

Oddly, the one major failing of this novel is that James abandons the minimalism every once in a while, and his characters go overboard with hysterical crying and the like so common to Victorian literature. In a book that's otherwise so controlled, these episodes-- never longer than a few sentences-- seem absurd more than anything; perfectly composed people suddenly collapse into tears as if shot with pepper spray, and then within the space of a paragraph are back to their cool, collected selves once again. These intrusions are minimal, and while they detract from the scenes in which they're placed, the novel overall is still a worthy one. If you've been turned off by James through exposure to one of those million-page drawing room comedies, you may want to give him another try with this. *** 1/2

"The Aspern papers" is a surprisingly short, sexy and suspenseful novel. It will completely change your opinion of Henry James; he shows himself to be an master of suspense and well played out drama instead of the ambiguous pussyfooting plodder that most people think him to be. There is a definite touch of evil in this novella. It takes place in a stuffy interior world dominated by an old sinister woman in a green shade. The narrator's intentions are quite amoral and evil. The narration is deftly created through sure touches of insecurity and self pity. The trick of the unreliable narrator is used to great effect. And at no point does it seem anything other than a seamless and effective method of narration.

Such is his facility with the essentials of theatre - concentrated narrative action; lengthy, dramatic scenes of dialogue; vivid characterisation; pointed use of interior space, exits and entrances, and the revealing image - you wonder why James failed as a playwright.

Of course, there is a defining element of James' art that is impossible in the theatre - narration. The nameless narrator of 'The Aspern Papers' is one of the greatest monsters in James' teeming gallery of inglorious masculinity - the editor of a revered American literary poet, who tries to wheedle important documents from a celebrated lover, the now-decrepit Juliana, by installing himself as a lodger, and flattering her aging spinster niece. Like most James heroes, who treat life like a selfish game, he has no idea what emotional havoc he is wreaking on the woman.

The tale has all the drive and tantalising delay of a crime story - the hero is both detective and criminal, and the suspenseful climax suggests what a great genre writer James could have been. As with Stendhal, just as exciting are the intricate, agonising dialogues between the narrator and the niece, each wildly misunderstanding the other.

But if 'Aspern' is a crime story, than the the criminal is of the order of Freddie Montgomery in Banville's 'The Book of Evidence', a brilliant, charming, frighteningly amoral man, whose check of social scruples is dicarded with shocking ease. His seemingly over-detailed account is full of gaps, self-defence, self-pity, evasion, vagueness, misremembering, disarming honesty and wild misinterpreations of others' characters and motives. He is a man who can't see beyond his own narrow goal, behind whom we always sense an unseen, all-seeing eye.

He is the forerunner to a second modern anti-hero, 'Pale Fire''s Charles Kinbote, another literary editor whose devotion to his subject has become mad and murderous. In a Victorian age full of cant about the ennobling power of art, James asserts, disturbingly, the opposite - repeated exposure to sublime poetry (and the book is full of ironic references to religion and glorious war) has only made the narrator emotinally dead, unable to respond to the humanity of others. This 'portrait' of an aging muse, malevolent and concupiscent is a stark warning to literary idealisers, and a sad study of human decline, but should also be seen as a reflection of the narrator's own desires.

'Aspern' is incidentally THE great Venice story, its watery decay somehow seeping through the narrator's blind egotism.

Conrad is a real star, I'm rather fond of him. Under Western Eyes is about living in a time of revolutionary urgency, individual fragility in a delicate system, and personal honor.

To summarize; Razumov, the 'Hero' is a university student in Russia post 1905 but pre 1917 who keeps to himself and has no real family and no close friends. A fellow student and a revolutionary, Victor Haldin, assasinates a local oppressive Tsarist autocrat. He then takes a chance and takes momentary asylum with Razumov, asking him to help him get out of the city. Razumov is an evolutionary progressive, not a revolutionary. Not willing to risk association with a radical like Haldin and destroy his entire life, Razumov turns him in to the police, and Haldin is subsequently hung.

The rest of the novel deals with Razumov's struggle with himself- he betrayed, and he has to live with a lie. Complicating things, he falls in love with Haldin's sister in exile. Raz can't bear it though, and eventually he does the right thing, but things get messy.

