Pathos is one of those concepts that mostly underestimated its importance versus other Aristotelian concepts. It can be observed that pathos frequently explained in twofold relations and in that sense pathos' s importance neglected vis-a-vis other twofold concept. One of the most important of those twofold relations is Logos - Pathos that exiles Pathos to the illogical territory and curb its implications to the feelings and passivity. In contemporary research we see that researchers stressed on Pathos as a fundamental concept to Aristotle's reading. The reason for recent stressing is that researchers read pathos in relation to Kinesis (change, motion). This new vision on Pathos takes it necessary to any kind of change and motion. For that reason, Pathos is not definite by illogical and sensitive territory. This article tries to deconstruct the twofold relation between Logos - Pathos and on the other hand to recognition Poetics intentionality with taking advantage of Pathos's concept.

The main question is what is pathos and what can it have to do with art? Pathos is one of the concepts that are very important in Aristotle's thought. To the extent that contemporary researches emphasize the importance of the pathos and its fundamental role in the reading of Aristotle’ s thought. Heidegger was one of the first scholars to pay attention to Pathos in contemporary times. Subsequently, the French phenomenologist Michel Henry has been critical of Heidegger in his relation to Aristotle, and the theoretical origins of this article are rooted in Henry's ideas about Pathos. Michelle Henry has a critical reading of Heidegger and Husserl and calls his phenomenology “ Phenomenology of life” . He believes that real life is invisible and the secret meaning of life is as a pathos that can only be experienced within. According to Henry, art, especially abstract art, has been able to show this invisible meaning. Unlike Heidegger, he places the essence of art in life, not in the world. Henry traces the origins of “ Pathos” to Greece, but the meaning he derives from it differs from its conventional historical view. In Henry's reading of Pathos, the pain and suffering that comes with Aristotle's work becomes the idea of liberation and pleasure. In the end, he views Pathos as a pain and pleasure that liberates and promotes it and places it at the center of human life, believing that some works of art can best represent it. For this reason, for an artist like Kandinsky, Henry is someone who looks at the world and phenomena more deeply than other artists and can reflect on the inner experience in his work.