Abstract
The theory of comedy, a «mentioned but not discussed» genre in Aristotle's Poetics , has great interest in the Italian Poetics of the Renaissance, for two main reasons: to complete the Aristotelian text and to dignify some works, specially by Terence, that were represented with great success in the Italian palaces. In the Second Dialogue of A. S. Minturno's Poetica Toscana , dedicated to Scenic Poetry, Aristotle’s theory of tragedy is commented on and a theory of comedy is proposed. This study aims to analyse this Dialogue.
Highlights
The theory of comedy, a «mentioned but not discussed» genre in Aristotles Poetics, has great interest in the Italian Poetics of the Renaissance, for two main reasons: to complete the Aristotelian text and to dignify some works, specially by Terence, that were represented with great success in the Italian palaces
This study aims to analyse this Dialogue
La unidad de acción está expresada claramente en la misma definición («un tema completo y acabado») y más adelante, la Poética toscana vuelve varias veces sobre ella: al enumerar las clases de fábulas propias de la Comedia, que pueden ser simples y dobles, sin dejar de ser una, y al explicar los episodios, que quedan fuera de la trama única de la fábula, y también al hablar de la extensión del tema y precisar dónde debe empezar y acabar, que no puede ser en cualquier sitio, de forma arbitraria, sino en el motivo en el que toma principio la historia
Summary
The theory of comedy, a «mentioned but not discussed» genre in Aristotles Poetics, has great interest in the Italian Poetics of the Renaissance, for two main reasons: to complete the Aristotelian text and to dignify some works, specially by Terence, that were represented with great success in the Italian palaces.
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