The Poetics of Aristotle : edited with critical notes and a translation by S. H. Butcher

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THE LIBRARY THE INSTITUTE OF MEDIAEVAL STUDIES TORONTO PRESENTED BY Rev, A.A. Vaschalde, C»S*B«

^/ ,/

"^?iWV.^

IM-

.t

Digitized by the Internet Archive in

2011 with funding from University of Toronto

http://www.archive.org/details/poeticsofaristoOOaris

OOKkseVlrfs* statiomers, VANNEVAR &. CO.. -.-.^

YO-G-^ STREET.

-

TORONTO

THE

POETICS OF AEISTOTLE

EDITED

AMTH CEITICAL NOTES AND A TKANSLATION BY S.

H.

BUTCHEE

PROFESSOR OF GREEK DJ THE UNIVERSITY OF EDINBURGH; FORMERLY FELLOW OF TRINITY COLLEGE, CAMBRIDGE, AND OF CNIVEBSITY COLLEGE, OXFORD HON. LL.D. GLASGOW ; HON. LITT.D. DUBLIN ;

SECOND EDITION REVISED

ILontion

MACMILLAN AND

CO., Limited

XEW YORK THE MACMILLAX COMPANY :

1898

All rights reserved

NOV

6 19421

First Edition 1895

Second Edition 1893

PEEFACE The

following Text and Translation of the Poetics

form part of

tlie

volume

entitled Aristotle s

Theory

of Poetry and Fine Art, second edition (Macmillan

and

In this edition the Critical Notes

Co., 1898).

are enlarged,

and the Translation has been

The improvements

fully revised.

care-

in the Translation

are largely due to the invaluable aid I have received

from

my

friend

and colleague. Professor W. R.

To him

Hardie.

would express

I

my

warmest

thanks,

and

also

Tyrrell,

who

has most kindly read through the

proof-sheets,

and

another

to

talked

friend.

over

and

Professor

elucidated

various questions of interpretation and criticism.

In making use of the mass of

which has appeared

Germany, strict

I

have found

principle

critical material

in recent years, especially in it

necessary to observe a

of selection,

my

aim

still

being

They Apparatus

to keep the notes within limited compass. are not intended to form a complete Criticus, I

trust,

still

less to

do duty

for a

commentary,

however, that no variant or conjectural

THE POETICS OF ARISTOTLE

VI

emendation of much importance has been overlooked.

In the

edition I admitted into the text

first

my own

conjectural emendations of

passages 4

:

—

xxv. 14

:

3

iii.

xix. 3

:

xxiii. 1

Of

xxv. 16.

:

:

in the following

xxiv. 10

:

these, one or

:

xxv.

two appear

to have carried general conviction (in particular, xxiii.

two

1);

now withdrawn,

are

—

and

3

iii.

xxv. 14, the latter in favour of (Tucker).

In the a

first

edition, moreover, I bracketed, in

number

certain

of

passages,

words which

I

regarded as glosses that had crept into the text, viz.

I

:

—

now

iii.

1

18

vi.

:

xvii.

:

1

xvii.

:

the bracketed words tmv

and in

5

xvii.

vi.

18 for

MSS.,

\6ycov of the

/xev

By water's

In

Xeyo/juevcov,

5.

give Gomperz's correction tmv

conjecture

rt? avTO'? for

[Ttya9 avTo
There remains a conjecture which the

relegated

to

take

the

into

but

with

some

text

previously

I

which

notes,

now

I

confidence.

It

has had the good fortune to win the approval of

many refer ix.

5.

names

scholars, including the distinguished

of Professor Susemihl to

ov

MSS.) ra Tv^ovTa

(^ovrco

1451

Arabic has

b 14 '

(

=b

13

Bekk.),

names not given

the copyist's error

cf.

Bekk.), where A" has

appears in

and Professor

the

'

ix.

'

:

and

I

in

where the

random.'

though

ovrco,

ovo/xaTa

1451 a 38

2.

apographa

at

Tyrrell.

(

For

= a 36

ov to rightly for

a similar

PREFACE omission of ov in A° Bekk.), ov

12.

cf. vi.

o

7roi7]crec

Vli

indispensable negative being added in

'

= a 30

(

epyov,

the

apogr.'

and

rpaywSia'i

r?}?

rjv

1450 a 32

The emendation not only

found in the Arabic.

gives a natural instead of a strained sense to the

words Ta rv^ovra

but also

ovofiara,

with the general context, as

some length Fine Art

367-9

Another conjecture of to

admit into the

passage,

vi.

<'TrdvT6

of Poetry and

in Aristotle s Tlieory

(ed. 2) pp.

8.

eiTreiv

6i
(note).

my own (

=a

ovk

for

have ventured

I

much

In the

text.

1450 a 14

in better

fits

have argued at

I

disputed

12 Bekk.),

read

I

avrwv w?

oXiyot

elirelv

of the MSS., following the guidance of Diels and of the Arabic.

I

regard ovk okiyoi avrwv as a gloss

which displaced part of the original phrase

As

Crit. Notes).

Rhet.

i.

1354 a

1.

(see

a parallel case I have adduced

where

12,

ovhev

&)?

elirelv,

the

reading in the margin of A°, ought, I think, to be substituted in the text for the accepted reading

The word

6\iyov.

ovSev

&)?

elTvelv,

oXlyov

but

natural gloss

a

is

not

ovhev

SO

co?

elirelv

on on

oXiyov.

the Rhetoric

In two other difficult passages

may

again be

1455 a 30 edition)

(

summoned

=a

to our aid.

27 Bekk.)

bracketed rov

I

have

Oearrjv,

the

supplied with ixdvdavev being, as poet, not the

This

audience.

B 4-4-1

6%

I

In

xvii. 1.

(as in the first

object I

take

to it,

have now

l^e

the

illus-

vm

THE POETICS OF ARISTOTLE

trated

by another

in Rhet.

i.

where Xavddvovalv

8,

re \Tov
long been recognised as the true

uKpoarail has

suppressed

the

reading,

gloss of a precisely similar kind

1358 a

2.

not

being

object

the

audience but the rhetoricians.

Once more,

in

xxiv.

1460 a 26

9.

= a 23

(

Bekk.), where A° gives the meaningless aXXov I

read (as in the

the

of

reviser

Se,

edition) aX?C ovSe, following

first

This

A°.

was

which

reading,

accepted long ago by Vettori, has been strangely

by the

set aside

adopt a variant

chief

modern

dWo

Se

with the result that sentence

forced

is

me

either

irpoaOelvat at the

end of the

2.

i.

1357 a 17

ff.,

A

appears

to determine the question conclusively in

favour of dXV ovhe

.

The passage runs thus jMOV,

who

into impossible meanings.

passage in the Rhetoric, to

editors,

or resort to conjecture,

ovSe

Xeyetv

Bel

avdyKT]

.

.

:

eav yap

.

.

rt

37

jap rovro

avTO<;

.

Trpoadelvai.

rovrrov 'yvdopi'jrpocrTLOrjcnv

6

dKpoaTr]<;, olov

on

Acopiev<; (TT€(pavLT7]v djcova vevLKrj/cev,

Ixavov

ort

^OXvfXTria

elirelv

aTe(f)aviTrj
(TKova-i

jdp

rd ^OXvpurta, ov8e

yap

veviKriKev,

Sel

The general

iravre';.

to

TrpoaOelvai'

idea

is

S'

otl

yiyvai-

closely

our passage of the Poetics, and the

parallel to

expression of

it

similar

even to the word

ovSe

(where the bare ov might have been expected) in the duplicated phrase ovSe delvai.

to

elvai

One i)

difficulty still

yeveaOat

is

Bel Xeyetv, ovBe Bel irpoa-

The subject To supply it in

remains.

omitted.

—

PREFACE thought

is

not,

perhaps,

ix

but

impossible,

it

is

exceedingly harsh, and I have accordingly in this

accepted

edition avariKif)

Tucker's

Professor etvai,

rj

conjecture,

yeve(r6at.

The two conjectures of

my own

above mentioned

by the Arabic. I the Text and Critical Notes

are based on or corroborated

ought to add, that in generally I have

made

a freer use than before of

the Arabic version (concerning which

But

see

p.

4).

must be remembered that only detached

it

passages, literally rendered into Latin in Professor

Margoliouth's Analecta Orientalia (D. Nutt, 1887), are as yet accessible to those like myself

not Arabic scholars

were before us safely be used

;

and that even

who

are

the whole

if

in a literal translation, it could

not

by any one unfamiliar with Syriac

and Arabic, save with the utmost caution and

Of the

subject to the advice of experts.

value of this text,

no

version

final estimate

seems clear that

for

be noted (1)

i.

MSS.

criticism

can yet be made.

precise

of the

But

it

in several passages it carries us

back to a Greek original existing

the

Two

earlier

than any of our

striking instances

may

here

:

6-7. 1447 a 29

where the Arabic

ff.,

confirms Ueberweg's excision of eVoTroa'a and the insertion

ing

of

to the

avaivv^o<;

brilliant

before

rv^yavovaa^

conjecture

accord-

of Bernays

Margoliouth, Analecta Orientalia,

p.

47).

(see

THE POETICS OF ARISTOTLE

X (2) xxi.

1457 a 41

1.

fiejakcwTcov of the

(

MSS.

= a 35 Bekk), where by

Diels has,

for

the aid of

the Arabic, restored the word MaaaaXicorcov, and

added a most ingenious and convincing explanaemendation

introduced for the

is

me

that Diels' restoration of

passage

word

is

is

first

time into

MargoHouth

Professor

the present edition.

This

Notes).

Crit.

(see

tion of '^pfioKalKo^avOo^

tells

this

in

eVev^a/iez/o?

confirmed by the fact that the same

employed in the Arabic of

Aristotle's

Rhetoric to render evx^adai.

Another

great importance has been

result of

In some

established.

fifty

instances where

the

Arabic points to a Greek original diverging from the text of

A*",

it

confirms the reading found in

one or other of the

made a

'

apographa,' or conjectures

either at the time of the Renaissance, or in

more recent

period.

would be too long to

It

enumerate the passages here

;

they will be found

In most of these examples

noted as they occur.

the reading attested by the Arabic

undoubting

It

assent.

is,

possible to concede to A*' the

claimed for I

it

have

commands our

therefore,

by Vahlen. by the

consulted

no longer

unique authority

side

of

Margoliouth's book various criticisms of

Professor it, e.g.

Susemihl in Berl. Phil. Wochenschr. 1891,

and by Diels 1888,

p. 49.

in

But

Sitzungsher. I

have

also

p.

by

1546,

der Berl. Akad. enjoyed the special

—

'

PREFACE

xi

communication with Professor

benefit of private

Margoliouth himself upon a number of

difficulties

not dealt with in his Analecta Orientalia.

He has

my

disposal,

most generously put

his learning at

and furnished me, where

it

with a

literal translation.

Arabic

is

possible to do so,

In some instances the

and throws no

itself obscure,

the difficulty

was

light on

frequently, however, I have been

;

enabled to indicate in the notes whether the existing text

supported by the Arabic or not.

is

In the following passages

have in

I

this edition

adopted emendations which are suggested or confirmed by the Arabic, but which did not find a place in the ii,

first

edition

1448 a 15, 1450 a 18

3.

vi. 7.

/cat

:

loanrep ot (

=

Tovs

a 17 Bekk.), <6

evSaLiMovias koI

r]

8e /3tos>,

of the

ei'Sat/iOi/ta

omitting

MSS.

1452 bio, [tovtwv Se eip^/rat] 1456 a 26 ( = a 24 Bekk.), etV-os XX. 5. 1456 b 39 ( = b 36 Bekk.), avev xxi. 1. 1457 a 38, [koI ao-Ty/^ov]. The literal

xi. 6.

.

.

.

xviii. 6.

lation

of

the Arabic

compounded

of

significant

only not in so far as

xxi.

noun 1. 1457 a 41 above,

(

= a 36

hesitate to

add to

1.

is

and

this

trans-

some

is

insignificant,

significant

in

the

Bekk.), Mao-o-aAtwTwv (see

1459 a

icnas

this

a.8vvaT0V>

list

of corroborated

now admitted into the 24 ( = a 21 Bekk.), Kal firj

conjectures that of Dacier, text of xxiii.

it

of

p. xv.)

XXV. 17. 1461 b 14,
'and

is

—

—

: :

THE POETICS OF ARISTOTLE

Xll

icrropia^

the

Ta<;

icrTopiai<;

ofioi.a
Ta<;

correction

for

crvv6e
of the

(7vvr}6ei
note,

see

/cat

MSS. p.

6fxoia
/u-r)

(In defence of

165

of Aristotle's

Theory of Poetry and Fine Art.) The Arabic, as I learn from Professor Margoliouth, is literally '

and

in so far as he does not introduce (or, there

do not enter) into these compositions

stories

from our text and from Dacier's conjecture. is

nothing here to correspond to

MSS.

;

on the other hand, though

some form have appeared it

There of the

a-wqOet'i

may

awdeo-ei^;

Greek

in the

in

original,

not easy to reconstruct the text which the

is

translation

Another

implies.

municated privately to

me by

conjecture,

deserves mention.

It involves the simpler

The sense then

6/ji,o[a
to om9.

not be like the ordinary histories TocovTovi being

sunk

I subjoin a

in otaf, and,

becoming

Icrropiai at (7vvrj6ei
is,

'

change

and must

the demonstr.