Thats the general plot, but the real meat of the novel is in the characters and the ideas underlying the conversations between them. The idea of how you justify revolution, the chaos of revolution vs the order of gradual reform, the unwillingness and helplessness of the individual caught in it all. And there's a continual theme of the diference between East and West.

Razumov reminds me a bit of Crime and Punishment's Raskolnikov- an isolated university student waxing the time away in a single apartment, brooding over Big Ideas and being slowly crushed by a powerful conscience. The stuff of modernity. Dostoyevsky was a little bit better, so thats why Under Western Eyes only gets 4 stars.

If you are familiar enough with Conrad's writing you will know he has a few favorite words - like "inscrutable" and "destiny". They reflect I believe Conrad's literary outlook. He likes to take characters, give them a haunted past with some shameful secret, emphasize a fatal weakness, introduce some culminating stimulae, and watch the tragic unfold. I think he could have written a brilliant biography of Richard Nixon. But to the point..."Under Western Eyes" is a quintessentially Conradian book. But unlike many of his other novels - Lord Jim, Nostromo, Victory - "Under Western Eyes" treats of period politics (namely the revolutionary movement on the rise in Europe) as he weaves his tale of betrayal and tragedy. There are no heroes in this book (save perhaps one) but only a motley collection of victims, fools, and eccentrics. There is not much action, despite its subject matter. I don't want to give away too much. The story unfolds in Moscow and Geneva, not around political machinations but around the tragedy of the central character, a young Russian thrown into the revolutionary movement entirely against his will. The saga of the young man's anger, self-loathing, and attempts to extricate himself from his "situation" form one salient plot of the novel. The ultimate solution to his unsought conundrum also serves to redeem him in his own eyes, if not those of others.

"Under Western Eyes" is also an attempt by Conrad to explore the peculiarities of the "Russian character". This is another line of development in the work. I put this in partentheses because such notions of racial character are naturally not so well received now as in Conrad's day. Whether you agree or not, Conrad (who himself was Polish) offers some interesting personal insights into the nature of the "inscrutable" Russian soul - its ability to persevere, its mysticism, its ultimate radicalism. Such issues were particular relevent to the time the book was written (1908), as Russia was then already breaking out in revolutionary violence. The story's narrator - a retired English bachelor - are the "Western eyes" under which Russia is regarded.

I might label "Under Western Eyes" a comic-tragedy, in that the primary factor behind the story's tragic chain of events is a misunderstanding. It is ultimately for the book's central character a journey of personal redemtion. Within the context of this, however, Conrad details some of his views on Russia, its people, and the nature of the revolutionary movement. I did not find it as engaging as some of Conrad's other works but anyone interested in the Russian revolutionary movement, or radical politics of the period in general, or with a bent for stories of betrayal, tragedy, and love should take a look.

"Perhaps life is just that," reflected Razumov, pacing to and fro under the trees of the little island, all alone with the bronze statue of Rousseau. "A dream and a fear." It is on this small space of remote land that young Razumov finds what we all seek after--a place for quiet contemplation (reminds me of Hemingway's "A Clean Well-Lighted Place"). And in this very thought-provoking Rousseau-inspired environment Razumov stumbles upon the thesis that all of life is but a dream--a dream full of constant fear. The taciturn, exiled, young Razumov reminds us of Joyce's Stephen Dedalus, and even more so Dostoevsky's Raskolnikov. Indeed, Conrad attempted to continue the legacy of the great Russian novelists, by forcing an eclectic grasp on some of Dostoevsky's themes (like the need for, and final apparent conclusion of, man's suffering) whilst straying away from other Dostoevskyian qualities. All in all, Under Western Eyes is about ideas--as Conrad repeatedly suggests-an ideal gripping psychological tale of a young intellectual's suffering for choosing the path of the czarist leaders. If Razumov, like Stephen Dedalus, was more skeptical, more prone to the need for exile (not the exile he indeed does embark on to Geneva via the Councilor's strategic plan) would he have ultimately had his eardrums smashed by a revolutionary brute? Certainly, Razumov must confess for his betrayal of Haldin; Razumov realizes the intelligence, love, and raison d' étre of Haldin altogether too late. Razumov, who knowingly understands that because of his actions Haldin lost his life, gives up his own body for lifelong suffering. And by doing so, Razumov seems to willingly accept his punishment, and further he lives no longer in fear. Upon completion of this wonderful novel, we can bask in the warm sunny glow of Conrad's wit that shines upon us--"Peter Ivanovitch (or any person who opposes despotic cruelty) is an inspired man." Joseph Conrad is an inspired man.

