Abstract

In response to Susan James’s ‘Spinoza and the poetic imagination,’ this essay illustrates how Spinoza and his interlocutors in the artistic society Nil Volentibus Arduum developed approaches to art and its social and political utility in conversation with Aristotle’s Poetics, as well as with its early modern translations, redactions, and applications. They, in turn, developed a poetry and a poetics grounded in the philosophical apprehension of nature, emphasizing vraisemblance or probability and necessity; foregrounding the careers of the affects; and affording critics the ability to mobilize pleasure to their advantage and to shape audiences—a classicist project.