;

'

by

attraction, olac

oJa? icrTopia<; ra? avvrjd€L
few other notes derived from corres-

pondence with Professor Margoliouth {a) Passages

reading of the

com-

Mr. T. M'Vey, well

of

tion

which

This version appears to deviate both

resemble.'

:

where the Arabic confirms the

MSS.

as against proposed

emenda-

:

iv. 14.

1449 a 27, iK/JaiVovre? ttJs AeKxt/CTjs apfjbovbas 'when we depart from dialectic com-

Arabic,

position.'

(The meaning, however,

is

obviously

misunderstood.) vi.

18.

1450 b 14

(

= b 12 Bekk), twv ph

Aoywi/

—

PREFACE

xiil

The

Arabic, 'of the speech.'

owing

sented, but,

/xev

to the Syriac

is

not repre-

form

of

that

particle being identical with the Syriac for the

preposition

of,' it

'

was

likely to be omitted here

by the translator or copyist. xviii. 1. 1455 b 28 ( = b 25 Bekk.). The Arabic agrees with the MSS. as to the position of which are from without and certain things from within sometimes.' xviii. 5. 1456 a 21 ( = a 19 Bekk.), Kal h rots aTrAois Arabic, and in the simple matters.' Trpdyixaa-t Xix. 2. 1456 a 41 ( = a 38 Bekk.), ra irddrj Trapa7roAAaK6s, 'as for things

'

:

crK€vd^€Lv

More doubtful dirb

tt;?

same

:

Arabic,

is xvii. 2.

aur?}?

nature.'

:

to prepare the suflferings.'

'

1455 a 33 Arabic,

= a 30

(

in

'

Bekk.),

one and the

The Arabic mode of translation

is

not decisive as between'' the MSS. reading and the conjecture

a7r' avTrj<;

Trj
(^ucrect)?,

but rather favours

the former. (6) Passages

words

is

where the conjectural omission of

apparently supported by the Arabic 1451 b 34

ix. 9.

(

= b 31

Kal SwaTo. yevkcrOai

Bekk.), oTa dv etKos y^vea-dat

Arabic,

:

:

there

'

is

nothing to

prevent the condition of some things being therein like those

which are supposed to

But we

be.'

can hardly say ^vith certainty which of the two phrases the Arabic represents. XVi. 4.

1454 b 34

(

=b

31 Bekk.), otov 'Opea-rrjs eV ry

l(jityev€La dveyviopLcrev

that which

is

on Opccm^s:

called Iphigeneia,

by Iphigeneia argued that seems

to

'Opf(rTr]<;.

point

to

the

it

Arabic, 'as in

and that

was

is

where-

Orestes.'

This

omission

of

the

first

THE POETICS OF ARISTOTLE

XIV

In

neither

altered the

these

passages,

have

however,

I

reading.

Passages on which the Arabic throws no

(c)

light

of

MSS.

:— i.

9.

1447 b emerges

The only point

22.

the metres

interest that

of

that in the Arabic rendering

('

we ought

there

is

no trace of

to call

which

Kal,

is

him poet

')

of all is

found alike in A° and

the 'apographa.' X. 3.

1452 a 22

(

= a 20

The words

Bekk.).

yiyvea-dai

Tavra are simply omitted in the Arabic. XXV. 18. 1461 b 20

MSS.

The

(

=b

17 Bekk),

line containing

avrhv

oxttc Kal

these words

is

not

represented in the Arabic. XXV. 19. 1461 b 22 ovcrrj<;

fxriSkv

.

.

=b

( .

19 Bekk.), orav

The words

fii]

dvdyKrj^

in the Arabic are

partly obliterated, partly corrupt.

In

conclusion,

I

desire

acknowledge

to

my

obligations to friends, such as Mr. B. Bosanquet

(whose History of Aesthetic ought to be in the hands of

students of the subject), Dr. A.

all

Mr.

W.

W.

Lock,

points,

have

J.

who have

written

me

Verrall,

notes on particular

and to many reviewers by whose

profited.

In a special sense

I

Professor Susemihl for his review of in

W.

Courthope, Mr. A. 0. Prickard, and Rev.

am

criticism I

indebted to

my first

edition

the Berl. Phil. Wochenschr., 28 th September

1895, as well as for the instruction derived from his

numerous

many where.

articles

on the Poetics, extending over

years in Bursian's Jahreshericht and else-

Among

other reviewers to

whom

I

feel

PREFACE grateful, I

in the

XV

would mention Mr. Herbert Richards

Classical Review,

Hardie in Mind,

vol. iv.

May

No.

15

of the unsigned articles in the

1895; Mr. R. P. ;

and the authors

Saturday Review,

2nd March 1895, and the Oxford Magazine, 12th June 1895.

To

Messrs. R.

k

R. Clark's Reader I would once

again express no merely formal thanks.

Edinburgh, November 1897.

CONTENTS PAGE

Editions, Translations, etc

xix

Analysis

1

List of Abbreviations

4

TEXT AND TRANSLATION

6

—

EDITIONS, TRANSLATIONS, ETC. The

following

is

a

order

Valla

of the chief editions

list

and of other writings

and translations

of the Poetics,

relating to this treatise, arranged in chronological

:

(G.),

Latin translation.

Venice, 1498.

Aldine text, in Rhetores Graeci. Latin translation, with the

Venice, Aldus, 1508.

summary

of Averroes

1198).

{ob.

Venice,

Arrivabeue, 1515. Pazzi (A.) [Paccius], Aristotclis Poetica, per

Alexandrum Paccium,

tium Florentinum, in Latinum convcrsa. Trincaveli, Greek text.

Robortelli

Venice, 1536.

In librum

(Fr.),

]jatri-

Venice, Aldus, 1536.

Aristolelis

de Arte Poetica explicationes.

Florence, 1548.

Segni

(B.),

Rettorica e Poetica d' Aristotcle tradotte di Greco in lingua

vulgare.

Florence, 1549.

Maggi (V.) [Madius], In

librum de Poetica

Aristotelis

explaiiationes.

Venice, 1550.

Vettori (P.) [Victorias], Commentationes in irrimum librinn Aristotelis de

Arte Poetarum.

Florence, 1560.

Castelvetro (L.), Poetica d' Aristotcle vndgarizzata.

Vienna, 1570

;

Basle,

1576.

Piccolomiui (A.), Annotationi nel libro della Poetica

d' Aristotcle,

traduttione del medtsivio libro in lingua volgnrc.

Casaubon (L), edition of Heinsius (D. ) recensuit.

Goulston Dacicr,

(T.),

La

con la

Venice, 1575.

Le3Hlen, 1590.

Aristotle.

Leyden, 1610.

Latin translation.

London, 1623, and Cambridge, 1696.

Poitiqnc tradnitc en Franqais, avec des remarques critiques.

Paris, 1692.

Batteux, Les quatres Poe'tiques d'Aristotc, d'llorace, de

priaux, avec Paris, 1771.

les

traductions

et

des remarques

Vida, de Des-

par I'Abbi Batteux.

THE POETICS OF ARISTOTLE

XX Winstanley Reiz,

commentary on

(T.),

De Podica

Metastasio (P.

Liher.

Estratto dclV Arte Podica d' Aristotele e considerazimii su

),

la medcsima.

Twining

Paris, 1782.

Treatise on Poetry, translated with notes

(T.), Aristotle's

and on

translation

and Pye (H.

original,

tJie

A

Commentary

and two

To which

is

corrected edition of the translation of the Poetic. (T.

),

Be

Textum

Poetica Liber.

prefixed a neio and London, 1792.

recensuit, versionem refinxit,

animadversionihios illustravit TJiomas Tyrwldtt.

Buhle

T.

(J.

Hermann

)

Grafenham

(E. A.

Ars Poetica cum commentariis. Leipzig, 1821.

etc.

Ueher die Poetik des Aristoteles

(Fr. v.),

den ncuern Dramatikcrn. Spengel

Ritter

und

Munich, 1837.

philos.-philol. CI. 11.

Ad

(Fr.),

antiquos

codices

rccognitam,

E.),

frangaise

et

et

com-

Cologne, 1839.

Essai sur Vhistoire de la Critique chez

la PoMiqiie d'Aristote

conversam,

latine

mentario illustratam edidit Franciscus Ritter.

Egger (M.

sein VcrMltniss zu

Berlin, 1829.

Ueher Aristoteles' Poetik in Abhandlungcn dcr Munchener

(L.),

Akad.

Leipzig, 1802.

W.), De Arte Poetica lihrum denuo recensuit, commen-

tariis illustrai'it,

Raumer

et

Oxford, 1794.

Gottingen, 1794.

recensuit.

(Godfrey),

the

illustrating the Poetic oj Aristotle hy examples

taken chiefly from the modern poets.

Tyrwhitt

07i

dissertations on poetical

London, 1789.

imisical imitation.

J.),

Oxford, 1780.

Poetics.

Leipzig, 1786,

les Grecs,

sidvi de

d'extraits de ses Problemes, avcc traduction

commentaire.

Paris, 1849.

Bernays (Jacob), Gruiidziige der verlorenen Abhandlung des Aristoteles

Wirkung der

iiber

Saint-Hilaire

perpituclles.

Tragodie,

Breslau, 1857.

Podtique traduite en frangais

(J. B.),

et

accompagnde de notes

Paris, 1858.

Stahr (Adolf), Aristoteles uiul die Wirkung der Tragodie.

Berlin, 1859.

Stahr (Adolf), German translation, with Introduction and notes.

Stutt-

gart, 1860.

Liepert

(J.), Aristoteles ilber

Susemihl zig,

Vahlen Spengel

Vahlen

(J.

(F.),

German

den Zweck der Kunst.

Passau, 1862.

translation, with Introduction

and

),

Beitragc zu Aristoteles' Poetik.

(L.), Aristotelische (J.) recensuit.

Studien IV.

Leip-

Vienna, 1865.

Munich, 1866.

Berlin, 1867.

Teichmiiller (G.), Aristotelische ForscMtngen.

der Poetik des Aristoteles.

II.

I.

Bcitrage zur Erkldrung

Aristoteles' Philosophic der

Halle, 1869.

Ueberweg

notes.

1865 and 1874.

(F.),

German

translation and notes,

Berlin, 1869.

Kunst.

EDITIONS, TRANSLATIONS, ETC. Reiiikens

H. ), Aristoteles

(J.

Kunst,

iiber

besonders

XXI Tragodie.

iiber

Vienna, 1870,

Doring

Die Kunstlehre des

(A.),

Ueberweg

(F.),

Ars

{Parisiensis 174i)-

Bywater

(I.),

Aristoteles.

Moore

(J.)

(E.),

Aristotelia in Journal of Philology, v. 117

iterum recensuit

and

xiv. 40

ff.

Berlin, 1874.

and 1893.

Leipzig, 1878

ilbcr die Aristotelische

Thcorie des

Berlin, 1880.

Brandscheid (F.), Text, German translation, mentary. Wiesbaden, 1882.

(D.),

notes and c»m-

critical

with English translation.

(E. R.), Vahlen's text

Margoliouth

ff.

Oxford, 1875.

Bernays (Jacob), Zwei Ahhandlungen

Drama.

A'

1885.

adnotatione critica auxit.

et

Vahlen's text witli notes.

Christ (W.) recensuit.

Wharton

codicis antiquissvmi

Berlin, 1870.

London and Cambridge, 1873 and Vahlen

Jena, 1870.

ad fdem potissimum

Poetica

Oxford, 1883.

Analecta Oricntalia ad Poeticam Aristoteleam.

Lon-

don, 1887.

Benard (C), L'EstMtique

Gomperz

(T.),

Zu

d'Aristote.

Aristoteles' Poctik,

Paris, 1887. I.

(c. i.-vi.).

Vienna, 1888.

Heidenhain (F.), Averrois Paraphrasis in librum Pocticae Aristotelis Jacob Mantino interprete. Leipzig, 1889. Prickard (A. O.), Aristotle on the Art of Poetry. Appendices. London, 1891.

La

A

Lecture with two

Podtique d'Aristote, Manuscrit 1741 Fonds Grec de la BibliotMgue

Nationale.

MM. Carroll

Preface de

Lumiere.

M. Henri Omont.

Photolithographic de

Paris, 1891.

(M.), Aristotle's

Poetics

in the Light of the Homeric Scholia.

Baltimore, 1895.

Gomperz

(T.), Aristoteles' Poetik.

Uebcrsetzt

tnul

eingcleitet.

1895.

Gomperz

(T.),

Zu

Aristoteles' Poetik, II., III.

Vienna, 1896.

Leipzig,

)

:

ARISTOTLE'S POETICS

ANALYSIS OF CONTENTS I.

'

Imitation

{iJ.ifj.Tiais)

'

the

common

principle of the Arts of Poetry,

Music, Dancing, Painting, and Sculpture.

Medium

tinguished according to the

These Arts

dis-

or material Vehicle, the

The Medium of and the Manner of Imitation. Harmony (or Melody), is Rhythm, Language, and

Objects,

Imitation

'

'

taken singly or combined. II.

The Objects

of Imitation.

Higher or lower Arts.

the Imitative

tj'pes are represented in all

In Poetry this

is

the basis of the distinction between

Tragedy and Comedy. III.

The Manner

of Imitation.

Poetry narrative

may

be in form either dramatic narrative, pure

(including

poetry),

Ijric

digression follows on

the

name and

pure

or

original

drama.

home

A

of the

Drama. IV.

