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The ancient hypothesis of fiction: an essay on the origins of literary theory.
Published online by Cambridge University Press: 29 July 2016
This is the first of several essays investigating the continuity of literary theory and of the principles which may account for its development. While critical terminologies change as they respond to problems emerging from the immediate historical process, a continuity, nevertheless, may be observed in the necessity for literary theory to take account of certain persistent relationships which underlie all intellectual disciplines. Among others, for instance, is the epistemological relation of the concept itself to the materials out of which it is formed and to the functions which it is subsequently to fulfil. Although the type of materials and functions will vary with the subject under consideration, the relation of the mental construct to its sources of sensation and to its role in the formation of knowledge remains relatively constant. The relation of the poet's mind, for instance, to its ethical materials, as described by Sidney, is strikingly near to the relation of the natural philosopher's mind to his data as described by Francis Bacon. Bacon seeks a ‘middle course [ ratio media ]’ between the rationalistic spider and the empirical ant, and finds that the bee ‘gathers its material from the flowers of the garden and of the field, but transforms and digests it by a power of its own.’ The bee goes about the true business of the scientist and represents ‘a closer and purer league between these two faculties, the experimental and the rational, (such as has never yet been made) …. ’ The ratio media in Bacon's material holds a position analogous to that of poetry in Sidney's: the balance between philosophical precept and historical example. This middle way is new, Bacon says, in the scientific method; it defines the intention of literary discourse, however, from its very origins, as I shall try to show, as well as a relationship which literary theory continually attempts to reestablish.
1 I am indebted to the American Council of Learned Societies for their grant in 1963-64 during which time I began my research and to Stanford University for supplementing this grant at that time and, subsequently, for allowing me time for continuing my work. The two citations immediately following are from The Works of Francis Bacon , ed. Spedding , Ellis , and Heath, (London 1857-74) 4.92-3, and Seneca's Epistulae Morales , trans. Gummere , R. M. (LCL, London 1961 ) Ep. 65. Google Scholar
2 In his Rhetoric (3.1; 1403b36f.) Aristotle observes that the study of language and style had only recently made much progress. Aristotle's Rhetoric and Poetics , trans. ( Rhys Roberts , W. and Bywater , I. (New York 1954 ) 165 . All references to the Rhetoric will be to this edition. Google Scholar
3 For a subtle survey of such reformulations, see McKeon , McKeon , ‘ The Philosophical Bases of Art and Criticism ,’ Critics and Criticism (Chicago 1952 ) 463 – 545 . Google Scholar
4 These distinctions were given their most influential formulation by Aristotle ( Ethics , VI.iv-v) and were adapted from him by St. Thomas Aquinas ( S. T. , I, II qu. 21 ar. 2 and qu. 57 ar. 3 and 5), from whom I have borrowed the example of the knife. For a perceptively detailed account of their origin, development, and extension into the controversy over the contemplative and active life, see Jaeger , Werner , Aristotle , trans. Robinson , R. (Oxford 1948 ) 426–61. Google Scholar
5 McKeon implies that often attempts to resolve the antithesis account for the shifting presuppositions in statements about the poetic arts. He states the possibility of resolution most generally in discussing Aristotle's division of the sciences: ‘Poetic “science” differs from theoretic and practical sciences, for it is concerned neither with knowledge as such nor with action but with artificial objects and products; and if such objects are to be isolated for consideration in themselves, there must be some preliminary consideration of the conditions of their production and some supplementary consideration of the effects of their contemplation,’ op. cit. 517. In such considerations the literary theorist will have to draw upon material proper to the theoretic and prudential sciences. Google Scholar
7 This is even partially reflected in the subsequent history of the two principal definitions of poetry, metrical composition and imitation ( mimesis ). The first states its relation to the prose composition of oratory and the second, in being concerned with the object and representation of certain types of knowledge, to philosophy. Google Scholar
8 Isocrates , trans. Norlin , G. and van Hook , L. , 3 vols. ( LCL London 1928-45 ). All references to Isocrates will be to this edition. Google Scholar
9 This imposition is later revealed in Hermagoras' development of his system of status , which, perhaps as was characteristic of the Hellenistic period generally, led to an almost exclusive concern with forensic oratory. The victory of his system over Aristotle's is a clear example of the more specialized form of an art overcoming the less. Cicero's ultimate liberalization of rhetoric was effected by a return to Aristotelian and Isocratean traditions. See Solmsen , F. , ‘ The Aristotelian Tradition in Ancient Rhetoric ,’ AJP 62 ( 1941 ) 180 , 189-90. For Hermagoras see Matthes , D. , ‘Hermagoras von Temnos 1904-55,’ Lustrum 3 (1958) 58-214. Google Scholar
