In the Introduction to her recent translation of the Poetics, Miss Hubbard astutely recognizes the intellectual orientation of Aristotle's aesthetic theory. She observes that for Aristotle the concept of mimesis is intimately connected with that of mathesis and thus that the basic pleasure of art is the intellectual pleasure involved in learning. She then correctly identifies two levels of the learning process involved in mimesis: on a lower level it signifies the way in which children learn their first lessons but (...) on a much more sophisticated plane it denotes a process by which our understanding of ‘moral facts and moral possibilities’ is deepened. She perceptively concludes that if art is to achieve the goal set for it by Aristotle, it must have a significant relationship to ultimate truth. (shrink)

In the Introduction to her recent translation of the Poetics, Miss Hubbard astutely recognizes the intellectual orientation of Aristotle's aesthetic theory. She observes that for Aristotle the concept of mimesis is intimately connected with that of mathesis and thus that the basic pleasure of art is the intellectual pleasure involved in learning. She then correctly identifies two levels of the learning process involved in mimesis: on a lower level it signifies the way in which children learn their first lessons but (...) on a much more sophisticated plane it denotes a process by which our understanding of ‘moral facts and moral possibilities’ is deepened. She perceptively concludes that if art is to achieve the goal set for it by Aristotle, it must have a significant relationship to ultimate truth. (shrink)