The Origin and Development Psychologically, Poetry instinct

of

Imitation,

of Poetry.

may

and the

be traced to two causes, the instinct

of

Harmony and

Rhythm. Historically viewed. Poetry diverged early in two directions

Homeric poems Tragedy and Comedy exhibit the distinction in a developed traces of this twofold tendency are found in the

form.

The

successive steps in the history of

Tragedy are enumer-

ated.

V. Definition of the Ludicrous (rd yeXoiov), and a brief sketch of the Points of comparison between Epic Poetry rise of Comedy.

and Tragedy.

(The chapter

B

is

fragmentary.

—

ARISTOTLE'S POETICS

:

Six elements in Tragedy

VI. Definition of Tragedy.

—namely,

Scenic Presentment

Song

Lyrical

namely, Plot

{/j-eXoTroda), (fj-vdos),

(6

Diction

Character

ttjs

6^€ws

(X^^£s)

{rjdos),

;

three external,

:

Kdcrfios

or

oi/'is).

three internal,

and Thought {dLavoLa). is of primary import-

Plot, or the representation of the action,

ance

Character and Thought come next in order,

;

VII. The Plot must be a Whole, complete in

itself,

and of adequate

magnitude. VIII. The Plot must be a Unity.

Unity of Plot consists not in Unity Unity of Action.

of Hero, but in

The

must be organically connected.

parts

IX. (Plot continued.) Dramatic Unity can be attained only by the observance of Poetic as distinct from Historic Truth for ;

Poetry

an expression of the Universal, History of the Par-

is

The

ticular.

rule of probable or necessary sequence as applied

Certain plots condemned for want of Unity.

to the incidents.

The

best Tragic effects depend on the combination of the

Inevitable and the Unexpected.

X. (Plot continued.)

of Simple {air\ol)

Definitions

and Complex

{ireirXeyfiivoi) Plots.

Sudden Reversal

XI. (Plot continued.) n-^reia),

Incident XII.

The

Recognition

'quantitative parts'

fined

:

—Prologue,

or Recoil of the Action {irepi-

and Tragic and explained.

(dvayvdipLo-Ls),

(Trddos) defined

{/J.ipT]

Episode,

or disastrous

Kara t6 irocbv) of Tragedy de-

etc.

(Probably an interpolation.)

AVhat constitutes Tragic Action. The change of fortune and the character of the hero as requisite to an ideal Tragedy. The unhappy ending more truly tragic than the poetic justice which is in favour with a popular audience, and belongs rather to Comedy.

XIII. (Plot

continued.)

'

XIV.

'

The

(Plot continued. )

tragic emotions of pity

and

fear should

To produce them by Scenery

spring out of the Plot

itself.

Spectacular effect

entirely against the spirit of Tragedy.

Examples emotional

XV. The element

of

is

Tragic

Incidents

designed

to

or

heighten the

effect.

of Character (as the manifestation of moral purpose)

in Tragedy.

Requisites of ethical portraiture.

The

rule of

necessity or probability applicable to Character as to Plot.

The

'

Deus ex Machina

Character

XVI.

is

'

(a

passage out of place here).

How

idealised.

(Plot continued.)

Recognition

:

its

various kinds, with examples.

:

:

ANALYSIS OF CONTENTS XVII. Practical

rules for the Tragic Poet

To

(1)

place the scene before his eyes,

parts himself in order to enter into vivid

and to sympathy

act the A\ith

the

dramatis personae.

To sketch the bare

(2)

ing to

>vith those of

XVIII. Further rules

of Tragedy are here incidentally contrasted

Epic Poetry.

for the Tragic

To be

(1)

outline of the action before proceed-

in the episodes.

fill

The Episodes

Poet

careful about the Complication {Uais)

nov^ement (Mens) of the Plot

;

and D^-

especially the Dinouement.

To imite, if possible, varied forms of poetic excellence. Not to overcharge a Tragedy with details appropriate

(2) (3)

to Epic Poetry.

To make the Choral Odes

(4)

— like the Dialogue — an organic

part of the whole.

XIX. Thought

and Diction

or the Intellectual element,

(Stdj'ota),

in

Tragedy.

Thought may be expressed either by the dramatic speeches composed according to the rules of Rhetoric or through the dramatic incidents, which speak for themselves. Diction falls largely within the domain of the Art of De-

—

—

clamation, rather than of Poetiy.

XX.

Language in general. An analysis of the parts of and other grammatical details. (Probably interpolated.

Diction, or speech,

XXI. Poetic

The words and modes

Diction.

in Poetry

:

of speech

admissible

including Metaphor, in particular.

A passage — probably interpolated — on the Gender of Nouns. How Poetry combines elevation of

XXII. (Poetic Diction continued.)

language with perspicuity.

XXIII. Epic Poetry.

It agrees

with Tragedy in Unity of Action

:

herein

contrasted with History,

XXIV.

(Epic Poetry continued.)

Tragedy. trated,

The

Further points of agreement with

points of difference are enumerated

— namely,

(1)

the length of the

poem

;

(2)

and

illus-

the metre

;

(3) the art of imparting a plausible air to incredible liction.

XXV.

brought against Poetry, and the principles on which they are to be answered. In particular, an elucidation of the meaning of Poetic Truth, and its difference from common

Critical Objections

reality.

XXVI. A

general estimate of the comparative worth of Epic Poetry and

Tragedy.

The

alleged defects of Tragedy are not essential to

Its positive merits entitle it to the higher

rank of the two.

it.

:

ABBEEVIATIONS IN THE CEITICAL NOTES A<=:

the

Parisian

century fidently,

which

manuscript (1741) of

the

11th

but

too

con-

generally,

:

perhaps

supposed to be the archetype from

all

other extant

MSS.

directly or in-

directly are derived.

Apogr.

=

one or more of the MSS. other than

Arabs

=

the Arabic version of the Poetics (Paris 882 A),

A*^.

of the middle of the 10th century, a version

independent of our extant MSS.

It is not

directly taken from the Greek, but

is

a trans-

lation of a Syriac version of the Poetics

unknown

now

author,

by an

(The quotations

lost.

in the critical notes are from the literal Latin

Mar-

translation of the Arabic, as given in goliouth's A7ialecta Orientalia.)

the Greek manuscript, far older than A'= and no

longer extant, which was used by the Syriac (This

translator.

by Susemihl brevity.)

It

I

symbol already employed

have taken for the sake

must be remembered,

that the readings ascribed to

we

infer to

2

of

therefore,

are those

which

have existed in the Greek exemplar,

from which the Syriac translation was made. the Aldine edition^of Bhetores Graeci, published

Aid.

in 1508.

Vahlen's text of the Poetics Ed.

Valilen

Vahlen

3.

by him

into

words with manuscript authority (including

A*^),

a conjecture of Vahlen, not admitted

coni.

the text.

]

[

=

which should be deleted from the

< > =

text.

a conjectural supplement to the text.

* *

=

a lacuna in the text,

f

=

words which are corrupt and have not been factorily restored.

satis-

API2TOTEAOY2 nEPI nOIHTIKHS

API2TOTEAOT2 nEPI nOIHTIKH2 Uepl

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he eK Troacov Kal

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earl fiopicov, ofiOLw; he Kal irepl twv

avTrj<;

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re Kal rcov elScov avrrj^,

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en

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ttoWo, jiipLovvTai nve^ direiKai^ovre^

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12.

:

(pijivris

fjuev

ev pvOjxcp Kal \oya> Kal dp/jLovta, TovToi
fxefityfievoi'^'

:

21.

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(T'^ijfiaaL

1447 a 9. eKaarov apogr. '^Kaaro N A<=. habuit iam S var. lect., 'et dicaiuus

iv

Trj
Tep^i/77? ol

rrjv

A'^

r]

hiOvpa/ji/BoTroLrjnKT] Kal

tov avrov rpoirov.

ovTco Kav Tat
rj

rj

to avvoXov, hLa(f)epovai, he dWijiXcov rpialv, 3

fxi/jitjaetf;

Kal

pa)<;

eiroTTOLia hrj Kal

Kal KiOapicrnKrj'i iraaai rvy^dvovaiv

ifKeicxrri

77

jdp tS

;7

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he Kco/xtphia Kal

t?}?

:

et

'imitatur rebus diversis' Arabs

Arabs (piaeus Maggi koL A° kKv Aid. :

'

:

:

"K^yu/j-ev

apogr.

dicimus' Arabs.

5t'

:

rcDi yevei.

:

XP^' Xiyofiev 17. to!

A.'^.

avrrts r^s ^i^crews

20.

Spengel.

;;

ARISTOTLE'S POETICS I propose to treat of Poetry in itself and of its various I ^^^ ^ kinds, noting the essential quality of each ; to inquire into the structure of the plot as requisite to a good

number and nature

the

into

poem

is

composed

;

us

let

begin

poem

parts of which a

and similarly into whatever

within the same inquiry. nature,

of the

else falls

Following, then, the order of

with the principles which come

first.

Epic poetry and Tragedy, Comedy also and dithyrambic 2 poetry,

and the music

most of

modes

of

the flute and of the lyre in

their forms, are all in their general conception

They

imitation.

of

another in three respects,

manner

or

mode

of

—

differ,

however, from one 3

the medium, the objects, the

imitation,

being

each

in

case

distinct.

For as there are persons who, by conscious

mere the

habit, imitate

medium

art

or 4

and represent various objects through

of colour

and form, or again by the voice

so in the arts above mentioned, taken as a whole, the

imitation

is

produced by rhythm, language, or

either singly or combined.

'

harmony,'

8

4—9.

I.

fiovov

jjbevai

25 erepat

re avKrjriKrj koi

rf

Tvyydvovatv

jap ovTOi

T03V op')(7}aTwv, Kol

Tot9

payvvaa

e'lre

tS)v

av

10 ovSev
aevdpyov

-v|ri\ot9

pier ctXki^Xwv

rot'?

i)

irpci^ei'^'

he

r)

fxerpoL^ koX tov-

vvv

rod

p^e-^pt

ovop^daat kolvov tov<;

€')(OLpiev

rayv

eW^ evi tlvl yevei '^pwp.evT)

rv'y')(^dvovaa

fierpcov,

rcve'i rj

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hiQ,

koL iradr] koX

tjOtj

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pvOjxwv fiL/xovvrai koI

•\^\^^,

rj

22

ovcrat rotavrac ttjv Bwafitv, olov

tw

avpLyycov, avTa> Se 77

24—1447 b

1447 a

7

kol

S(0(f)povo
koX tou? %a)KpaTiKov
p,ip,ov<;

Tt9 Bid TptpLerpcov

eXeyelcov

i)

rj

roiv

dWcov

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TO TTOielv ekeyetoiroLom, tov<; 8e eTroTrocov; ovop,a-

Kara

^ovaiv, ov'^ 0)9

Kal yap dv laTpuKOV

Twv pberpwv eK^epwcnv,

Tt Bed

dWa Koivfj

rrjv pblp^rjaLV ironjTa^

TO fieTpov 7rpo(7a
i]

Kara

(fjvcrcKov 8

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Tov 20 ^

Kav

op.olw'i Be

TTOLOiTO Trjv

pov

p^dWov

BiKaiov KaXeiv, tov Be (pvcrioXoyov

p^ev TTOLijTrjv

7rotr]Tr]V'

:

Ti9 drravTa

Td pbeTpa

Kaddirep ^aip7]p,Q)v

pLLp,7](Ttv

pbiKTrjv pa-drcpBlav

25. Tiryxdi'ouiTij' apogr.

et

eTToirjcre

pbtyvvcov 9

Kei^raw-

d'TvdvTCOv tCov p,eTpa)v, Kat

e'f

ToiavraL add. apogr.

rvyxo^viocTLv A'^.

tovtov

:

habuit

26. ti$ avT($ codex S, unde Syrus- Arabs 'aliae artes similes vi.' fiLfxavvrai del. Spengel, quod confirmat S^ S male (Margoliouth). Arabs 01 A^ ars instrumenti saltationis Arabs. 27. 7; apogr. '

:

ol

Gomperz

<xa.pi-icTepoi>

male (Margoliouth).

iivoTvoda

29.

S

6pxv<^TpQiv

Ueberweg,

seclus.

:

:

'

<xapt^j'Tes> Zeller.

ol

:

cm. iam S.

1447 b 9. ^ toij i/'tXeis fjLerpois coni. Vahlen. dviivvfioi add. Bernays, confirmante Arabe 'quae sine nomine est adbuc.' \pCko2s

15.

^ Tols

Karh,

physica

'

/jL^rpois

apogr,

ttjv

Arabs.

codd.

:

22.

'

:

ttjv

Idem

IJ.LKTTJV

om.

Karot

S

:

16.

A=.

praestat

Averroes

pllkttjv

(pvaiKbv

Heinsius

(Margoliouth)

'

:

:

'

re

fiovaiKdv

pafqiSiav delere voluit Tyrwhitt.

Vahlen Kal om. S KalroL Rassow, Gomperz. Loci difficultatem transpositione verborum tollere vult Susemihl 20-22 Kal TOVTOV apogr.

:

/cat

A<=,

:

:

;

ofJLoiios

5^

.

.

.