11 Op. cit. 134–6. For general accounts of Isocrates' cultural and intellectual development see Jaeger , , Paideia , 3.46-155 and Marrou , , op. cit. 121-36. For his subsequent influence, see Marrou, passim , and Hubbell , H. M. , The Influence of Isocrates on Cicero, Dionysius and Aristides (New Haven 1913 ). Von Armin describes the persistence of sophistic ideals — despite Plato's and Aristotle's attempt to break with them — even within the ‘philosophical’ schools, op. cit. 63-7. Grube , G. M. A. , The Greek and Roman Critics (Toronto 1965), comments very generally with regard to poetry on how ‘the two approaches, the philosophical and the rhetorical, continue side by side through the fourth century,’ how Isocrates combined them in his concept of general education (37-40), how Aristotle ‘may be said to have brought them together in the Rhetoric ' (102), and on how Cicero later defends general culture ‘in an age of over-specialization’ (171-5). Grube's conclusion that ‘neither Plato nor Aristotle even attempt to define the nature of poetry’ (102) is perplexing in view of the subjects he discusses in relation to them. Whatever he considers the ‘nature of poetry’ to be, he seems to prefer the Longinian treatise, which he claims (surprisingly to me) ‘needs little explanation of its ideas because Longinus, more than any other ancient critic, speaks a language that the modern reader can understand without intermediary’ (353). Google Scholar
13 Isocrates, frankly distrusting any system developed to handle all occasions, had nothing comparable to Aristotle's proofs to offer to the orator. Though he probably confined the appeal to the emotions of the audience principally to the proem and epilogue, he would have appreciated Aristotle's great emphasis upon their manipulation, and he did insist with Aristotle upon the importance of the speaker's reputed character. Also, he would have applauded Aristotle's intention to supply a method for political oratory which the earlier manuals had slighted in the interest of forensic debate ( v. Rhet . 1354b22ff. ; cf . 1418a21-36). Google Scholar
14 The Collected Dialogues of Plato , ed. Hamilton , E. and Cairns , H. (New York 1963 ) 223 . Google Scholar
17 These generalizations with regard to discourse are consistent with Aristotle's intellectual development. Jaeger describes how in the early Protrepticus Aristotle accepted Plato's view of ethics and politics as theoretical sciences ‘proceeding more geometrico ’ and then later abandoned the ideal of mathematical exactness in his Ethics and Politics ( Aristotle , 82–8). With regard to the more specialized form of philosophical discourse (i.e., the more general definition), Jaeger says ‘Aristotle here [ cf. Eth. Nic . II. 7, 1107a29] replies that the more general ethical propositions are the more empty and ineffective they are’ (85). The movement toward greater particular application in ethics corresponds to one toward unspecialized philosophical discourse. In his later period, this movement is reflected in his researches where ‘the individual is now almost an end in itself’ (328). Despite this, Jaeger stresses that he avoided the fragmentary Hellenistic antiquarianism, because, perhaps as a result of his Platonic inheritance, his method consisted of ‘applying the principle of form to the details of reality, the idea of the uni for mity of nature' (328). His aim was ‘all along to make the Idea capable of producing knowledge of appearances’ (p. 381). He lived ‘not in the Ideal world but in the tension between Idea and experience’ (399). Google Scholar
18 Lucian , trans. Harmon , A. M. , LCL , 8 vols. (London 1921 ) 3.109 . For a similar defense of his attempt to combine philosophy with comedy, see To One Who Said ‘You're a Prometheus in Words ,’ 6.417-27. Google Scholar
19 The editor notes that these are allusions to Aristophanes' The Clouds (line 225) and to Plato's Phaedrus , 246e and 247b. Google Scholar
20 Sextus Empiricus , trans. Bury , R. G. , LCL , 4 vols. (Cambridge 1933-59 ) 4 . 245-7. Sextus lists the third usage first. It is usually rendered in Latin as materia or argumentum . Prefatory summaries and outlines of any work were called ‘hypotheses,’ and this usage persisted through the Renaissance. Google Scholar
22 Institutio Oratoria , trans. Butler , H. E. , LCL , 4 vols. (Cambridge 1953 ). As a commentary on this passage, see J. Cousin, Études sur Quintilien (Paris 1936) 1.173-5. The most conservative form of rhetoric, the quaestio definita , represented the principle of individualization as well as history (cf. Minturno, paraphrasing Aristotle: ‘Onda il Poeta a guisa di Filosofo riduce la cosa al genere, ed alla natura universale; l'Istorico, sicome l'Oratore, quando tratta le cause, al particolare descende.’ L'Arte Poetica (1563) [repr. in Naples 1725] 39.). Google Scholar
24 Turnebus observes how these two movements can function together: ‘ Theses , ut docuit Fabius, pleraeque ad deliberativum pertinent genus, & adjectis modo personis, suasoriae fiunt. nam deliberationis initium ducitur ab hypothesi , sed postea revocatur ad thesin : atqueita interdum de toto genere disceptamus, cum tamen causa pendeat ab hypothesi ' ( loc. cit .). This bears upon the discussion of ‘thesis,’ 49-55 below. Google Scholar
