Thereupon, the development of the difference between true and similar is being studied: between the possible and the impossible. comprehension of art, primary through perceiving art as a skill and the new attitude toward imitation. The article analyzes Aristotle’s surpassing Plato’s. Reflecting the differences between historical and poetic expression, through what happened and what might happen, Aristotle deepens the concept of ‘probable’. ‘Probable’ is usually thought of being similar to truth, as for Aristotle it is but one of its features. One of the fundamental concepts of Aristotle’s theory of poetry is ‘probable’. From ‘Summer, or Alexis.’ Herbert Davis, ed, Pope: Poetical Works (London: Oxford University Press 1966), pp 74–5. Barnes thus gives the self–assertion of ‘I don't dread a peevish Meäster, / Though noo man do heed my frowns’ the heaviest possible emphasis, the poetic equivalent of a crash of cymbals.Ĥ. Lines 3–18 of ‘My Orcha'd in Linden Lea’ contain no long i sounds. This bizarre device is one of Barnes's favourites. As copies are quite rare, I have quoted in full all the poems I discuss in detail.ģ. Unfortunately the proofreading was poor, so 1 have silently corrected a few minor and obvious errors. I have incorporated into the text other references to this volume, the only complete modern edition of the dialect poems. ed, The Poems of William Barnes (London: Centaur Press 1962), I, 233. I make no such claims for my own ‘The Hallowed Pleäces of William Barnes,’ Victorian Poetry, 23 (Summer 1985), 109–24.Ģ. Keith's The Poetry of Nature (University of Toronto Press 1980) is a recent, valuable exception.

Most criticism of Barnes is so impressionistic as to be almost useless, but the chapter in W.J. Assistant Professor of English, Lansdowne College, London, Englandġ.

Sh butcher the poetics of aristotle