TUP

ixiTpusv

post 12

Toio{)T(j}v

collocat,

commate ad tolo^tuv

ARISTOTLE'S POETICS

Thus

music of the

in the

similar to

without

harmony

'

another

1447 b

alone,

and again,

consist

of

for

;

'harmony'

also in other arts, such

;

which are essentially

pipe,

alone

is

used 5

even dancing imitates character,

by rhythmical movement.

action,

art

verse,

'

9

lyre,

In dancing, rhythm

these.

emotion, and is

shepherd's

the

that of

4—9

and the

flute

and rhythm alone are employed as

I.

There

6

which imitates by means of language

that

may

but

prose

either

in

either

combine

kind

one

—

verse

or

— which

metres

different

or

but this has hitherto been

without a name.

For there the

mimes

dialogues poetic

poet

on

People to the

'

in

entitles

when

them

all

author

;

common

On

could apply to 7

on

the

the

other,

any

or

elegiac,

word

'

hexameter) poets, as

makes the

maker

'

or

if

it

of poet

were not

poet, but the verse that

indiscriminately to

name

to

similar

the metre, and speak of elegiac

is

Even

the name.

a treatise on medicine or natural science

out in verse, the

call

of

is,

that

and,

;

iambic,

indeed, add

do,

name

poets, or epic (that

the imitation

hand

one

the

imitations

metre. *

common term we

no

is

of Sophron and Xenarchus and the Socratic

8

brought

is

by custom given

to the

and yet Homer and Empedocles have nothing in but the metre, so that

it

would be

right to

the one poet, the other physicist rather than poet.

the same principle, even

if

a writer

imitation were to combine all metres, as in his Centaur,

which

is

in

his

poetic 9

Chaeremon did

a medley composed of metres

:

10

9

I.

—

II.

1447 b 23

4.

Trpocrayopevreov.

TToiTjTTjp

25

rwv

re

ovv tovtcov

Bi(opL(r6co Tot<; elprj-

fjLev

10

Xeyo) Be olov pvdfiS Kot fieXei koX fxerpw, wcrirep

fjbevot<;, ri

Tiv6<;

a 15

at iraai, '^pSivrai

irepl

TovTOv TOP rpoirov elal Be

— 1448

Bcdvpafju^cKcov

T€ TpajoyBla Kal a/xa iraaiv al Be

rwv

Bta(f)opa<;

Kara

Kal

7roLr)crc<;

ravra^

fiepo'i.

oh

Te')(yS)V, ev

tojv voficov Koi

77

on

Bia^epovcn Be

KcofMcpBla'

1)

rj

al fxev

ovv Xejco ra?

fiev

iroLovvrat rrjv

puijjb'qcnv.

eVel Be /xifiovvrac ol fiL/xovfievoc irpdrrovTa^;, dvajKri Be

II

TOVTOvi

rj

cTTTOvBalovi

Bia^epovcn

(f)av\ov<; elvat

rj

del Tovroi^ dKoXovdel

7rdvre<;), rjroi, I3e\ri0va<;

Kal roLOvrovi, coaTrep ol

5 rj

Kpelrrov;, Uavcrcov Be

on

BrjXov Be

Kal

{rd yap

a'^eBbv

r]6r)

KaKca yap Kal dperfj rd

fjL0V0i,<;,

Ka6'

rj

TLoXvyvforo'i [xev

ypa(f)ei
eKdcrrr]

yap

e'lKa^ev

')(eipov^, Aiovv(tlo<; Be ofxoiov^

rwv Xe-^detawv

ridrj

'^eipova'i

r}fjbd
jjLiixrja-eoiv

e^ei 2

ravra
Kal ydp ev

rovrov rov rporrov.

ean yeveaOaL ravra^

10 KiOaplaei

Xoyov; Be Kal

irepl rov
Kal avKrjaei Kal 3

op'X^rjcrei

rd<; 7rap(pBLa
15

')(eipov<;'

rov^

v6/jL0v
ovK '

(pvaioXoyov

ijdr]

Aid.,

Kal

.

.

T
.

dper^ apogr., 2:

apogr.

:

to

A<=.

iroLy]rT}v

29.

KaKia 12.

6

Gryph.

:

.

.

:

efficitur

sic

:

apogr.

at

diOvpafx^wy apogr.

oh Vettori .

ttoltjttjv

^4X0-

dperr] A^.

:

ol

A<=

28. wacrai apogr.

1448 a

a?s A<=. 7.

St]

ante rds add. apogr.

3.

Kadq.

Morel.

13.

8.

rpayipSlas ut

AetXtdSa videtur S, qui primus faciebat tragoediam Arabs. cf. Castelvetro). pr. man., fort, recte, ut in Iliadis parodia (Tyrrell '

'

:

oi toi>s

ibcrirep

codd.

:

Vahlen.

ilxTirep

Margoliouth 'Apyas Castelvetro

coni.

iocnrep ovrcos

:

:

ut

TrpocrayopevTeov concludatur locus

24. at

26.

'

ov A^.

:

et 22 Kal

fj.i/j.7i(nv

/xdWou •^ Bekker.

homines qui Arabs.

odv apogr.

Kal irepl 4

rov'i Bi6vpdfj,/3ov^

ol rov^i K.vKX(07ra<; TLfioOeo'i Kal

posito, deleto 13 ttoloito tt^v

verbis

Op,rjpo
%dcno
Kal l^iKO'^dpr)^

Kal irepl

ojjloiw^ Be

'

rrjv y^ikoiierpiav, olov

fiev ^e\riov<;, KXeo(f)cov Be of^olovi, 'Hy^ficov Be 6

dBa

Kal [ro]

rd<; dvo/xoLorrjra'i'

S

ut videtur

ws Il^po-as Vettori

:

:

Hxrirep

A<=

15.

&(nrep ya.%

yap

coni.

9— II.

ARISTOTLE'S POETICS I of all kinds,

term poet. There

we should bring him too under the So much then for these distinctions. some

again,

are,

arts

—

means above mentioned,

which employ

namely,

general

all

tune

rhythm,

the 10

and

Such are dithyrambic and nomic poetry, and

metre.

and

Tragedy

also

H

4

difference

that

is,

Comedy in

the

but

;

first

them the

between

two cases these means

now one

are all employed in combination, in the latter,

means

employed,

is

now

another.

Such, then, are the differences of the arts with respect to the

II ^^^ *

medium

of imitation.

Since the objects of imitation are these

men must

in action,

and

moral character mainly answers to these divisions,

(for

goodness and of

men

be either of a higher or a lower type

moral

men

badness being the distinguishing marks

differences),

follows that

it

either as better than in real

as they are.

It is

men

depicted

as

noble, Dionysius

Now

we must

the same in painting.

than they

nobler

drew them true

to

represent

or as worse, or

life,

are,

Polygnotus

Pauson

as

less

life.

evident that each of the modes of imitation 2

it is

above mentioned will exhibit these differences, and be-

come

a distinct kind in imitating objects that are thus Sucli diversities

distinct.

may

be found even in dancing, 3

and lyre-playing.

flute-playing,

So again in language,

whether prose or verse unaccompanied by music. for example,

as

they are

parodies,

than they

makes men ;

better than they are

Hegemon

the

Thasian,

the

;

Homer, Cleophon

inventor

of

and Nicochares, the author of the Deliad, worse are.

and nomes

;

The same thing holds good

here too one

may

of

dithyrambs 4

portray dilfereut types, as

12

4—111.

II.

av

^€vo
TpajfoSla /30V9

20

he tovtcov

rpLrrj

eariv ore

/jit/j.ei(T6ai

Bt,a(f)opa

koI yap iv

Ta.

civ

fJajJuy'icraiTO

fxev

iv Tpial

fit/Jbov/jbivovi].

6 avTO
TT] fiev

eo?

rj

KOT

av

hrj

TLve<;

avrd

ptet? (tj}9 ixev

eVt

Tr;?

oh

Bia(f>opat<;

rwv

avTol

c^acnv,

on

yap

Trap"

16.

fiera-

/xi/jirjai'i

r)

yap

K(i)/jLa<;

ol

KWfi(phia
rrj<;

Meyapet'i

6

^Ei7rL'^ap/uL0
•

dv

tis]

secl.

re ivravOa

o'i

Kal ol iK

TrotT/r?)?

coni.

rrj^;

ttoWS

Tpay(phla
ra ovopLara

TTotovfxevoL

Td
hijfxov^, (09 Kcoix(phov<;

[pLifirjaairo

yap

hto Kal

hpa)vra
/XL/Jbovvrac

Bi]/jbOKpaTia
rjv

cnj/jbeLov

KaXelv ^aaiv, ^Adrj-

ouk dirb tov Kcofid^etv \e-

Vahlen.

aiV^ 5^ Vettori

rrj

:

'in

Tavrrj d^ rrj M. Casaubon avrfi Be ry codd. <'^> yiyvdfxevov 21. 6t^ fj-ev om. ut videtur S. OT^ /xev d-n-ayyiWovTa <6t^ 5'> 'irepbv tl yiyvbjxevov Bywater secutus Eodem fere pervenit Arabem secutus Gumposch, recte, ut opinor.

eadem discrepantia Arabs: '

:

18. TWJ' w;'

.

Margoliouth.

tl

seclus.

Zeller,

.

:

.

Spengel.

iravTo. I. Casaubon. secludendum (Bywater) tuetur S. seclusi olini seclus. Vahlen dvayKaloji S (Margoliouth): Kal & add. apogr.

23.

:

:

36.

aiirol et 'Adijvalovs

iam editio Oxoniensis 1760 Wilamowitz, Gomperz.

:

odroi et

Spengel

(cf.

iravras

tovs

:

Bywater.

2

ware

c5
66ev Kal hpa/iara KaXec- 3

Kcofiq)hLa
avToh

iv UeXoTTovvijcra))

fiev

vaiov; he

n yiyvofir)

So^o/c\?}?, jJupbOvvTaL

7rp6repo
35 evioc

kol ra avra

erepov

re kol a koI

ecr) fiLfxrjrr}^ '0/jirjpfp

iKeWev yap

%iKe\la
(?)

rov avrov kol

30 dvTLiroiovvTaL t^? re rpaywhla^ Kal

ft)9

eKaara rovrcov

g)?

ravraci

dpya
fiLfiovvrac Kal hp(t)VTa
aOal

to

(j7rov8aiov<;, rfi he ApLO-rocjidveL, irpdrrovra^;

dfi(f>co

rj

p^^et-

7rdvra
i]

25 icTTLV, &)? eiTTOfiev

yap

fiev '^/ap

rj

roi
aTrayyeWovra

fievov, cocTTrep "Ofi7jpo<; iroiel,

^aXXovTo),

SieaTrjKev,

^ovkerat tmv vvv.

8e ySeA-Tiou? /jLLfxeladat

?;

en

Ill

iv rrj avrfj he 8iac})opa kul

Tt?]'

rrjv Kco/MOiSlav

7r/3o
16—37

1448 a

3-

25.

Pro Kal

&.

dd-qvaloi codd.

:

'

xal

35.

1460 b 38)

fort,

/xLixov/xevov^

:

aij,

^vioi

'Adrivaiovs

Adijvawi tuentur

— ARISTOTLE'S POETICS

4—111.

II.

13

3

Timotheus and Philoxenus differed in representing the

The same

Cyclopes.

Comedy Tragedy Ill

There

may

Tragedy from

men

as worse,

life.

a third difference

is still

each of these objects

off

at representing

than in actual

as better

marks

distinction

Comedy aims

for

;

—

manner

the

in

which

For the medium

be imitated.

being the same, and the objects the same, the poet imitate

— which Homer unchanged — may by narration

another personality as person,

does, or speak in his

or he

and moving before

as living

we

These, then, as

may

case he can either take

in

present

all

own

his characters

us.

said

at

the

beginning, are

the 2

three differences \vhich distinguish artistic imitation,

the medium, the objects, and the manner.

one point of view, Sophocles

kind

;

So that from

an imitator of the same higher

imitate

of view, of the

types

of

same kind

both imitate persons acting and

for

Hence, some

doing.

both

for

from another point

as Aristophanes

to

— —

Homer

as

character

is

say, the

name

of

'

drama

'

is

given 3

For the same

such poems, as representing action.

reason the Dorians claim the invention both of Tragedy

The claim

and Comedy. the Megarians, allege that

it

—

to

Comedy

is

put forward by

not only by those of Greece proper,

the Megarians of Sicily, for the poet Epicharmus,

much

earlier

country.

the

who by

originated under their democracy, but also

who

is

than Chionides and Magnes, belonged to that

Tragedy too

Peloponnese.

is

In

evidence of language. called K(o/xat,

claimed by certain Dorians of

each

case

by the Athenians

that Comedians were so

they appeal

Villages, they say, are Bijfioi

:

to

the

by them

and they assume

named not from

Kcofj,d^eiv,

'

to

U

aXka

')(6evTa
3— IV.

III.

Kara

rf]

Tov aaTew
lY 5

eoUacn

TLV6
avTol

fxev

hpav,

irepl

fiev

ovv

Se yevvrjcrat

Tol
dv6pco7rot
Ttav

aW(ov

crei?

iroielTai

eK

to re yap

Tralhcov

twv Siaipopwv 4

p-i/jieladai av/ji(f)VTOv 2

koI tovtm Siacpepovcrc

ecTTi,

^mcov otc ^LpbrjTiKMTaTov iaTC kul Ta<; fiadr]-

Sea

ra?