25 This exclusion may be a reflection of the old controversy of the contemplative vs. the active life. Jaeger observes that Dicaerachus, in opposition to Aristotle and Theophrastus, held the active life to be superior to the contemplative: he ‘severed the connexions … between moral action and the knowledge of the highest questions, and reached the logical conclusion of which we hear the echo in the author of the Great Ethics : “One must wonder what sophia has to do with ethics,” since the latter concerns character and action' ( Aristotle , 451 ). In excluding the thesis from rhetoric, the young Cicero is arguing for the ‘active’ life of the orator in the most pragmatic sense. Later he emphasized greatly the role of thesis or philosophical question in oratory, and Jaeger, in citing his Ep. ad Att ., 2.16, shows how he has left Dicaearchus, representing the active, pragmatic life, for Theophrastus, representing the contemplative, scholastic life. For the place of thesis and hypothesis in the attempts in the second and first centuries B. C. to establish the sophistic ideal of the philosophical and rhetorical disciplines perfectly combined in the person of the rhetorician, see von Armin , , op. cit ., pp. 92-114 and Matthes , D. , Lustrum , 3 ( 1958 ). Google Scholar
29 The word ‘thesis’ means a ‘stand’ or ‘position’ and is translated positio ; ‘hypothesis,’ whose Latin form is suppositio ( sub+ponere ), means a ‘placing under,’ and, by extension, what one has placed under,’ or a ‘subtending.’ In the rhetorical usage, where hypothesis is considered a species of the genus thesis and refers to questions about actions and events, the ‘ sub ' carries the meaning of being placed under a more inclusive heading and of sharing characteristics, indicated by that heading, with other species. In the philosophical and scientific usage of ‘assumption,’ the hypothesis metaphorically ‘subtends’ in the sense of lying behind or below whatever we wish to investigate or demonstrate. We come first to the problem, i.e. the given ‘situation’ to be explained, and then formulate hypotheses in accordance with which the given situation may be accounted for and now regarded as a ‘conclusion.’ Google Scholar
30 In ‘ Against the Rhetoricians ’ ( 60 – 71 ), Sextus attacks the aim of persuasion by defining ‘credible’ in three senses: belief in something true, in something like truth (verisimilar), and in something both true and false. The second sense (the probable) is a belief in what is false but which we are deceived into believing in; its validity is no greater than simple error, and it is more dangerous than error. For further attacks on the probable, see ‘Against the Logicians,’ 1.166-89, and ‘Outlines of Pyrrhonism,’ 1.226-31. Google Scholar
31 Philebus , trans. Fowler , H. N. , LCL (Cambridge 1952 ). For the aesthetic response to mathematical constructs in relation to modern formalism, see Appendix C. Google Scholar
32 The Republic , trans. Shorey , P. , 2 vols., LCL (Cambridge 1946 ). This translation is used in the text unless otherwise indicated. For the development of Plato's hypothetical method, see Robinson , R. , Plato's Earlier Dialectic (Ithaca 1941) esp. 97-191. Google Scholar
34 Euthydemus , trans. Lamb , W. R. M. , LCL (London 1924 ). Google Scholar
35 Phaedo , trans. Fowler , H. N. , LCL (London 1913 ). Google Scholar
36 Burnet , Burnet , Greek Philosophy: Thales to Plato (London 1924 ) 344 . For the historical development of the idea of spatial ‘location’ in the memorial and imaginative faculties, see Francis A. Yates, The Art of Memory (Chicago 1966). For the many variations of the idea of the imagination as an intermediary between the sensible and intelligible worlds, see Bundy , M. W. , The Theory of Imagination in Classical and Mediaeval Thought, Univ. of Ill. Sts. in Lang, and Lit . 12 (Urbana 1927) esp. 45, 96f., 117ff., 148-50, 158-9, 170-71, and de Bruyne , Edgar , Études d'esthétique médiévale (Brugge 1946), esp. 2. ch. 5: ‘ L'esthétique des Victorins .’ For geometry as a discipline of this intermediate location, see The Philosophical and Mathematical Commentaries of Proclus on the First Book of Euclid's Elements , trans. Taylor , T. (London 1792). The translator claims geometry is ‘the genuine passage to true theology, and the vestibule of divinity’ for those ‘who look beyond sense for certainty' (Pref.). He translates the title of Proclus' first chapter as ‘On the Middle Nature of the Mathematical Essence,’ since ‘mathematical natures, and whatever falls under cogitation, are allotted a middle order’ between intelligible and sensible natures (47). Proclus considers the objects of mathematics in the first chapter of his second book as participating in both the universal and the particular through the medium of the phantasy. For St. Augustine, as well, both the ‘suppositions’ of literary fictions and of geometrical diagrams belong to the province of the imagination (see n. 68). Google Scholar
37 On the disagreement between Plato and Aristotle concerning the independent existence of such intermediate constructs, see Ross , W. D. , Aristotle's Metaphysics (Oxford 1958 ) 1 .166-8. For a general summary of the problem, see Ross' Aristotle (London 1966) 157-9. Google Scholar
38 Particularly useful are the studies of Cornford , F. M. , Lee , H. D. P. , Einarson , B. , and Robinson , R. referred to below. I have found Cornford's essay, ‘Mathematics and Dialectic in the Republic VI-VII,’ Mind 41 , ( 1932 ) 37 – 52 , 173-90, the most valuable. Whether or not one accepts his central thesis explaining Proclus' comments on Platonic dialectic, which Robinson does not ( Mind , 45.464-73), the implications for fiction in the material he discusses remain forceful. Page references to his essay are given in my text. Google Scholar
