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Most people share a strong intuition that there is much to be learned from great literature and other forms of narrative art. This intuition is, however, philosophically contentious. Plato was the first to argue against the possibility of learning anything from narrative art, but he founded a tradition that persists to the present day. I will engage in this debate in order to examine the role narratives might be able to play in acquiring virtue on Aristotle's ethical account, as it is presented in Nicomachean Ethics. I will claim that narratives have so long seemed a problematic source of learning because philosophers have traditionally approached the issue in the wrong way. They have typically tried to show how we might acquire propositional knowledge through our engagement with art, but this approach has failed because of insoluble problems involved in satisfying the justification criterion. Fictions may be rescued from their problematic status by realising that what we truly get from them is, instead, a type of knowledge-how. I will argue that Aristotelian virtue is itself a kind of knowledge-how and so the type of learning that takes place in engaging with narratives has a role to play in its acquisition and exercise. Virtue depends on types of reasoning that are themselves kinds of knowledge-how and which are employed and improved in engaging with narrative art. These types of reasoning will be described as conceptual, emotional and imaginative understanding. I will show how each is important in relation to virtue and how each is a kind of knowledge-how that may be improved through exposure to narrative art.

In Aristotle's Nicomachean Ethics, Books VIII and IX provide A philosophic examination of friendship. While these Books initially appear to be non sequiturs in the inquiry, a closer examination of the questions raised by the preceding Books and consideration of the discussion of friendship's position between two accounts of pleasure in Books VII and X indicate friendship's central role in the Ethics. In friendship, Aristotle finds a uniquely human capacity that helps readers understand the good is distinct from pleasure by leading them to think seriously about what they can hold in common with their friends throughout their lives without changing who they are. What emerges from Aristotle's account of friendship is a nuanced portrait of human nature that recognizes the authoritative place of the intellect in human beings and how its ability to think about an end and hold its thinking in relation to that end depends upon whether it orders or is ordered by pleasures and pains. Aristotle lays the groundwork for this conclusion throughout the Ethics by gradually disclosing pleasures and pains are not caused solely by things we feel through the senses, but by reasoned arguments and ideas as well. Through this insight, we can begin to understand how Aristotle's Ethics is a work of political philosophy; to fully appreciate the significance of his approach, however, we must contrast his work with that of Thomas Hobbes, his harshest Modern critic. Unlike Aristotle, Hobbes is nearly silent on friendship in his political philosophy, and examining his political works especially Leviathan reveals the absence of friendship is part of his deliberate attempt to advance a politics founded on the moral teaching that pleasure is the good. Aristotle's political philosophy, by way of contrast, aims to preserve the good, and through friendship, he not only disentangles the good from pleasure, but shows a level of human community more suitable for preserving the good than political regimes because these communities have more natural bonds than any regime can hope to create between its citizens.