/jbtfJi^(T€co
koX to yaipeiv

irpoiTa'i,

arjixelov he

epycov a yap avTo,

T(t)V

e/c

Ad7)vaiov<; 8e

oXo)? rrjv "TrotTjTiKijv alrlaL Svo

/juev

Tot? imLi^jxacn 7rdvTa<;. 10 eVt

^

elprjaOco ravra.

/jLi/xi](Teoi<;

Koi avrai ^vaiKaL

TLve
23

ifkavrj dTCfu,a^o/xevov<;

K(ofia<;

iroueiv

TTpaTreiv irpoaa/yopeveiv.

Kal iToaaL koX

38—1448 b

1448 a

6.

tovtov to av/M/Salvov .3

\v'K7)pSi
tovtcov Ta<;\

elK6va
OripLwv re

twv dTC/moTdToov Kal

/xopcftd'i

Kal TovTov, OTi jxavOdvecv ov /xovov dXA,a 15

avTov.

Sid

ovTO^

t7]v

rj

eKelvo
'^poidv

elKOva'? 6po)VTe
firj Tii'^rj

rjhovrjv

TOv

dXkd

fiLfxeicrdac

Kai TOV pvOfjbov, Ta yap /xeTpa otc iaTC (J3av€p6v, ef

OTcb

tl 6Ka-

TrpoecopaKco'i,

Sid ttjv drrrep-

Kal

fxopia

dWrjv

aiTiav.

dp/xovia
Trj
tcov

pvd/juojv

Kal avTa fjbdXtaTa KaTa

dp'^fj'i Trec^u/core?

fiiKpbv 7rpodyovTe
1448 b

1.

Kal TO Tvoieiv

Arabs.

Arabs

5. :

tovto A"^

:

TjdovTjv

22.

Kal airra

.

Trpoaayopeveii'

.

:

18.

irpbs

:

13.

avTa Aid.

20.

Kal [tovtov] Spengel

,

5??

Bekker

Vahlen

coni. :

els

avTO, Kal

post yudXtcrra traiciendum esse coni. Susemihl.

oXcos

4.

tovtov apogr. :

om.

confirmat

:

Kal <:\6yos>

ovx V Hermann, iaru S, ut videtnr

om. Arabs. :

om. Arabs.

ai^rat A'^.

[kuI toijtov] Zeller

To^jTov Bonitz, rriv

.

avrai apogr.

' i

/Bpa'^v Koivcovovaiv'

Scd TOiavTijv Tivd

i)

6pto<; rjfxcv

(f)V(TLV Srj

inel idv

ttjv

7roci]creL

fji[fM7)/j,a

yacriav

20 KaTa

iirl

yap tovto '^aipovac ra?

(JTOV, olov OTi 97

TOi<; (f)iXocro(f)ot(; i]Si(TTOV

dXX,

oyu-otcu?,

dewpovvTa^ p,av6dveiv Kal crvWoyi^eadai

avji^aivei,

ou^

aXXoi<;

KOA, T0t<;

I

a'cTiov Se;4

veKpoiv.

:

(Beitr.)

oi'xt

codd.

5^

codd.

:

Gomperz

:

Kal

aiiTcc

ARISTOTLE'S POETICS HI.

15

6

but because they wandered from village to village

revel,'

{Kara

being excluded contemptuously from the

K(o/xa<;),

They add

144S b city.

is

3— IV.

This

may

for

'

doing

'

irpdrrecv.

suffice as to the

modes

various

Dorian Nvord

also that the

and the Athenian,

Spdv,

number and nature

of the 4

of imitation.

Poetry in general seems to have sprung from two

lA"

causes, each of

them lying deep

in our nature.

man from

instinct of imitation is implanted in

First, the 2

childhood,

one difference between him and other animals being that

he

the most imitative of living creatures

is

imitation he universal

have

learns

the pleasure

is

evidence

of

lessons

his earliest felt

and through

and no

facts

less

We

in things imitated.

the

in

this

;

;

3

experience.

of

we view with pain, we when reproduced with minute

Objects which in themselves delight

contemplate

to

such as the forms of the most ignoble animals

fidehty

:

and

dead bodies.

of

The cause

of this again

is,

that to 4

learn gives the liveliest pleasure, not only to philosophers

but

to

men

learning

is

in

general

more

;

limited.

enjoy seeing a likeness

is,

whose capacity, however, of

Thus the reason why men that in contemplating

find themselves learning or inferring, '

Ah, that

is

he.'

For

5

they

and saying perhaps,

you happen not

if

it

to

have seen

the original, the pleasure will be due not to the imitation as such, but to the execution, the colouring, or

some such

other cause. Imitation, then,

is

one instinct of our nature.

harmony

Xext, 6

'

and rhythm, metres

being manifestly sections of rhythm.

Persons, therefore,

there

is

the instinct for

'

starting with this natural gift developed

by degrees

their

16

IV.

^laafMarcov.

7

1448 b 24

II-

— 1449 ^

ra? T(yy tocovtcov,

7

Kara ra oiKela

SieaTrdcrdr} 8e

yap ae/xvorepoL ra? /caXa?

25 ol fiev

Tov

—

ijOrj

iroliqaL'i- 7

rj

i/xcfiovpro 7r/oa^ei
ol Se evTeXecrrepot Ta<; rcov (pavXcov, irpSi-

wcnrep arepoc v/xvovi Kol ijKcofMLa.

\lr6jov
TOiV ixev ovv irpo 'Ofi'tjpov ovSevo'i €')(o^ev elirelv tolovtov 8

etKO? Se elvat 7roWou
TTOiTjfia,

30 earip, olov eKelvov 6 M.apytrT]'? kol ra TOiavra.

TO dpfxoTTOv

\etTai vvv, OTi iv

tm

tovtw Idfi^i^ov

i^erptp

iyevovTO tcov irdXaccov ol fxev

TiKa
1449

a

koL

oio-irep he

rai.

yap

35 ^v, fi6vo<;

ov'^

i'TToirjcyev,

ovTCt)<;

Kal

vTTeBeL^ev, ov -^oyov

irotrjcra'i

•

Kal

Ta9

rj

6

7r/3o?

ol

i(f>^

ol

he

fjuev

t?}?

rrjv

Troirjcriv

eiroiv

7rpb
6p/ji(0VTe
Kara

rrjv

TpaywhohthdaKoXoi hid to

el

erepot

'IXta9

Tpay(ph[a
T7]<;

TO fiev ovv iiTiaKO'irelv

:

e^ei, wairep

dvrl twv Id/m^cov KWfjbwhoTToiol iye-

dvrl rwv

Spengel

(X'yfjixaTa

to yeXoiov hpafxaro-

ra a'^^p.ara

drepoL

7rot7]Tr}'i"Ofji,r)po<;

KOiix(phia
dWd

fiel^ova Kal evn/xoTepa

27.

koI 9

dXX.i]\ov
Ta9 Tpay(phia
eKarepav

OLKelav (f>vcnv ol vovTo,

ra

'Trapa^aveicrri'i he

KO)ix(phla
kol

[pri] Koi fxt/Mtjaea Bpafia-

yap Map-ytT?;? dvdXoyov

^OBvaaeia

/x,(phia<;

5

on ev dW

irpwTO'i

oh

rjpcoiKcov ol Be Id/ji/Scov iroirj-

crTrovSata /xdXcara

to,

iv

koX la/x^elov Ka-

\la[ji,^elov\ rfkOe jxerpov, 8lo

codd.

dp"

e'^^et

30.

elvat

rjhrj

Kal

ravra eKelvwv. Tpayaihla rot? 11

rj

to

dp/j.6TTov

[la/j.^e'iov]

Kara A<=. 31. la/x^elov seclus. Stahr. Gomperz Kal Aid. 35. Alterum 6Vt seclus. Bonitz, quod confirm. Arabs. dpafxariKas A<=, 2 ^'^ el &pa dpafjLaTLKQs apogr. a 1449 7. ix^i apogr. nap^x^'^P' :

:

:

:

?X" Vahlen.

'•

1

ARISTOTLE'S POETICS IV. special aptitudes,

till

6— il

17

their rude improvisations gave birth

to Poetry.

now

Poetry the

character

noble

imitated

spirits

meaner

persons,

trivial

at

The graver

the writers.

of

and

actions,

The more

good men. of

diverged in two directions, according to 7

individual

the

of

actions

sort imitated the actions

composing

first

as

satires,

hymns to the gods and the praises of famous men. A poem of the satirical kind cannot 8 indeed be put down to any author earlier than Homer; the former did

many

though

cited,

—

his

own

example, and other similar compositions.

Margites, for

The appropriate metre was the measure

But

such writers probably there were.

from Homer onward, instances can be

is

measure, being that

also here introduced

the

called

still

in

;

hence

iambic or lampooning

which people lampooned

Thus the older poets were distinguished

another.

one as 9

writers of heroic or of lampooning verse.

As, in the serious style,

Homer

is

preeminent among

poets, standing alone not only in the excellence, but also

in the dramatic form of

liis

down

of

main

the

lines

imitations, so he too first laid

Comedy, by dramatising the

ludicrous instead of writing personal satire. 1449

a

bears the same relation to

Odyssey do to Tragedy.

came

to

their

natural bent:

light,

Comedy,

and

Tragedians,

form of

Comedy

since

Iliad

and

But when Tragedy and Comedy 10

the two classes of poets

the

His Margites

that the

still

followed

/

the lampooners became writers of

Epic

poets

were

the drama was a

succeeded

larger

by

and higher

art.

Whether Tragedy has

as

c

yet

perfected

its

proper

1

2

:

18

IV.

elBecTLv iKava)<;

II— 15-

Kol TTpo^ ra Oearpa, aWo
Twv i^ap'^ovTcov Tov

uTTo

yevo/jievT}

Xo
avToa'^ehiaariKri, koX avrrj koL

ap'^rj'i

a

Xlkcl

8—28

avro re Kad^ avro Kpiverat

ov,

?)

1449 a

Si,dvpa/x/3ov,

rj

rj

Kcoixwhta, koX

Se airo

rj

twv ra

air

1

fxev

(fioX-

ert kol vvv iv 7roXkai<; tu)V iroXeaiv Stafievei vo-

Kara

ixi^ofjieva,

/xtKpov

irpoa'yovrwv ocrov iylyvero

rjv^i'jdrj

ttoWo.? fiera^o\a<; fxera^aXovaa

(j)avepov avrr}
15 rpaytpSla iiravcraro, iirel ecr'^e rrjv avr)]
re roiv viroKpirwv rr\ri6o<; i^ €vo
X09

[val]

i)

< S' > ovv

Yj'ya'ye

eh Svo

rj

Kal to 13

tt/owto?

AtV^u-

Kal ra rov X^P^^ rfkarroicre Kal rov Xoyov

7rp(oraja)VL(Tri]V TrapecrKevacrev, rpet
Sia ro eK aarvpiKov jxerajBaXelv

^eco<;
yap irpwrov rerpafierpa> e^pf^vro hia ro

/J,ev

(xarvpiKrjv

Kal op^77crTt/c(WTe/c>ay elvac rrjv Troirjacv, \e^ea)<; 8e avrrj

rj

25 Kov roiv fMerpcov rb lafi/Selbv

yap

jevofMevr]';

ro oiKelov fxerpov evpe, fMoXicrra yap \eKri-

(J)V(tl<;

TrKelcrra

eariv ev

lafi/Beta Xeyofiev

he

a-tjfjbelov

StaXeKro)

rfj

8.

en

dpjxovia^.

^

KpLverai.

hammer

vai.

\

Kal A<=

Kplverai ^

:

9.

oSv Bekker.

S

\e|ets

<

:

r/

fort.

:

leg.

:

aXV

Kal ra Kpivai

Kpiverat

Kal

Forch-

elvai

>

yevo/jihTjs

:

odv A<=

:

rj

Kal.

(Mar-

yevo/ji^vr)

d'

Bekker: avrotrxeStacrrtK^s (pavXiKayel^avXa^. 12.

avToa-xeSLaa-riKri apogr.,

diafjL^veiv

X^^ts iK

Bursian

odf apogr.

-yevofiivr)

10.

apogr.:

Siafjihei

:

(pavWiKo. A'^

A°.

19.

X^^ews Christ.

:

X^^ews

:

Omissum

'orationes' Arabs,

i.e.

vocab. collato Arabe id

Margoliouth suspic. cuius vice Graeculi vfrjyopia usurpant. 27. eis XeKTi/crjy apfiovlav Wecklein (cf. Terpafierpa Winstanley.

e^d/j.€Tpa

Rbet.

iii.

arifieiov ttXtj^i?

fiXXa

/cat

7rpo9

t?}? Xe/c-

avrd} re /car' avrb ehai KpeirTov ^ irpbs Odrepa

11. 0a\Xt/cd apogr.

A°.

esse

Kpiverai dvai Kal apogr.

:

[yal.'\

Habuit S, ut videtur, goliouth).

he eTTeKTohicov rrXtjOrj.

rovrov rfj

aX\^\ov<;, e^djbberpa Se 6\LydKt
arre-

o^\re

ro re fjuerpov eK rerpafxerpov lapLJBelov ejevero'

(jeiivvvdrj.

ro

Se rb fMeyedo'i ck fJUKpcov fjivOcov Kal \e- 14

ert

'Zo(f)OK\i]
20

:

8.

—28

codicum lect. tutatur Arabs. Hunc locum 25 suadente Usener seclus. Susemihl. 28. Post Gomperz. del. aXXwj A<= &\\a ws apogr.