40 Cornford offers an illustration of going through these steps after which the geometer will ‘frame his demonstration in full discursive form — a deduction starting from the hypothesis, “ Let there be a triangle ABC ” ( Eucl . I ,. 32 ),’ 45. Google Scholar
42 Translated by Randall , J. H. in his Aristotle (New York 1965 ) 96 . Aristotle gives a similar argument in De Anima III. 7; 431b5-20. Ross comments that ‘Aristotle seems here to be setting himself against Plato's view, expressed in the Divided Line…,’ Aristotle , 148. Google Scholar
44 Else observes that ‘in Aristotle's theory of vision the size of the thing seen and the time required to see it are interconnected. Magnitude, motion, and time are strictly correlative: Phys . 4.11.219a10; Ibid . 12.220b15; 6.2.233a10…. Hence there is an “imperceptible time” corresponding to the imperceptible magnitude' (285 n. 10). See n. 36 above. The ‘organic’ comparison is Plato's ( Phaedrus , 264c). Google Scholar
45 Prior Analytics , trans. Tredennick. , Tredennick. LCL (Cambridge 1938 ). It is precisely these ‘non-existent’ hypothetical concepts that Sextus attacks. Google Scholar
46 Posterior Analytics , trans. Tredennick , H. , LCL (Cambridge 1960 ). Cicero offers an early defense of fiction as illustrative example in his De Officiis (3.39) which is analogous to this justification of geometric diagrams. He is defending Plato's use of the story of Gyges' ring against certain philosophers who reject the argument because the story itself could not be true: ‘As if he affirmed that it was actually true or even possible!’ Cicero exclaims. ‘They press their point with right boorish obstinacy: they assert that it is impossible and insist upon it; they refuse to see the meaning of my words, “if possible.” For when we ask what they would do, if they could escape detection, we are not asking whether they can escape detection; but we put them as it were upon the rack: should they answer that, if impunity were assured, they would do what was most to their selfish interest, that would be a confession that they are criminally minded; should they say that they would not do so, they would be granting that all things in and of themselves immoral should be avoided.’ De Officiis , trans. Miller , W. , LCL (London 1961). Google Scholar
49 ‘ Geometrical Method and Aristotle's Account of First Principles ,’ CQ , 29 ( 1935 ) 113–24. Page references to this essay are given in my text. Google Scholar
50 In Ross , ' description ( Aristotle , 55 ), the transition ‘from sense to reason’ is ‘made possible by the fact that perception itself has an element of the universal; we percieve a particular thing, it is true, but what we perceive in it is characters which it shares with other things.’ The progress to higher and higher universality is inductive and intuitive. Google Scholar
51 The Metaphysics , trans. Tredennick , H. , LCL , 2 vols. (London 1933 ). For the relation between the Platonic hypotheses in the Republic and the Aristotelian archai see Solmsen , F. , Die Entwicklung der aristotelischen Logik und Rhetorik , 92-107. Google Scholar
52 Aristotle , 40 . Randall's third chapter, ‘Science as Right Talking: The Analysis of Discourse,’ esp. 40-51, contains interesting implications for fiction. Google Scholar
54 Randall extends his analysis to drama: ‘In real life, in history, we can hardly discern why things have to be as they are: there are far too many complicated and chance or accidental factors. The universal that is implicit there does not stand out clearly. But in tragedy the poet can improve on nature, and show the inevitable dependence of destiny on character. He can make plain not the mere bare event, the “fact that”, to hoti , but also the “reason why,” to dioti : he can disclose how it had to be the way it was' (p. 290). Wimsatt , W. K. and Brooks , C. observe that ‘the terms beginning, middle , and end emphasize a specially close cohesion of causes' and resemble the syllogistic terms major, minor , and middle . They say, further, that, if one thinks in terms of enthymeme, ‘a counterpart of the syllogism in the realm of probability,’ the ‘events in a drama would yield not one but several middle terms, so that we should have the kind of chain of suspended syllogisms known as Aristotelian sorites’ ( Literary Criticism , [New York 1967] 30–2). Google Scholar
55 In his edition of the Poetics (Oxford 1968 ), Lucas , D. W. cites Dryden's dedication to The Rival Ladies (1664): ‘When the whole plot is laid open, the spectators may rest satisfied that every cause was powerful enough to produce the effect it had … till they [i.e., cause and effect] all reached the conclusion necessary’ (p. 298). Quintilian observes that the syllogistic method is used not only by geometry and dialectic but also by the logical development of oratory: ‘Geometry arrives at its conclusions from definite premises, and by arguing from what is certain proves what was previously uncertain. Is not this just what we do in speaking?’ In addition to enthymeme the orator will occasionally use a regular syllogism, and, like the geometer, is chiefly concerned with proof (1.10.37-8). Google Scholar
56 Metaphysics ( 13 . 7 ; 1082b2-4), trans. Ross , W. D. , in The Basic Works of Aristotle , ed. McKeon , R. (New York 1941) 901. Google Scholar
59 Aristotle's Poetics : The Argument , Else , G. (Cambridge, Mass. 1963 ) 503 . All references will be to Else's translation and commentary, unless otherwise assigned, and will be included in the text. Google Scholar
