In che senso si possa parlare di 'sistema poetico' secondo Aristotele

The first part (§§ 1-2) of this article presents some of the most relevant key-notions and key-words of the modern System Theory which correspond to the most relevant key-notions which build Aristotle’s Poetics. In the second part (§§ 3-5) the author uses the reverse method, starting from the analysis of the ancient Poetics, from which she extrapolates the systemic lexicon and the systemic theory. If we do not consider the necessity of the synergy of all the six fundamental elements which, by Aristotle, compose a tragedy (including the ‘minor’ ones, often left aside as not indidpensable by scholars), we miss the organic unity that gives success to a composition. The strong power of the systemic unity is explained by Aristotle through the metaphor of the living organism and the importance of its telos, which (as the word teaches) is at the same time its final goal and its perfection. The final goal of a tragedy is catharsis, recognizable also as its systemic overflow. The first theorist of the aesthetic notion of ‘sublime’ Longinus, 1st BC., seems to have inherited and developed this Aristotelian systematic idea of poetry and of its 'overflow'.