1408 b 32)

:

apfxovias

punctum

oh Hermann.

:

15

ii— 14

ARISTOTLE'S POETICS IV. and whether

types or not

;

in

also

relation

Be

question.

—was

that as

be judged in

to

it is

audience,

the

to

—

or

raises

another

—

as also

Comedy

may, Tragedy

it

itself,

this

The one

mere improvisation.

at first

19

12

originated

with the leaders of the dithyramb, the other with those

which are

of the phallic songs,

our

in use in

still

new element

form, and there

Aeschylus

it

first

of

each

found

its

natural

introduced a second actor; he dimin- 13

Chorus, and assigned the

Sophocles raised the number

leading part to the dialogue. of actors to three,

it

stopped,

ished the importance of the

late

;

that showed itself was in turn developed.

Having passed through many changes,

till

many

Tragedy advanced by slow degrees

cities.

and added scene-painting.

that the short

plot

was discarded

It

was not 14 one of

for

greater compass, and the grotesque diction of the earlier

form

satyric

for the

stately

manner

iambic measure then replaced the

of Tragedy.

trochaic

The

tetrameter,

which was originally employed when the poetry was of the satyric order, and had greater affinities with dancing.

Once dialogue had come

the most colloquial

in,

Nature herself discovered the

For the iambic

appropriate measure.

we

:

see

is,

in the

it

versational speech runs into iambic form

than into any other kind of verse

;

of all measures, fact

that

rarely into hexameters,

and only when we drop the colloquial intonation.

number other

of

'

episodes

'

embellishments

or acts

added,

was of

con-

more frequently

also increased,

which

The

and the

tradition

tells.

20

IV. 15

CKaara

ft)?

1449 ^ 29

— 1449

Xeyerai

earco

epjov

to-o)?

KcofimSla

Se

1^

Xorepcov

4-

Kocrfir]6r]vat

30 TToXv 'yap av

V

— V.

/xev,

wcnrep

icrrlv

eLirojxev

<pav-

fiifirjcnf;

ov fievroi Kara iraaav KaKtav,

alcT'^pov iarc to

elprjjxeva'

rjfMLV

KaO^ eKaa-rov.

Bie^ievat

eir}

b 11

aXXa tov

to yap yeXolov iaTtv

afidpTTj/xd Tt Kal al(T'^o
35 €v6v<; TO yeXotou irpoa-wirov ala'^pov Tt Kal SteaTpafi/xevov

dvev

1449 b

al

6Svvr)<;.

fjuev

wv iyevovTO ov

St'

(TirovBdi^eaOai i^ o-x^re

ovv

Tpay(pSla
Trj
XeX-qdaaiv,

dp'^fj
tj

Be Kco/xcpSia Bed to

ekaOev Kal yap

TTore 6 dp'^^cov eBcoKev,

dW'

firj

')(ppov KcofjiaiBwv

edeXovTol

rjcrav.

Be

7]8r]

a'^7]fMaTd Ttva avTrj<; e'^oucr?/? ol Xeyofxevoi avTr)
7j

Be irpocrunra direBwKev

Ti<;

fjuvdovi TTOielv ['E7rt^ap/i09 €/c

ScKeXla'i rfkOe,

d
t7]<;

fiv6ov<;.

r]

tmv

irpoXoyov^ 3

fxev

T(f

Kal

to

^6p/jLL<;]

fxev

to Be

ef

dp')(fj<;

Be 'AOijvtjctiv K.pdTrj
lafiBifC7]
KaOokov

lBea<;

ovv eiroiroua

10 fieTa fieTpov [/leydXov]

6r]aev

rj

vwoKpiTOiv Kal oaa TOiavTa, rjyvorjTat.

irXrjdrj

tj}

iroielv \6yov
TpayutBia

/^ep^/Oi fJ^ev

Kal

tov 4

elvac arirovBaioiv rjKoXov-

fiifiTjcrif;

Be to jJueTpov dirkovv e-^eiv Kal dirayyeXiav

dW

/xh odv roirtav roaavTa add. Aid. ante Iffrw. 32. dXXd < Kara rb yeXoiov, > tov < 5' > al^xpov 5 ToO alffxpov Friedreicli Christ sed tantum res ridicula est de genera foedi quae est portio 29. irepl

:

:

'

etridicula' Arabs aiffxpoO lect.

6

fibpibv

(Margoliouth), ioTt.

Kal

conflatum esse censet Susemihl

TOV aiffxpov, (2) dXXd tov alcrxpov ol \ey6fievoi

oXiyoi p-h

:

TTpoXbyovs A'^

:

#6p/its seclus.

ol

:

[j.6vov

dXXd /xdpiov {cm Kal Tb yeXolov.

\6yovs

yap

ecm tov quod ex duabus fj.6vov Tb yeXoUv ian rb yeXoiop

(Susemihl),

(1)

fj.6pi,6v

< iKeWev

:

S

Castelvetro

irpbXoyov Christ

Susemihl

dXXd

i.e.

ye\o?ov

Tb

:

1449 b

6X^701 p-kv [ot] Usener.

Hermann.

TJcrTT]v

>

'E-n-LxO'pt^os

3. 4.

''Ewlxo-pp-os Kal

6.

Kal

^6p/ji.is

post

^X^e Bywater, collato Themistio, Or. xxvii. p. 337 A, recte, ut opinor. 9. M^XP' pbvov piTpov p.ey6.\ov codd. pixpi- f^^" '''o^ juerd p-erpov Thurot (of. :

Arab. ) /jL^v

:

yuexpt

p^v tov

p-^Tpt^

TOV M^Tpij} Tyrwhitt

Ueberweg.

10.

:

< iv

m^XP'

> /xeydXiji coni. Susemihl /x^x/" < tov Sm Xbyov ep. > p.4Tpov p.eydXov

prjKei.

P^bi'ov

Pro p.eydXov codd.,

:

p.eTd

Xbyov Aid.

et,

ut videtur, 2.

15— V.

ARISTOTLE'S POETICS IV. These we need not here discuss

;

21

4

them

enter into

to

in 15

detail would, doubtless, be a large undertaking.

V

Comedy

is,

we have

as

of a lower type,

—

said,

an imitation of characters

not, however, in the full sense of the

word bad, the Ludicrous being merely a subdivision of the ugly. is

not

some defect

It consists in

painful

or

destructive.

example, the comic mask

is

or ugliness

To

take

an

which

obvious

ugly and distorted, but does

not imply pain.

The

successive changes through which Tragedy passed, 2

and the authors of these changes, are well known, whereas

Comedy has had no 1449 b

history, because it

was not

treated seriously.

a comic chorus to a poet

;

the performers were

voluntary.

Comedy had

when comic

poets, distinctively so called,

Who

of actors,

main unknown. Sicily

;

themes and

his

or

are heard

'

—

these and other similar details re-

As

for the plot, it

came

iambic

'

or

is

who,

first

plots.

far as it is

imitation in verse of characters of a higher type.

and

from

originally

lampooning form, generalised

Epic poetry agrees with Tragedy in so

differ, in

of.

the 3

increased

but of Athenian writers Crates was the

abandoning the

then

till

already taken definite shape

introduced masks, or prologues,

number

at first

It was late before the Archon granted

an 4

They

that Epic poetry admits but one kind of metre, narrative

in

form.

They

differ,

again, in

the

:

22

4— VI.

V.

hia^epovcnv

elvat, TavTT)

12—35

1449 b

4.

'in he

tm

<e7re\>

jxi^KeL,

-q

fiev

irepiohov rfkiov elvat

OTC fMoktcrra 'Treipdrat

viro fjiiav

fiLKpov i^aXkaTTeiv,

he e'TTOTToUa a6ptcrT0<; tcS j^^povw,

15 Koi

r]

Kairoi to irpwrov

TOVTO) hia(f>epef

rovro eTroiovv koI ev

Tpaya>hiai<;

ra

ecrrl

ravrd,

jiev

KOI

olhe

jap

fiev

a

rpajwhla,

Ty

20 virdp'^et

a

he

avrfj,

5

<^av\r]
eiroTroda

iravra

ov

S'

hionrep

koi

airovhala'^

olhe

eiroiv

irepl

fjiepv

chta t^? Tpa'ywhia^;.

he

rpaywhia^

irepX

6crTL<;

to,

ral^

ev

6fMoioo<;

enreaLv.

rol
rj

ep^et,

ev

rfj

eTroTToua.

VI

ovv

irepl

ev

TYjq

varepov

Kcofiwhla^i

ava\a^6vre
\

dTrayyeXla'i,

Trpd^eco^ ctttou- 2

^yxp

"^ocovTcov TraOijfidTcov

TrdXiv €Tepa hid fjueXovi.

'^^1'

TaL T7]v

fil/jLTjcnv,

Tpaywhiaf; 6

^

12.

^\

.^^'^16.

^ '

^

il\

"^

v|^ Vj

Vw ""^^--^

20.

,

^

i4l*<''<;

ij

fjL^v

iireaiv avTrjL

et

var.

aiiTT]

apogr.

diro\a^6vT€s codd. irad7)ixa.TU3v

Mtro"

i^ avdyKiq'^ dv

ttjv

"Vettori

:

/cat

lect. :

S

aCri;

to he

,

habuit iam

(Diels),

<:^trel> 15.

/xeXos

seclus.

'in

:

tl fjboptov

:

i]

Gomperz

fxh

Arabs.

epesi'

a.vaKa^bvT€% Bernays

eKaarov codd. 31.

ju-bvov

:

:

29.

30.

fxadri/j.dTwv A<=.

Tyrwhitt.

\e^i<;,

dtacpepovaiv Christ.

omnibus

24.

TjTwliitt

S

etrj

\eya) he Xe^cv

/xlfirjcnv.

Reiz.

27. eKaffTtp

corr. apogr.

('partes' Arabs).

/jLeX.o
euTa ixeXonrqua Kal

:

airaai. :

twv

eVel he 7rpdTT0VTe<; ttolovv- 4

fiev

T779 6'^eco
coni.

A°

]:.

Xeyoi he rjhvafxevov jxev 3

Hermann, coufirmat Arabs. Vahlen 7/ /j-ev yap apogr.

di.a
<-^>

trpwTov

yap TroiovvTat

35 iv TOVTOt
''"^

irepaivovcra ti]v

(po/Sov

KdOapaiv.

')(^a)pl
Kal ov St!

to hta jxeTpaiv evta fxovov irepaiveaOai,

^&)/3t9 rot? etheao

\^^iw

hpoovrcov

fiopi,oi
eXeov Kal

he

Trepl

rbv ytvofievov opov

/xifJbrjaL'i

^o Xoyov Tov e-^ovra pvd/xov Kal dpfioviav Kal

'{"

V

elprjfxevcov

eicdcnw tcov elhojv ev roU

£X ^>-

-- ">

roiv

hala<; Kal reXe/a? fieye6o<; e^ovarj<;, rjhvcrfievo)

,,.

%^

e'/c

Kal

/xifiijrtK'P]';

he rpajcphla'^ Xeyco/J^ev

irepi

eariv ovv rpajwhla

ov(Tla<;.

T7]<;

e^afieTpoL
epovfjbev,

/neXos

fjLopia,

:

S

'Si

'"y

'''-

';

ARISTOTLE'S POETICS V. length of the action possible,

for

:

4— YI.

23

4

Tragedy endeavours, as

far as

-^

confine itself to a single revolution of the

to

sun, or but slightly to exceed this limit

Epic action has no limits of time. second point of difference

This,

though at

;

then,

is

a

,

A

their constituent parts

some peculiar

what

:

common

therefore,

for all the

knows

its

^

serious, complete,

is

and

discuss

formal definition, as resulting from

what has been already Tragedy, then,

verse,

now

Let us

will speak hereafter.

Tragedy, resuming

^^^

r"

i

^

'

^

'^

Of the poetry which imitates in hexameter

Comedy, we

"^

^^'^

elements of an Epic poem are found

found in the Epic poem.

of

j 3

r*

^

in Tragedy, but the elements of a Tragedy are not all

VI

^

j4

-^

^

to both, 5

good or bad Tragedy, knows also about Epic

is

poetry

are

Whoever,

Tragedy.

to

some

> <=«^

*si

freedom was admitted in Tragedy as in Epic poetry.

Of

""^

-

y

a

same

the

first

^

cT'^^'v^

whereas the

;

^

i

4

j

"5

jSs,

,

v

•««*>

'

-

^ ^

H5

said.

an imitation of an action that

and of a certain magnitude

embellished with each

kind

of

artistic

is 2

"Vs^^v

in language

;

>^^3--

ornament, the

several kinds being found in separate parts of the play

form of

in the

action, not of narrative

through pity and

;

By

fear effecting the proper purgation of these emotions.

'language

embellished,'

I

mean language

rhythm, harmony,' and song '

in separate parts,' I mean, that

through the

medium

By

enter.

'

into

<

3

which

the several kinds

some parts

.

.

of verse alone, others again with

1

as

tragic

imitation implies

persons

acting,

it 4

> o

necessarily follows, in the first place, that Scenic equip-

ment for

will be a part of Tragedy.

these are the

to^ -U^

i.^^

<^

•'

the aid of song.

Now

^

^

are rendered

medium

,iXr.

^

of

Next, Song and Diction, imitation.

