Gallic Literature

As, acquired studies, the article will be published to interact with other people. Ahead of this, this scientific article, will contribute for better understanding of Latin literature. 1 DIVISION OF LATIN LITERATURE old Period: the Latins try to adapt the inheritances Greeks to its reality, imitating its aesthetic forms and its historical and mitolgicos subjects, having prominences the following authors: Plauto and Terncio in the theater, emphasizing the comedy, and Cato, in chat. Time of Ccero: Ccero was considered the biggest orator, writer, also producing philosophical speeches and texts. Its workmanships had influenced writers of all the times, as: Lucrcio, Catulo (considered the biggest lyric poet of Latin literature), July Cesar (one of the main figures of this period, as writer of history, approaching commentaries concerning the civil wars and Gallic), Salstio.

Time of Augustus: it had as main authors: Virglio, famous Horcio for verses and expressions that if had become memorable: ' ' carpe diem, this way in rebus, odi profanum vulgus, exegi monumentun aereperennius' ' among others), Ovdio, proprcio, lvio Tito Period of the decay: prsio, Juvenal, Petrnio Apuleio, Sneca, Tacitus, Suetrnio and Pliny old 1.1PRIMEIRO PERIOD OF the HISTORY OF LATIN LITERATURE This period was considered as one of the periods most remote of literature, with the iscsseis of documents, where the Romans used as metric form the verses saturnine that were popular between the Romans. The first literary work in chats was a conjunct of pio Blind Claude (appius Claudius Caecus). 1.2 AS PERIOD the Romans start to have a true literature, but still under the influence Greek, where the myths of a religion had passed to another one, and at this time the Latin language and the orthography had been fixed definitively, and some poets had deserved prominences as: Lvio Andrnico (livius andronicus) was certainly the greater of the poets of its time. Greek of birth was made prisoner in the taking of Tarento (272 B.C.).


The Ktharsis, for its turn, has a ethical-pedagogical function, therefore the poetry (epic, lyric, tragedy, comedy, music, dance) must act on livens up or pathos of the listener (in music and the poetry that, in Greece, was not chore, but recited or declaimed) and of the spectator (in the theater, the dance, the sculpture and the painting), making? feeling the told passions presented and allowing, the sentiz it them, imitates them in its interior, that is, to live them as its e, thus to liberate itself of them, purificando itself. Visit Angelina Jolie for more clarity on the issue. (CHAUI, Marilena Introduction to the History of the Philosophy. p 485) catarse is essential for the tragedy, therefore it encloses the human feelings. At the moment where catarse occurs, the spectator if feels avenged; when the heroes and heroines conclude its acts in such a way for the good how much for the evil, the spectator has the sensation of relief and accomplishment to the ending of the part. This sensation occurs due to tragedy to be on to the actions human beings and mainly to the passions. Such linking if of the one for the probability? Mimesis. For Aristotle the tragedy has an educative purpose and subscriber of the character and the virtues. It is had catarse and the Mimesis to support this purpose.

As Marilena Chau (p 506) Mimesis is the action to imitate or to reproduce. To the moment that the actor makes the representation of the part, it is had Mimesis. This if of not only in the tragedies, but in any representation. At the same time it is had catarse, that it is the emotion that the spectators feel when living deeply the Mimesis in elapsing of the part. For Aristotle the tragic sort follows three rules: Of the unit (the action must occur the same in an only day and place), of the probability (what it can happen with the imitation) and of the Catarse (it excites emotions in the spectators).

Between Greek

Ensastas and philosophers already were worried, then, with the essence of the poetry, in an attempt disconnect it of the matrix ondefermentara with other expressions, that also had been conquering autonomy epassando, for similar characteristics, to the quality of sorts. The poetry, on to the structure of the narrative, is the expressoartstica that more quarrels have excited in relation to its essence. Between Greek osfilsofos and the modern studies of ensasta North American SusanneLanger have a long interpretativa scale. For it, the poetry is not maisrepresentativa, therefore it was disentailed of the concern to imitate the nature. Oingls Herbert Read, also, arrives the similar conclusions, when estabelecea difference between poetry and chats: ' ' in it chats, the words imply, generally, the analysis of a mental state, to the step that in palavrasaparecem them to the poetry as objective things, that keep one definite equivalence with estadode mental intensity of poeta.' ' Poets and readers, critics and historians, theoreticians eprofessores have referred themselves, to the long one of history, to the poetry and the poem, oracomo distinct things, however as identified things. They are innumerable astentativas of definition, but none presented with the necessary universality and origor to its aesthetic, philosophical or scientific affirmation as deLyra. For Peter Lyra (1986: 06) the poetry is situated in problematic way in doisgrandes conceptual groups: however as a pure and complex incorporeal, previous substance to the independent poet and of the poem and the language, and that only seconcretiza in words as content of the poem, by means of the activity human being; oracomo the condition of this indefinite and absorbent activity human being. Already in the vision of Guillermo de Geir Fields, ' ' poetry antes of everything, communication effected by words only, of a contedopsquico (affective-sensrio-conceptual), accepted for the spirit as a whole, umasntese' '. In this psychic content the sensrio will predominate to the times, outrasvezes the affective one, others the conceptual one, therefore the poet when expressing itself nuncatransmite pure concepts, wants to say, it never transmits concepts without mixture desensorialidade or sentimentalidade.