61 After the description of the dramatic plot, virtually paraphrased later by Minturno among others ( De Poeta , [Venetiis, 1559] 128-9), Aristotle gives an even more extreme summary of the Odyssey: ‘This is the core; the rest is episodes.’ There can be no mistaking his meaning. Google Scholar
62 Aristotle on the Art of Poetry , Bywater , Ingram (Oxford 1909 ) 51 and 246. Butcher , S. H. translates the sentence: ‘After this, the names being once given, it remains to fill in the episodes,’ Aristotle's Theory of Poetry and Fine Art , ed. Gassner , J. (New York 1951) 63. In discussing the relation of art to nature in Aristotle, Webster , T. B. L. translates a passage on the growth of embryos from On the Generation of Animals (743b20-25) which applies well to the construction of a plot: ‘“everything is defined first by outlines, and later takes on colours, hardness, and softness, just as if nature, who constructs it, were a painter. For painters first draw the lines and then cover the painted animals with colours,” ’ ( Art and Literature in Fourth-Century Athens , [London 1956] 54). Google Scholar
63 Webster relates Aristotle's biological conception of species to his assertion of the universality of poetry: ‘The theory is a direct answer to Plato; poetry is not an imitation of an imitation of a reality but creates a new reality, which is itself a union of individual and universal. I believe that Aristotle here views a play in rather the same way as he views Socrates or a particular house. Socrates is the universal, man (the species), realised and individualised by this matter. The particular house is the universal, house, realised and individualised by these bricks and mortar. The Iphigenia in Tauris is similarly a universal story realised and individualised by these episodes, verses, and names' ( ibid . 55 – 56 ). That episodes may ‘fill in’ intermediate causes and thus articulate the universal was mentioned by Renaissance critics: for Bartolomeo Maranta the episode ‘does nothing else but extend and augment the plot and the universal by telling how what is summarized in the universal has come about’ (quoted in Weinberg , B. , A History of Literary Criticism in the Italian Renaissance , [Chicago 1961] 472). Google Scholar
66 Translated by Bucher , , op. cit. 172 n. 1, who explains the false inference as being based on the assumptions ‘that because a given thing is the necessary consequent of a given antecedent, the consequent necessarily implies the antecedent. Antecedent and consequent are wrongly assumed to be reciprocally convertible.’ Compare Lucian's statement in n. 57 above, particularly ‘You go forward led by the consistency of what came after, not considering that things may be consistent and false.’ It is significant that Aristotle says that such ‘Reciprocation is more usual in mathematical problems, because mathematics never assumes an accident but only definitions.’ In such a case, ‘Let A be a real fact, whose reality implies that of certain other facts, e.g., B, which I know to be real; then from the latter I will prove the existence of A’ ( Post. Anal. , 78a7-12). Google Scholar
68 An Apology for Poetry , op. cit. , 1 .168–9; also Minturno, De Poeta , (Venetiis 1559) 119, who cites Virgil's Musa mihi causis memora . ( Aen . 1.8). Sidney's use of the English word derived from the Latin form of ‘hypothesis’ in relation to causation is most suggestive: ‘The Historian, wanting the precept, is so tyed, not to what shoulde bee but to what is, to the particuler truth of things and not to the general reason of things, that hys example draweth no necessary consequence, and therefore a lesse fruitfull doctrine. Nowe dooth the peerelesse Poet performe both: for whatsoeuer the Philosopher sayth shoulde be doone, hee giueth a perfect picture of it in some one, by whom hee presupposeth it was doone. So as hee coupleth the generall notion with the particuler example’ (164). The poet completes his ‘picture’ of an action (that is, offers motivations) by means of a ‘presupposition’ that it was done by a certain kind of person. For the contribution of ‘precept’ to ‘necessary consequence’ see my discussion of ‘thesis’ below, 51-55. As Lucian had done earlier, St. Augustine in his seventh epistle associates imaginary presuppositions in epic and drama with those in geometry. He divides the images of the phantasy according to their origin either in the senses, the imagination, or the reason. By means of those images in the imagination ‘for the sake of illustration in discourse, we ourselves suppose things which have no existence …; or when we call up … a lively conception of the things described while we read history, or hear, or compose, or refuse to believe fabulous narrations.’ This happens when picturing ‘the appearance of Aeneas, or of Medea with her team of winged dragons, or of Chremes, or Parmeno…. Moreover, we often say, when carrying on a discussion, “Suppose that three worlds, such as the one which we inhabit, were placed one above another”; or, “Suppose the earth to be enclosed within a four-sided figure,” and so on : for all such things we picture to ourselves, and imagine according to the mood and direction of our thoughts.’ The third class of images, those originating in the reason, embody forth concepts of number and measure, found partly in the nature of things and partly in sciences such as geometry and music. Works of St. Augustine , ed. Schaff , P. , Nicene and Post-Nicene Fathers (New York 1892) 1.225. See Bundy , , op. cit. 153-72. Google Scholar