^ io-,.v^

By

'

-

_

-

^

Diction

iPCfc:;^

xLv.^AA^.^^

:

24

—

VI. 4

rwv

avTTjv Trjv

/iev

ttowik; 1450 a

{Bta

Kara re to

elvat

rLva
koI

TovTcov

Kal

T}

tmv

Bvo

Trai/re?), ecTTiv

B idvoia v

(^afxev

Troid'i

wpd^ecov

elvat,

rvy^dvovai

Kal tt}?

Br]

5

avdyKij

01)9

Tr)v

elval

o

e'crTt

irpd^ewi 6

fxev

\ejco yap fivdov rovrov rr]v crvvOeaiv

fii/jiijcri^'

roiv TTpay/jbdroyv,

koX

^6p<;

Trpd^ei,^

Kara Tavrat

kui

7J9o
Kal aTTOTvy^dvovai fxv0o
Ta
alrlwi

Be

7re(f)VK€v

Bidvoiav

5

eVet Be Trpa^ew?

e'^eL Trdacv.

TTpaTTerac Be vtto tlvmv irparrovTcov,

Tiva<;,

16

crvvOeaiv, /xeXoTToiiav Be

fierpoov

TTjv BvvafMCV (})avepav filfi7]ai
— 1450 a

1449 ^ 36

9-

Be

tcl

r^Or],

KaO' o ttolov^ riva
^afiev T0V9 irpdrrovra^i, Bidvoiav Be, ev oaoi
ovv

10 eariv

r]

Kal diroc^aivovTai

ravra

rpaycoBla'

r)

Kal

Xe^i<;

yap

ri

rpaya)Bia<; fiepr]

irdarj
Bidvoia

/xifiovvTai,

Kal

Bvo

elvai

B

oi/^i?

ovv

6i
Kal Bidvoiav

36. fihpwv: ^vo/xdrwv

codd.

irdcrav

40.

aMas

Christ

:

to Oro

apogr.

ws

codd.

Trdi'Tws (?

=

:

:

:

add.

S

a

Kal yap

eiBecriv

Kal Kara

.

,

4.

37.

yap tovtuv

ire
8e

< iLwavrei >

Eucken

5??

u>s

:

diretv

ws

:

Trao-t;' .

.

rwv

Maggi

navTes in

ivicpvKev

an post

K'^.

iroidi

5^ codd.

:

5.

6.

KaObk'^: Kad' A

14.

ovk 6\iyoL airCiv

By water

ovk oKlyoi

:

ovk oXiyoL avrCov om.

Margoliouth).

(vid.

.

apogr.

Travres nescio

.

Kad' & Trotd apogr.

gloss. OVK dXlyot avrQv, scrips!

/xei''

ev,

Tovroi
16.

8ia 2.

iravTes> ws eiweiv Bursian

iravTes)

roc
seclus. Christ (of. Arab.).

A^

oh

p,e\o<;

3.

oKlyov avrOiv

Kal

f)

1450 a

KadoTTola

9.

elireiv

avrOiv

Maggi

tjOt]

p,eyiarov Be rovrcov ecrriv

TLvas transponere praestet (Christ).

rovTov

Ti
Kal

ravra ovBev.

Sta 5^ Zeller.

atVta codd.

:

iroid

Be fxifiovvrai,

o)?

Hermann, coUato 1450 b

parenthesi Thurot.

a

Kal fivOov Kal Xe^iv Kal

rjdo'i

a)(ravra>
fiv9o
Ke'^prjvrai

eiirelv

Kal

Kad

Kal fxeXoTroda.

ecrriv,

fMeprj

Be fiifiovvrai, rpia, Kal irapa

15 oi^et? ep^et Trdv

earl

dvdjKr} 7

yvcofjurjv.

e^,

"2,

sed

Deleto igitur tanquam

eiire'iu:

Rhet.

cf.

i.

1.

1354 a

o'udii' wj elTreip A° in marg., ubi 6\lyov glossema esse veram lect. ovdiu dij eiire7v. Viam monstravit Diels, qui tamen irdvres quoque omisso, tovtois fikv o^v ojs elireiv scripsit ovk oKiyoi. avrQv < iv Trdffi Trdvres > Gomperz ovk dXlyoi avruv < dXXa wavrei ivaai > Zeller: <.vdvT€^ iv Trdffiv aiT^s> Susemihl. 15. ttSj' iure suspexeris.

12,

dXlyov codd.,

suspicor,

:

dW

:

9

:

4—9

ARISTOTLE'S POETICS VI. I

mean

as for

arrangement of the words

the mere metrical

Song/

'

25

a term whose sense every one under-

it is

stands.

Again, Tragedy

is

the imitation of an action

personal agents,

action implies

who

It is these that determine the qualities

selves

these

;

natural

— thought

actions

and thought.

—

spring

is

the imitation of the action

:

—

mean

the arrangement of the incidents.

mean

that in virtue of

to the agents. is

proved,

or,

may

is

By

determine

a

quality

its

general truth

— namely. Two

Diction, Thought, Scenery, Song. stitute the

medium

And

man

;

qualities

enunciated. parts,

Plot,

which

7

Character,

of the parts con-

and three

these complete the

These elements have been employed, the poets to a

Character I

of imitation, one the manner,

the objects of imitation.

6

I here

required wherever a statement

be,

Every Tragedy, therefore, must have six parts

these

Hence, the

which we ascribe certain

Thought it

on

:

by plot

for

two

the

are

causes, again, all success or failure depends.

Plot

them-

of actions

and character

from which

causes

5

necessarily possess

certain distinctive qualities both of character 1450 a

and an

;

we may

say,

list.

by

8

in fact, every play contains Scenic

accessories as well as Character, Plot, Diction, Song,

and

Thought.

But most important

of

all

is

the structure of the 9

26

VI. 9

—

o-vaTacn-i'

7rpav

ovK avdpcoTTcov

dWa

145° ^ ^7

14-

Tpa
'yap

i)

he /3lo<;> ev

irpd^et iarlv kol to TeXo
2o

Kara

Se

elcrlv

7rpd^ei<;

ev8aifxove<;

TeA,09

dvev

25 eTi he

'r)d(av

6ev

6

Twv

dv.

al

elcrlv

Kal

prjaei'i

ov

7roi7]a€t

fMaWov e')(ovcra

3S he

rj

b

he

fivdov

eTi

ecrTLV,

aX

re

OTi

Kal

aWa

a/5%r/ fiev

Toh

('

sed in

l]

Guelf.

:

:

(TviJLivapa\afjL§dvov(Xi.

diavoias codd.

da/xQi Margoliouth.

31.

Spengel

:

uKpi^ovv

}xvdo
"v/^vx^

irpd^et.

Et 5^ |3^os> ita /cat

ii>

codd., est in

Trpd^ei,

supplet Vahlen, i]

KaKoSaifiovla.

(rvfiirapaXafi^dvova-L

(ni/j,w{pi\afj.pdvov(Xiv

A<=. :

:

:

13

dva-

Vahlen habuit iam S Xefets fort, apogr. oii add. necxuaquam Arabs awlaraadai codd. 39. (rvvLardvai Thurot

X^fet Kal Siaj/o^i?

32.

7rpo
Kal

rjOecnv

operibus et vita.

Trpdrrovras iroiovcnv coni. Vahlen.

dyadQv A\d.

ttoXv

Tpajmhia,

rj

KaKoSai/movla if

;

22. wpdTTovinv

12

Tpayayhia,

ol irpwTOi irotrjTav

unde Margoliouth dXXd Trpd^ews Kal piov, <:6 quod probant Diels, Zeller, Susemihl. Codicum lect. Kal eiiSaifiovlas

opere')

he

iiy^eipovvTe^ iroielv 14

ovv koI olov

irpd^ecoi Kal ^iov Kal evSai/xovlas Kal

sed alio spectat Arabs

dWd

irepiireTeiat 01

Kal

\e^ei

rj

i(f>e^'i]
TrpayfiaTcov.

Td irpdypbaTa crvviardvai, olov Kal

40 a')(ehov diravTe^. 18.

ttj

Tt9

ireTTOLrjfieva'i,

epjov,

ylrv^aycoyei

crrjpielov

TrpoTepov hvvavTai rj

oh

fieytara

p^epT]

yv(opiaeL<;.

edv

Ke'^prj/JuevT]

(Tvaracnv

Kal

fivOov

rd

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Tov

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riOoypdc})o<;,

eVt

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07}

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ttoWoI

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e^et

twv

vecov

llo\vyva)TO
30 Zev^Lho<; ypacprj ovhev

Tpaywhia, dvev 11

tmv

/jiv6o<;

drravTcov.

fxejiaTOV

TeA-o?

ijOrj

crvfiTrapaXafi^a-

r^drj

fypa<^e(ov Zev^L<; Trpo?

ydp

fxev

rd

Trpd^eax; ovk dv

fxev

^yevoLT

olov Kal

he

rd^ 10

he

ovkovv oirw^ ra

coare rd Trpdy/j^aTa Kal 6

rpajwhiaii, to

Tpafywhiai

dr]6eL<;

dWd

'iroiorr]'^-

Kara

Tive
rovvavriov.

r)

Td<; 7rpd^et
tt)?

irotol

rjdr]

Trpdrrovcriv,

fjbt/xijawvrac

vovatv Bid

rd

[xev

icrriv

/At/i-r/o-t?

^iov <6

Kol

Trpd^eco';

— 4°

'

'

:

:

29.

Kal ov-

;

ARISTOTLE'S POETICS VI. 9—14 For Tragedy

incidents.

of an action and of its

end

mode

a

is

is

life,

of

an imitation, not of men, but

and

life

action,

consists in action,

not

a

happy

:

is

the chief thing of

without action there cannot be a tragedy

The

without character. poets

fail in

general this

and here

lies

often true.

It is

devoid

Again, 11

all.

there

may

be

;

and of poets in

the same in painting

the difference between Zeuxis and Polygnotus.

Polygnotus delineates character well is

;

most of our modern

tragedies of

the rendering of character is

Dramatic

incidents and the plot are the end of

and the end

;

by their

is

or the reverse.

character comes in as subsidiary to the

Hence the

action.

a tragedy

10

with a view to the representation

action, therefore, is not

of character

it

and

Now

quality.

character determines men's qualities, but actions that they are

27

of

ethical

:

the style of Zeuxis

Again,

quality.

if

you

string 12

together a set of speeches expressive of character, and

well finished in point of diction and thought, you will

not produce the essential tragic effect nearly so well as

with a play which, however deficient in these respects, yet has

a plot

and

artistically

constructed

incidents.

Besides which, the most powerful elements of emotional 13 interest in

Tragedy

— —

Eecognition scenes proof

is,

The

are parts of the plot.

A

further 14

that novices in the art attain to finish of diction

and precision plot.

Eeversal or Eecoil of the Action, and

of portraiture before they can construct the

It is the

same with almost

Plot, then, is

the

first

all

the early poets.

principle, and, as

it

were,

):

28

VI. 15

Koi eVl

icTTLV

KaWlaToa

145° ^ 41

19-

Sevrepov 8e ra

Tpa
T?}? 1450 b

—

T?}9 jpa(})iK7]
'^vhr^v,

(f)app,dKOt<;

KoX \6VK0jpa(pr]aa'i elKova.

21

yap

re? ivakelyjreie rol'i

ovk av

TovTO 8e

Sidvoia.

icTTtv to

epyov eariv

pr)ToptKrj<;

Xoywv

oU OVK ecm

iv

o Tt [7rpo]aip€CTac

SrjXov

cfjevyet

rj

049 d'jroBeLKVVovcrl ri &)9

Tt

Be,

6vo/xaaLa
[Trei're]

iv

rj

01)9

eariv

kpjjbrjveLav,

7ro\cTiKrj<;

Trapair'Kriaiov

ra

.

a)<;

.

3.

ovk

.

eMva

roiv

ydo<;

oXco? ecrrcv

firjS'

Bcdvoca ecrrtv

iv

Be,

KadoXov

rj

77

\e^t9' 18

Bid

koi eVt twv ififieTpcov

koI

elvac

twv

Bvva^uv.

dre'^vorarov

fiev,

1450 b

vetro.

ecrnv Se 17

Trjv

ttjv avTrjv

'i'^^ei

iroLriTLKr)<;-

oh

Xeycov.

rjBvcr/jbdTOJV,

Be

Be Xocttcov 19 rj

koI rjKtcrTa

ydp t^9 TpaywBia^

dvev dycovo^ kol viroKptToyv eariv, 41.

t?}?

dpj(aloL irokc-

e')(0V(Tiv

6

fMeXoiroda fiiyLarov tcov

rj

ylrv^aycoycKov

T^

rj

ovk

irpoTepov etpr^rai, Xe^iv

cocrTrep

eVl Tcov Xoyoov

20

yap

fiev

TerapTov Be to)V Xeyo/xivcov

diro^aivovTaL.

Xeya T7]<;

ol

SiOTrep

^evyei,'

rj

rj

Xeyeiv BvvacrOai, rd ivovra 16

TO TOLOVTOV o BijXot TTjv TTpoaipeacv oirold

i^ev

10 {irpo^atpelrat

15

rplrov Se

eTTolovv Xeyovra^, ol Se vvv prjropLKOi^;.