A solid translation of the fascinating and passionate story of Dionysus in Thebes, although it lacks the lyricism of other translations. Woodruff's version is meant to be performed aloud, and so it has more of the feel of a play to it. Students of literature and classics might want a different version; students of drama and theatre would be interested in this translation.

If, like me, you had Greek Tragedy down as an austere thing, full of parched plains, unswerving Fate and dour verse, then 'The Bacchae' might come as a pleasant surprise. It has these things of course, but the first quality that shocks is the vibrant, fervid excess of the language. The story concerns Dionysus, the God of wine, the Life Force, the Chaos of the Irrational etc., who inspires a possessed devotion in his acolytes, as they express themselves in high-flown, ecstatic rhapsodies. Not every one takes this proto-hippie's divinity seriously, in particular the family of his mortal mother, led by the impetuous teenage king Pentheus, who sees all this Bacchanalia in the woods and mountains in loose robes as so much lechery. Dionysus exacts such terrible revenge on these unbelievers that 'Bacchae' makes Shakespeare's 'Titus Andronicus' look like a Julie Andrews vehicle.
If Sophocles' 'Oedipus the King' is the first detective story, than 'Bacchae' might be the first police procedural - a central sequence sees Pentheus arrest Dionysus and interrogate him, a scene as tightly written and suspenseful as any thriller. But detection and policing, embodying the forces of reason and the Law, have no power against the Irrational or Unknowable, and Pentheus is soon made mad, his order and sense of self in tatters. The terrible grip of irony familiar from Greek Tragedy gives the play a violent momentum, but the most extraordinary scenes take place offstage, related in vivid and tumultuous monolgues by messengers - the whirlwind revenge of Dionysus' female followers on the forces of surveilling civilisation, and the cruel enactment of the God's revenge. This idea of hearing about improbable catastrophes but not being able to see them adds ot the supernatural terror that is the play's fevered life-blood.

I am a classical history major with a focus on poetry and drama. I have actually read Bacchae in Attic Greek and I have to say that I find this translation to be one of the most fluid and natural of any that I have ever read. I would highky recommend this to anyone looking for a well-written, very gory introduction to Greek theatre. This edition is also great for using as a script, wheras many translations are good only for reading. I just put up a production using this translation and my actors were very comfortable with the wonderful language Woodruff uses.

I found some of the information in this book to be very helpful. However, I did find her to be a bit snobbish. I also ride and train in Vienna, Austria, but I do not feel that makes me any better than any other rider in the world. It also does not give Ms. O'Connor the right to tell people to use words like "brav" when working with a horse (especially if they don't know what it means). What is important is that people are comfortable and speak with words and in tones that are comfortable for them.

This book is an excellent one for any student of dressage. It might be a wee bit complicated for the absolute beginner to riding, but for most who have had some training it's appropriate. The book has a ton of excellent diagrams and illustrations, many showing the view from above so that the desired position of the horse is clearly shown. There are a number of exercises in each chapter which allow the rider to work on various elements on their own as well as with a trainer.

Chapters include: The Horse - How it Functions; Lungeing; The Work in Hand; The Basic Work in All Three Gaits; Activating the Hindquarters; Competition; Special Exercises for Problems; Canter Work; Collection, Extension and In-Between; Piaffe; and Passage. There is also an index which allows you to refer to specific topics.

All in all this is a valuable addition to the library of any equestrian interested in this branch of the discipline, and one I will be sharing with my trainer. Don't hesitate to buy it!