69 History is a record of random effects (from man's point of view as distinct from God's, which includes a knowledge of causes), and its literary procedures, as in a chronicle, reflect a random progression. Insofar as an historian ‘interprets’ the effects (events), he is ‘constructing,’ not ‘recording,’ but his construction is never certain, final , or true . It must be constantly revised in accordance with new data about events: in this sense its allegiance is always to the events, not to any given construct of events. Its progressions are undelimited and random insofar as they are subservient to subsequent effects occurring or being discovered by chance. (When his memory fails, Thucydides admits he constructs speeches which are plausibly demanded by various occasions (1.21-2). Such speeches would be subject to revision, however, if more details were learned about the occasions.) This is also the procedure of the fantasy, in which sense impressions are the events, the equivalent of effects; they are reflected in the fantasy, recorded, and later ‘interpreted’ to give a construct of the stimuli by other faculties. Fiction is distinct from fantasy in the same way that it is distinct from history. In fiction there is no randomness; causes are ‘discovered’ (given) for effects: it is always ‘true.’ In the Renaissance Dionigi Atanagi writes: ‘The order of poetry is certain, connected, and linked, since because of the interrelationship of its actions it makes one out of many, one toward which it directs all the others as servants and domestics serve a mistress…. The order of history is for the most part uncertain, disjointed, and fortuitous, since its actions are not similar and linked but separate and diverse; neither does one depend from another nor do they relate to a single end’ (Weinberg, op. cit. 458 ). Google Scholar
71 How this generality might derive from an association with dialectic as well is suggested in Aristotle's account of destructive arguments: if such and such is or is not true of one member of a genus, it is or is not true of all members: ‘Now it is clear that he who makes the hypothesis makes the problem universal, though it is posited in a particular form; for he demands that the maker of a particular admission should make a universal admission, since he demands that, if an attribute belongs in a particular case, it belongs in like manner to all’ ( Topica , 3.6; 120a2-5, trans. Forster , E. S. , LCL , [Cambridge 1960 ]). Such an explanation would not be out of place in the Poetics . Google Scholar
72 See Aristotelis de Poetica Liber … per Theodorum Goulstonum [bound with Aristotelis de Poetica Liber ex versione Theodori Goulstoni ], (Cantabrigiae 1696) 26: ‘Poësis Philosophiae similior, quàm historia. Siquidem Poëtae Fabula, Universales ac Indefinitas captet. In comedies theses were “proposed” for illustration in plays to serve a didactic purpose: Sunt in singulis Comoediis certae quaedam theses de hominum diversis moribus, ingeniis, & officiis propositae, quae multum faciunt ad vitam sapienter & civiliter instituendam’ ( P. Terentii Afri Poetae Lepidissimi Comoediae , Parisiis, 1552 , p. 675 ). Google Scholar
73 For this difficult passage (1450b4-12), see Else's commentary, esp. 270-1, and compare the translations of Butcher and Bywater. The main point is that what Aristotle says of ‘thought’ resembles closely his definition of a ‘thesis’ ( Top . 104b19ff.) as well as the later embodiment of a thesis in the literary exercise of the suasoria . Such declamations, in turn, greatly influenced all types of set speeches, such as the Elizabethan soliloquy: ‘To be or not to be, that is the question’ (i.e. the matter to be considered generally , not the decision specifically about the speaker's committing suicide at that moment). Later in the Poetics (1456a35 ff.) Aristotle refers everything concerning ‘thought’ to his Rhetoric . Google Scholar
74 In this broader sense of a universal, the ‘thesis’ connotes the generic within the specific, not isolated in abstraction but immanent in a given particular situation. This ‘fictional’ combination of (assumed) circumstantial existence and definitive significance is suggested by the way Aristotle distinguishes these technical terms: ‘A thesis which assumes one or the other part of a proposition, i.e., that something does, or does not exist, is a hypothesis ; a thesis which does not do this is a definition. A definition is a kind of thesis <or laying-down>, because the arithmetician lays it down that to be a unit is to be quantitatively indivisible; but it is not a hypothesis, because to define the nature of a unit is not the same as to assert its existence' (72a19-25). Robinson interprets this passage to mean that an hypothesis is an ‘assertion’ which may be true or false and that a definition is a ‘convention’ or a ‘promise’ which claims neither truth nor falsity ( op. cit. 105f ). ‘Thesis’ retains something of the generic quality as definition and something of the asserted existence of initial premises of action (plot outline) as hypothesis (see n. 71). For the exclusion of generic significance from narrative hypothesis after the Renaissance, see Appendix C. , because the arithmetician lays it down that to be a unit is to be quantitatively indivisible; but it is not a hypothesis, because to define the nature of a unit is not the same as to assert its existence" (72a19-25). Robinson interprets this passage to mean that an hypothesis is an ‘assertion’ which may be true or false and that a definition is a ‘convention’ or a ‘promise’ which claims neither truth nor falsity ( op. cit. 105f). ‘Thesis’ retains something of the generic quality as definition and something of the asserted existence of initial premises of action (plot outline) as hypothesis (see n. 71). For the exclusion of generic significance from narrative hypothesis after the Renaissance, see Appendix C.' href="https://scholar.google.com/scholar?q=In+this+broader+sense+of+a+universal,+the+‘thesis’+connotes+the+generic+within+the+specific,+not+isolated+in+abstraction+but+immanent+in+a+given+particular+situation.