This lecture discusses the late ancient monastic theologian, John Cassian's work Institutes of the Coenobia, book 8, "Of The Spirit of Anger". It focuses specifically on Cassian's contention that unless one deals with the anger one feels and the reasons one ends up getting angry which have to do with one's own mindset, character, and thought processes, it doesn't do one any good to leave other people behind and go out into solitude. To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO You can find over 3000 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase John Cassian's Institutes - amzn.to/3zK6j2b

This lecture discusses the late ancient monastic theologian, John Cassian's work Institutes of the Coenobia, book 8, "Of The Spirit of Anger". It focuses specifically on one of the main pieces of advice that Cassian provides in that book, namely that the vice of anger ought to be entirely rooted out from the soul of a human being. His first discussion of this takes place in chapter 1 To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO You can find over 3000 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase John Cassian's Institutes - amzn.to/3zK6j2b

This lecture discusses the late ancient monastic theologian, John Cassian's work Institutes of the Coenobia, book 8, "Of The Spirit of Anger". It focuses specifically on his advice that we ought to not retain anger once we begin feel the emotion, a theme that Cassian returns to at multiple points in the chapter. Specifically, we should not take the precept "let not the sun go down on your anger" as an excuse to retain anger for a given time-period To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO You can find over 3000 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase John Cassian's Institutes - https://amzn.to/3zK6j2b

This lecture discusses the ancient Greek philosopher Aristotle' work, the Poetics, focusing on his discussions about the two emotions of pity (eleos) and fear (phobos), which Aristotle first mentions in his definition of tragedy. To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO You can find over 3000 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase Aristotle's Poetics - amzn.to/3UcswRY

This lecture discusses the ancient Greek philosopher Aristotle' work, the Poetics, focusing on Aristotle's discussion of character (ēthos), which he identifies as the second most important element or part of tragedy. He tells us: "Character is that which reveals moral choice - that is, when otherwise unclear, what kinds of thing an agent chooses or rejects (which is why speeches in which there is nothing at all the speaker chooses or rejects contain no character); while thought covers the parts in which they demonstrate that something is or is not so, or declare a general view. To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO You can find over 3000 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase Aristotle's Poetics - amzn.to/3UcswRY

This lecture discusses the ancient Greek philosopher Aristotle' work, the Poetics, focusing on the different modes of what Aristotle calls "recognition" (anagnōrisis), one of the key features of good plots in tragedy. He writes: "The definition of recognition was stated earlier. As for its kinds, first is the least artistic and the one used the most from uninventiveness: recognition through tokens....The second kind are those contrived by the poet, and hence inartistic. ... The third kind is through memory, when the sight of something brings awareness...Fourth is recognition by reasoning ­. . .There is also compound recognition which depends on the audience's mistaken reasoning... Best of all is recogni­tion ensuing from the events themselves, where the emo­tional impact comes from a probable sequence." To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO You can find over 3000 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase Aristotle's Poetics - amzn.to/3UcswRY

This lecture discusses the late ancient monastic theologian, John Cassian's work Institutes of the Coenobia, book 8, "Of The Spirit of Anger". It focuses specifically on the only situations in which Cassian considers anger to be legitimate and useful, that is, anger against the bad dispositions within oneself. He discusses this in chapters 7-9. To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO You can find over 3000 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase John Cassian's Institutes - amzn.to/3zK6j2b

This lecture discusses the ancient Greek philosopher Aristotle' work, the Poetics, focusing on three key aspects of good plots: reversal (peripeteia), recognition (anagnōrisis), and suffering (pathos). To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO You can find over 3000 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase Aristotle's Poetics - https://amzn.to/3UcswRY

This lecture discusses the ancient Greek philosopher Aristotle' work, the Poetics, focusing on his discussions of what he considers to be the most important part or aspect of tragedy, namely plot or story (mythos). Aristotle stresses that a good plot is complex, but forms a unity. To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO You can find over 3000 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase Aristotle's Poetics - https://amzn.to/3UcswRY

This lecture discusses the ancient Greek philosopher Aristotle' work, the Poetics, focusing on Aristotle's definition of tragedy, which runs: "Tragedy, then, is mimesis of an action which is elevated, complete, and of magnitude; in language embellished by distinct forms in its sections; employing the mode of enactment, not nar­rative; and through pity and fear accomplishing the catharsis a of such emotions. I use "embellished'' for lan­guage with rhythm and melody, and "distinct forms" for the fact that some parts are conveyed through metrical speech alone, others again through song." He also identifies six parts or elements of tragedy, provides definitions of them, and sets out their order of importance: "Plot, then, is the first principle and, as it were, soul of tragedy, while character is secondary. (A similar principle also holds in painting: if one were to cover a surface ran­domly with the finest colours, one would provide less pleasure than by an outline of a picture.) Tragedy is mimesis of action, and it is chiefly for the sake of the action that it represents the agents. Third in importance is thought: that is, the capacity to say what is pertinent and apt, which in formal speeches is the task of politics and rhetoric. The earliest poets made people speak polit­ically, present day poets make them speak rhetorically. Character is .that which reveals moral choice-that is, when otherwise unclear, what kinds of thing an agent chooses or rejects ( which is why speeches in which there is nothing at all the speaker chooses or rejects contain no character); while thought covers the parts in which they demonstrate that something is or is not so, or declare a general view. Fourth is the diction of the spoken sec­tions: as stated earlier, I define diction as expression through choice of words-something which has the same capacity in both verse and prose. Of the remainder, lyric poetry is the greatest embellishment, while spectacle is emotionally potent but falls quite outside the art and is not integral to poetry: tragedy' capacity is independent of performance and actors, and, besides, the costumier's art has more scope than the poet's for rendering effects of spectacle." To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO You can find over 3000 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler Purchase Aristotle's Poetics - https://amzn.to/3UcswRY