This is an excellent book for individuals with some basis in dressage as well as a basic understanding of horses and their movement. The many diagrams included with the text are clear, concise and explain how to apply leg, seat and rein aides correctly for most dressage movements. There is also a chapter explaining the timing of the rider's movements for transitions between gaits as well as information to help understand how to move with the horse at the various gaits, including sitting trot. Even with a regular trainer I find this book invaluable and have bought it for several friends as gifts. They also have appreciated the detailed yet simple to understand descriptions of the movements. I especially like the multiple drills that are offered with each movement to help learn the proper execution of the exercises.

I read A Dog of Flanders by Ouida mainly out of curiosity. I wanted to read the first "boy and his dog" book written for children. I didn't expect much, and I was surprised when I began to enjoy the story late in the book.

The story is of a peasant boy, Nello, and his dog, Patrasche. The boy just wants to be an artist and see a painting by Rubens. The dog (who has very human feelings) just wants to help the boy reach his goal. The two face absolutely every hardship possible in their attempts.

To enjoy this story, you have to take it in the context of the time it was written. The book is really, really sentimental. Every play for emotion possible is made by the author. Early in the book, it even says (in a literal tone) that Nello and his grandfather would just lay down and die if anything ever happened to the dog. Patrasche was their "alpha and omega." All of the sentimentality really bothered me at the beginning. I'm used to modern writing and didn't take the overplay of emotion well. I had to take into account, though, that Ouida wrote in the romantic tradition, when this type of writing was common, especially in children's books. Looking at A Dog of Flanders as an example from the time period helped me to enjoy the novel even through its oversentimentality. Overall, A Dog of Flanders is a pretty decent read. Most children of today wouldn't love it. A Dog of Flanders is definately a worthy read as a curiosity piece, though.

Though I have known this story long time for 25 years or so, it was from animation. So it was different from waht I know. Basically it was same and I found the more details but I also foud some conflicts. Johan was 80 years old when Nello was 2 years old. His mother was very old or Johan was very old when he got his daughter. Nello died when he was 15 but animation was much younger. The problem I see is 15 years old boy is old enough to live by himself 100 years ago ( I might be wrong). Anyway setting of age is kinda wrong. By the way I read a book which is published in 1910 not this book. If this book is different, please let me know.

Ouida expresses depiction of the village in Belgium very beautifully.This also sadly beautiful tale written about Nello, and his dog, and Patrasche can make many people cry.@Nello works to one portion, though he is a boy, and he studies the importance of finishing alone. It is insisted that working hard at any work is important for this work.@Simultaneously, this work expresses the discrimination to a poor person.Nello who believed his future is a manly boy, being equal to the cold treatment by villagers.

Probably one of the first examples of journalistic fiction, Defoe's "A Journal of the Plague Year" is a pseudo-eyewitness account of the London plague of 1665. Writing this in 1722, Defoe casts himself into the role of his uncle whom he calls H.F. and who recounts the events in grisly detail but with magnanimous compassion. Aside from the prose, the book has a surprisingly modern edge in the way it combines facts about a sensationally dire historical event with "human interest" stories for personal appeal. It seems so factual that at times it's easy to forget that it's just a fictitious account of a real event.

The plague (H.F. writes) arrives by way of carriers from the European mainland and spreads quickly through the unsanitary, crowded city despite official preventive measures; the symptoms being black bruises, or "tokens," on the victims' bodies, resulting in fever, delirium, and usually death in a matter of days. The public effects of the plague are readily imaginable: dead-carts, mass burial pits, the stench of corpses not yet collected, enforced quarantines, efforts to escape to the countryside, paranoia and superstitions, quacks selling fake cures, etc. Through all these observations, H.F. remains a calm voice of reason in a city overtaken by panic and bedlam. By the time the plague has passed, purged partly by its own self-limiting behavior and partly by the Great Fire of the following year, the (notoriously inaccurate) Bills of Mortality indicate the total death toll to be about 68,000, but the actual number is probably more like 100,000 -- about a fifth of London's population.