+This+‘fictional’+combination+of+(assumed)+circumstantial+existence+and+definitive+significance+is+suggested+by+the+way+Aristotle+distinguishes+these+technical+terms:+‘A+thesis+which+assumes+one+or+the+other+part+of+a+proposition,+i.e.,+that+something+does,+or+does+not+exist,+is+a+hypothesis;+a+thesis+which+does+not+do+this+is+a+definition.+A+definition+is+a+kind+of+thesis+ ,+because+the+arithmetician+lays+it+down+that+to+be+a+unit+is+to+be+quantitatively+indivisible;+but+it+is+not+a+hypothesis,+because+to+define+the+nature+of+a+unit+is+not+the+same+as+to+assert+its+existence'+(72a19-25).+Robinson+interprets+this+passage+to+mean+that+an+hypothesis+is+an+‘assertion’+which+may+be+true+or+false+and+that+a+definition+is+a+‘convention’+or+a+‘promise’+which+claims+neither+truth+nor+falsity+(+op.+cit.+105f).+‘Thesis’+retains+something+of+the+generic+quality+as+definition+and+something+of+the+asserted+existence+of+initial+premises+of+action+(plot+outline)+as+hypothesis+(see+n.+71).+For+the+exclusion+of+generic+significance+from+narrative+hypothesis+after+the+Renaissance,+see+Appendix+C.>Google Scholar
75 On potentiality and actuality, see Ross , , Aristotle , 176 ff. Later (285), he observes that character corresponds to potentiality, plot to actuality: the play is then potentiality-in-actualization, i.e., character-in-action. Actualization and plot are ‘prior’ to potentiality and character. Google Scholar
76 Lee , , acknowledging that ‘each science assumes the existence of the genus of which it is its business to prove the essential attributes,’ observes that Euclid's postulates correspond to Aristotle's hypotheses: Euclid must ‘ assume the possibility of constructing a certain minimum of figures, from which it would be possible to prove the possibility of constructing the rest' (p. 115 ). So also ‘according to Aristotle the geometer must assume the existence of points and lines (76b5)’ (115 n. 1). Google Scholar
77 Atkins , J. W. H. , Literary Criticism in Antiquity , 2 vols. (London 1952 ) 1 . 80. Google Scholar
79 For a more thoroughly syllogistic analysis of metaphor, see Rhetoric , 1410b5-35 and 1412a17-25. Google Scholar
80 Laws , trans. Taylor , A. E. in The Collected Dialogues of Plato , ed. Hamilton , E. and Cairns , H. (New York 1963 ). Cf. Republic , 592b . Google Scholar
84 Such an apprehension, intended to vindicate Isocrates in the eyes of his audience, is consistent with Else's interpretation of ‘ catharsis ’ (pp. 224–32, 423-50). Butcher ( op. cit. , p. 245) and others cite Plato's Sophist (229E-230E) to illustrate the medical use of the term, but the passage has further implications for this essay. Plato is describing the cathartic effect of the elenchus upon the respondent who is ‘purified’ of his pretence to knowledge by experiencing the shame of refutation. Once purified he can begin to learn properly. The emotional acquiescence, brought about by the hypothetical method of moral dialectic, corresponds to the emotional acceptance of the synthesis of ‘given’ events, brought about by observing the ‘elenchic’ and consistent selection of means within the fictional hypothesis. Google Scholar
85 In describing the extent of mathematical presuppositions in attitudes toward certainty, probability, and the arts, Webster , T. B. L. observes that ‘mathematical proof has universal validity; it is what the Greeks call “necessary” (anankaion).’ Such a ‘necessity’ was often invoked to control the arguments from probability: ‘Thus the mathematical arguments provide a framework within which the general truths established by observation or otherwise can be related to each other’ ( Greek Art and Literature 700-530 B.C. [London 1959 ] 95–6). Google Scholar
86 In distinguishing Plato's hypothetical method in the Republic from that in the Meno and Phaedo , Robinson argues that the method used to achieve the highest category on the Divided Line ‘has gone back to being practically the Socratic elenchus’ ( op. cit. , p. 184 ). He later criticizes the method for avoiding an infinite regress only by means of the assumption (unacceptable today even in geometry) that a premise could be examined dialectically without assuming other premises: ‘What seemed to Plato the gradual forging of an hypothesis to which there were no objections turns out … to be merely the gradual forging of a consistent set of beliefs; and it therefore does not escape the stricture passed in the Cratylus , that consistency is no guarantee of truth' (190). It is interesting that the exclusion of other premises was precisely what the fictional hypothesis (once again in agreement with Euclidean geometry) enabled the poet to do. Literary discourse might avoid the danger of infinite regress by its very power to delimit its philosophical premises with stipulated circumstances, analogous to the rhetorical hypothesis, in a fictional plot. The desire to justify a type of discourse which could avoid this danger may have influenced the development of literary theory after Plato. Google Scholar
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6 hypothesis , research question & literature review.