Like Defoe's famous survivalist sketch "Robinson Crusoe," the book's palpable moralism is adequately camouflaged by the conviction of its narrative and the humanity of its narrator, a man who, like Crusoe, trusts God's providence to lead him through the hardships, come what may. What I like about this "Journal" is that its theme is more relevant than its narrow, dated subject matter suggests: levelheadedness in the face of catastrophe and the emergence of a stronger and wiser society.

Daniel Defoe's A Journal of the Plague Year is an interesting volume that blends fact and fiction quite indiscriminately, as the author intended. It is easy to forget it is fiction as it reads as fact (and it seems likely there are enough actual facts strewn throughout as to enhance this perception). Defoe was less concerned about these issues concerning fiction and non-fiction than modern readers and writers and it is fascinating to see an example of the early beginnings of novel writing. The style could frustate some readers (there is virtually no attempt at characters and only small strands of a narrative per se) but the descriptions of a town in crisis were both gripping and fascinating. An unique volume.

When a subject is gruesome it attracts notoriety. Unfortunately, if it is real, it loses it. This story of the the affects of the Plague in London in 1665 should be required reading for all people of all civilized countries. How the Plague started, how its spread was covered up initially and why, how the government was forced to respond, what happened to the economy and the outlying regions - these things could happen any day in any year in any country. Look at the news archives of the spread of SARS, how the government in (I think) Indonesia enacted house quarantines, how the Chinese economy was distablized. This is a very real warning and will not lose its timeliness as long as people build cities and economies. He is not just describing what happened but giving us warning and ideas for how it can be handled better.

I feel that this is a horrible translation of an otherwise great work of literature. This translator felt the need to re-arrange pieces of Aristotle's work, and completely relocate some to an "Appendix." If you find this appalling, then you need to find another translation. However, if you are fine with the butchering of another person's work, by all means, order this book.

The "Poetics" contains Aristotle's observations on what elements and characteristics comprised the best tragedies based on the ones he'd presumably seen or read. He divides "poetry," which could be defined as imitations of human experience, into tragedy, comedy, and epic, and explains the differences between these forms, although comedy is not covered in detail and tragedy gets the most treatment. For one thing, tragedy, he states, seeks to imitate the matters of superior people, while comedy seeks to imitate the matters of inferior people.

To Aristotle, the most important constituent of tragedy is plot, and successful plots require that the sequence of events be necessary (required to happen to advance the story logically and rationally) and probable (likely to happen given the circumstances). Any plot that does not feature such a necessary and probable sequence of events is deemed faulty. Reversals and recognitions are plot devices by which tragedy sways emotions, particularly those that induce "pity and fear," as is astonishment, which is the effect produced when the unexpected happens. He discusses the best kinds of tragic plots, the kinds of characters that are required, and how their fortunes should change over the course of the plot for optimum tragic effect.

With regard to poetic language or "diction," he emphasizes the importance of figurative language (metaphor, analogy) in poetry and the importance of balancing figurative with literal language. It is his opinion that metaphoric invention is a natural ability and not something that can be taught. Of all the poets Aristotle mentions who exemplify the ideals proposed in the "Poetics," Homer draws the most praise.

Malcolm Heath's introduction in the Penguin Classics edition offers some helpful and amusing clarification and commentary on the "Poetics," including a demonstration of the Aristotelian method of constructing a tragedy using the story of Oedipus as an example. A work that is scant in volume but rich in ideas, the "Poetics" demands to be read by all those interested in ancient thought on literature.

Aristotle's Poetics is hailed as the first systematic critical theory in the world. For centuries and centuries, it has inspired writers, critics, and philosophers alike. Aristotle, the father of critics, as many would exalt him, sets the rules for many key literary genres such as Tragedy, Comedy, and Epic. Through comparing and contrasting these classical genres, Aristotle convincingly argues for the highness and greatness of tragedy, as the most mimetic literary genre. Thanks to Aristotle, we are introduced to such eternally important critical terms such as mimesis(imitation), muthos(plot), anagnorisis(discovery), peripeteia(reversal),hamartia(misjudgment), catharsis(purgation). In other words, Aristotle's Poetics is the bible for critics, playwrights, and fans of tragic literature.