Hypothesis is a potential explanation to a phenomenon, and in a much more rigorous way. It’s the core of research design, after Research Question and Literature Review. 1,Hypothesis should be used in formal logic, if XXX ,then XXX. 2,Hypothesis should have clear boundaries and testable. 3,Hypothesis should never be regarded as certain events, and it’s must be theoretical.
Hypothesis is the potential explanation or mechanism to the Research Question.If we try to research what result in Nagorno-Karabakh War. We need follow the steps, Research Question, Literature Review, Theoretical Framework, Hypothesis. Theoretical framework in literature is the most important resource to figure out the hypothesis.The meaning and contribution should start from existed research.
Figure 6.1: literature review & hypothesis
After diving in the facts and literatures, we possiblely can have some hypotheses. Last time I introduced 3 steps of searching literatures, now we connect those with hypothesis building.
If you want to research Nagorno-Karabakh War, there are many structures we can use, like ethnic conflicts, new independent countries’ nation-buildings, or territorial conflicts. We can choose ethnic conflicts.
Inside international ethinic conflicts, then there are lots of possible hypotheses.Like ethinic diversity, regime, nationalism, economic imbalance, resource trap, cross-broder ethenic group, colonazation.The Main difference is the benchmark, that’s why firstly we need should choose problem domain. The problem domain determains our hypothesis boundary, and potential choices.
Figure 6.2: literature review & hypothesis
Should we take as much explanation as possible ? Should we call one approach is the most convincing ?
Figure 6.3: circular argument
Try to introduce some explanations to obsity. 1, In evolutionary biology, in case of hunger or unstable envrionment, evolutionary selection make us to prefer high-calorie food, and feel more attractive. 2, Genomics, Ceratin genes can make our body much easier to store calorie. 3, Microbiology, Intestinal Flora affect our digestion procedures 4, Biochemistry, How stomach send the signals to our brain. 5, Neuroscience, How our brain handle incentive of food.refined/calorie 6, Medicine, Some disease can cuase obesity, like metabolism. others, like diet, sleeping, pressure
1, Economics, food industry’s profit-orentiation and marketing enhance our preference. 2, Political Science, Interest Group, Lobbying affect the policy 3, Psychology, Pressure and our neuro-mental mechanism 4, Sociology, social class, inequality, popoular culture, habit 5, IR, Globalisation, the expansion of global suger. 6, Reflection, How BMI, obesity is defined and interpretation.
In this work.
Aristophanes
Euripides (c. 485—406 bc) Greek dramatist
Sophocles (496—406 bc)
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(1) Prefixed to plays. Nearly all Greek dramas have an introductory note giving an outline of the plot and often other information; a number of them are in verse. They are of three main types, though they have become much confused in the course of transmission. Far the most important are those which are based on the introductions which ... ...
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Definition: Hypothesis is an educated guess or proposed explanation for a phenomenon, based on some initial observations or data. It is a tentative statement that can be tested and potentially proven or disproven through further investigation and experimentation.
A hypothesis is a tentative statement about the relationship between two or more variables. It is a specific, testable prediction about what you expect to happen in a study. It is a preliminary answer to your question that helps guide the research process.
Book Introduction to Literary Analysis. Edition 1st Edition. First Published 2022. Imprint Routledge. Pages 3. eBook ISBN 9781003179795. ABSTRACT. This chapter contains a definition of the term “hypothesis,” a discussion of the qualities of a good hypothesis, and the different kinds of hypotheses and the way to use them.
1. a. : an assumption or concession made for the sake of argument. b. : an interpretation of a practical situation or condition taken as the ground for action. 2. : a tentative assumption made in order to draw out and test its logical or empirical consequences. 3. : the antecedent clause of a conditional statement.
Definition of a hypothesis. The term hypothesis is an important one in a great deal of research writing. A hypothesis is a testable prediction about the relationship between two or more variables. When conducting an experiment, the idea is to figure out whether one's hypothesis is or is not correct.
Robinson interprets this passage to mean that an hypothesis is an ‘assertion’ which may be true or false and that a definition is a ‘convention’ or a ‘promise’ which claims neither truth nor falsity (op. cit. 105f). ‘Thesis’ retains something of the generic quality as definition and something of the asserted existence of initial ...
"hypothesis, literary" published on by Oxford University Press.
The common ground with science is, of course, that of the probable. The probable is the ground where scientific hypothesis meets fictionality; the probable is the point around which science and the novel rotate in complementary orbit, the meeting point at which fact can, apparently, be separated from fiction. Yet, Walpole's words also point to ...
Hypothesis is a potential explanation to a phenomenon, and in a much more rigorous way. It’s the core of research design, after Research Question and Literature Review. 1,Hypothesis should be used in formal logic, if XXX ,then XXX. 2,Hypothesis should have clear boundaries and testable.
"hypothesis, literary" published on by Oxford University Press. (1) Prefixed to plays. Nearly all Greek dramas have an introductory note giving an outline of the plot and often other information; a number of them are in verse.