TLK(o<;

^^09

7rpd^eQ)<;

fJLifJbrjaa

Kol rd dpfMorrovra, oirep eTrl^Twiv^ \6v KOL

evcppdvecev

6nola>
eariv re

KoX hid ravT7]v /judXicrra tmv TrparTovrcov. 5

jdp 15

irapairX'^a-iov

7]6rj.

ei

•

— 145° b

en

Be

o-v/ri9

olKelov

koi

Bvva/j,i<;

Be Kvptcorepa Trepl

supra coUocavit post Trpayfj-aTuv v. 34 Ca'stel6. ewl tuv \6yuv seel. yap Hermann.

re codd.

:

oh ovk icjTi drjXov ^ irpoaipelrai ^ (pevyei' oh fj-rjd' 6'\ws ^(ttlv 6 rts {6 rt apogr. Lectionem in textu receptam dedit vpoaipdraL t) (pevyei 6 Deerant in S ip oh ovk ^
M. Schmidt. didnep ovk

9.

owoTd

Xiy^f X^yuv A<=.

^v

^x"*^"'"' '^^os t'^''

.

rj

rts iu

(pevyei et iv

oh

fi-qd'

.

.

.

6'\ws ^ariv

.

.

.

^

(peiyeL var. lect. esse.

12.

.

.

S ti

tQv fih \bywv codd. 14. tQv Xeyo/xivuv Gomperz 6 tis A<=. 18. irivre A<= quod aut corrigendum aut delendum esse censeo. SXws 20. tcruis Meiser om. iam S Trifiirrov apogr. seclus. Spengel Gomperz ws A<= ij apogr.

apogr.

:

:

:

:

:

:

:

5

ARISTOTLE'S POETICS VI. 14—19 the soul of a tragedy 1450 b

A

similar fact

colours, laid

is

29

Character holds the second place,

:

The most beautiful

seen in painting.

1

on confusedly, will not give as much pleasure

Thus Tragedy

as the chalk outline of a portrait.

the

is

imitation of an action, and of the agents, mainly with a

view to the

action.

Third in order saying what

is

Thought,

possible

is

—

that

In the case of oratory, this

stances.

is

the political art and of the art of rhetoric

make

the older poets of civic life

the faculty of 16

is,

and pertinent in given circumthe function of :

and

so indeed

their characters speak the language

the poets of our time, the language of the

;

Character

rhetoricians.

purpose, showing

is

what kind

which

that

of things a

avoids.

Speeches, therefore, which

manifest,

or in

reveals

man

moral 17

chooses or

make

do not

this

which the speaker does not choose or

avoid anything whatever, are not expressive of character.

Thought, on the other hand,

proved

to

be

or

not

to

is

be,

found where something general

a

or

maxim

is

v

is

enunciated.

Fourth Diction

;

among

by which

the I

enumerated

elements

mean, as has been already

expression of our meaning in words

;

and

its

comes 18 said, the

essence

is

the same both in verse and prose.

Of the remaining elements Song holds the

among

chief place 19

the embellishments.

Scenery has, indeed, an emotional attraction of

own, but, of aU the

parts, it

is

the least

connected least with the art of poetry. of Tragedy,

we may be

representation

and

sure,

actors.

is

felt

Besides,

artistic,

its

and

For the power even apart from

the production

of

30

VI. 19

—VII. tmv

rrjv aTrepyaa-Lav

1450 b 22—1451 a 4

5.

o-sjrecov

rj

tov a-Kevoiroiov rexv] t^?

T(OV TTOirjTMV icTTLV.

VII

Set

crvaraaLV

rrjv

elvai

tcov

TOVTO Kol TTpMTOv Kol fjLeyKTTOv Kelrai

hrj

30 jjieaov Kol TeXevTrjV.

elvai

35

dWo

fjber

yiveaOaL,

rj

dXXo

7re(f)VKev

/lerd

Be

ev

dWo

eVf^^e reXevrdv,

en

8'

40

'^X^iv

dWd

KaXov ev av

ov

fo)9

o

avTO rrb

fier

ttoXv,

avve(n5)Ta
tov<;

Tal'i

/Ji7]6'

^Sov Kal dvav

TavTa

fxovov

jxr]

to

^mov,

avy')(elTai

oirov iBeai
elprj/jievaif;

Trpdy/jia

TeTayyukva

tv^ov

Kal rd^ei eanv, Bio ovTe

KaXov

i^

'7re(}>VKev

eVt

ap'^^eaOai

Kal fieyeOo'i virdp'^eiv

fieyeOei

yevoiTO

Ti

dXkd Ke^prjaOai

TivSiv

e'/c

dpa

Bel

erv^^ev

KaXov Kal

to

eirel

avveaT7]Kev

rj

/xr]

[juev

/xeaov Be o Kal avro fier

ovBev,

oiroQev

fx-qO'

dp'^rjv koX 3

erepov

rovvavrlov

e| dvdjKTj'i

?)

eKeivo erepov.

[ler

fxv6ov<;

Be

reXevrr]

S'

okov Kai

avro

Se icrriv o

dp'^rj

iaTiv, /xer' eKclvo

elvai

rovro

dXKo Kal

ecTTiv

o\ov he eartv to e'^ov

eyov fieyeOof.

dvdyK7]
icmv.

rpay(phia
Trj<;

rt fieyeOo';'

i'^ovar]';

elvai fiifX7]cnv fxrjhev

ttoluv

eVetS^

Trpayfj.drcov,

rpayaySiav re\€La<; koI 0X77? 7rpd^€a)<; 2

rrjv

t)fjbiv

ravra

tovtcov, Xeycofxev fjuera

Se

BicopLCTfiivcov

25 TLva

o 4

Bel

to yap

TrdjijJiiKpov

yap

Oeoopia

rj

eyyv
ov yap

afjia

17

OecopCa ylverai

TO ev Kal TO okov eK e'irj

^<pov'

Tcbv ^(f>wv 27.

5tj

Pazzi.

Bel KaOdrrep

eirl

€')(eiv

fxev ixeyedo
tovto Be evavvoivTov elvai,

:

41.

Arabs.

Laurentianus

ot-^eTai toI'^ decopovai

ware

Bywater

Laurentianus

aW'

T779 deoopta'i, olov el fxvpicov CTTaBlcov

Ix.

Trdv

5'

A^.

30.

Trdv ixLKpbv

16.

/^^yeOos

Ix. 16.

A^

:

/xt;

^^

tcov acofxdrtov Kal eirl 5

dvd7K?7S codd.

Trdfi/xiKpov

A^

:

ira/j./j.iyedes

1451 a

3.

:

:

avffTTjiJLdTuv

/at]

irdvv /MKpbv

:

Bonitz, Spengel

Riccardianus 16

awiidroiv

dvdyKrjs

ii,

Riccardianus 16

43. xp^j'ou seclus.

:

:

tutatur

trdpv jxiya

Bywater.

;

ARISTOTLE'S POETICS VI. 19

— VII.

more on the

spectacular effects depends

31

5

art of the stage

machinist than on that of the poet.

VII

These principles being established,

us

let

now

the proper structure of the Plot, since this

discuss

the

is

first

and most important part of Tragedy.

Now, according

to

our

of a certain magnitude; is

for there

A

may

whole

follow anything

end, on the contrary,

follows

something

as

some

it.

is

or

is

that

necessity,

comes

to be.

that which itself naturally

is

some other thing, either by

has nothing following

2

that which has 3

beginning

by causal

but after which something naturally

An

an

be a whole that

is

A

a beginning, a middle, and an end. itself

is

complete, and whole, and

is

wanting in magnitude.

which does not

Tragedy

definition,

imitation of an action that

A

necessity, or as a rule, but

middle

other

thing

that which follows

is

follows

A

it.

well

constructed plot, therefore, must neither begin nor end at haphazard, but conform to these principles.

Again, a beautiful object, whether

it

be a picture of 4

a living organism or any whole composed of parts, must

not only have an orderly arrangement of parts, but must also be of a certain

magnitude

and

magnitude

order.

;

for

beauty depends on

Hence an exceedingly small

picture cannot be beautiful

;

for the

view of

it

is

con-

fused, the object being seen in an almost imperceptible

1451 a

moment

of time.

beautiful

;

Nor, again, can one of vast size be

for as the

eye cannot take

the unity and sense of the whole as for instance long.

if

it

all

is lost for

in at once,

the spectator

there were a picture a thousand miles

As, therefore, in the case of animate bodies and 5

pictures a certain magnitude

is

necessary,

and a magni-

32 5

5— VIII.

VII.

Kol

ovTco

Twv

eVt

fivdoiv

Tov<}

€'^€LV

fiev

rod ^rjKOV
evfMvrjfMovevTOV elvat.

5—27

145 1 a

3.

dycova'i koX rrjv atadr](Tiv ov

tovto

/jL7]K0<;,

6po
Te^i/779

Tr]
Be

tTjOO? 6

/xev

icnlv

el

av

i^ycovL^ovTo, axTTrep Trore koI

fiei^oiv

TO

a7r\w9

Be

o)?

Kara to

et/co?

rj

avfi^alveL et? evTv^iav 1

VIII

BvaTV^cav fieTa^dWeuv, S'

f^vdo<;

€va

57"

ecTTlv

ovBev

iroWai

elcnv,

ev

ovtco<;

wv

fiia

ovBep,la

dfiapTavetv

K\7)lBa ©rjcTTjlBa Kol

7rpoai]KeLv.

25

^

^vcnv

Bed

6.

6

ttoctjtmv

Bib 2

'Jipa-

ire'iroi'qKacnv'

wcnrep

Kal

tjtoi,

yap

ttolmv

olov

'TrXrjyrjvac

apogr.

8.

to,

Bid

ovk

Be TrpoaTrocrjaaadat ev

fiiv

evo<;

irpd^i'i.

'TTOiij/JiaTa

"0/u,i]po(;

crvve^r],

irphs

irpd^et^

iTrolrjaev

fxev

tm

aXka Te'^vrjv

ev

tco

dyepfxw,

KXe^vSpav apogr.

9.

M. Schmidt sicut solemus dicere etiam aliquo tempore et Arabs
aliquando

1447 a

:

koI

6 'I{paK\r}
^OBvaaeiav

ixavrjvav

add. Bursian

eiiliOacrtv

3'

ToiavTa

eav TrepX

avfi/Salvet, ef a)v

tmv

oaoi

eh

tov fieyedov?.

ylveTai

eoiKev /caXw? IBetv

diravTa oaa avTw

Uapvaaao),

rjv

6

Kal tovt

Bia(f>epei

to,

eU

otovTat ydp, eVel

Be

oa(p

'yLyvofievoiV

olovTai

evl

Kara

ev

i^ evTv^ia';

?)

Tive
ea-Tiv

i^

eoLKacnv

20 TrdvTe<^

elvat

axTTrep

fiev

earl

elirelv,

lKavb<; 6po<{ iaTiv

TToXka yap koL aireipa rw

[ivLoov]

del

i(f>e^i]<;

BvaTv^lai;

e/c

ov-^

et?

Biopicravra^

to dvajKalov

Se 7

elcodacriv. opo<;,

TOV avv8ri\o<; elvac KaWicov

P'^xpi'

fj,e'yedo<;'

fiejedeo

5

aWore

avTTjv rrjv (f)vcnv tov Trpdyfiaro'i

10 /car

:

'

17).

'

:

18.

:

Muv

seclus. Spengel.

3

ARISTOTLE'S POETICS

may

tude which the

a

plot,

33

3

be easily embraced in one view length

certain

which can be

5— VIII.

VII.

easily

necessary,

is

so in

;

and a length

embraced by the memory.

The

limit of length in relation to dramatic competition-

sensuous presentment,

had

been the rule

it

is

no part of

together, the performance

the water-clock,

—

of the

drama

itself is this

more beautiful on

size,

to

define

the practice in certain

is

limit as :

—

fixed

by the nature

the greater the length, the

will the piece be, so far as beauty

depends

And

provided that the whole be perspicuous. the

matter

proper magnitude

we may

roughly,

say

comprised within such

is

For

compete

to

would have been regulated by

as indeed

But the

other contests.

artistic theory.

hundred tragedies

for a

6

and

the

that

limits, that

the sequence of events, according to the law of probability or necessity, will

admit of a change from bad fortune

to

good, or from good fortune to bad.

VIII

Unity of plot does

not, as

some persons think,

consist

in the unity of the hero.

For

incidents in one man's

which cannot be reduced

unity; and

so, too,

out of which error, as

it

life,

there are

infinitely various are the

many

we cannot make one

action.

poems of the

to

man

Hence the

who have composed

appears, of all poets

Heracleid, a Theseid, or other

actions of one

kind.

2

a

They

imagine that as Heracles was one man, the story of Heracles must also be a unity. else

he

is

art or natural genius

the truth. all

But Homer,

of surpassing merit, here too

—seems

to

as in all 3

—whether

from

have happily discerned

In composing the Odyssey he did not include

the adventures of Odysseus

—

such as his wound on

Parnassus, or his feigned madness at the mustering of

D

'

3— IX.

VIII.

34

Oarepov

ovhev

o)v

irepl

30 Trjv ^Ohvacreiav crvveaTTjaev,

ovv KaOdirep Kol iv

^pr)

35 rivb^

yap irpoaov

o

tov p,v6ov,

ipavepov

kol

o\r]<;

/ila 4

rj

irpd^eco'^

eirel

to, f^epr]

Be

i)

irpoaov

fxr)

irotel eVt-

fXTjSev

tov 6\ov eariv.

BijXov, ovSev fjLopiov

IX

dX\,ai<; fXiH7]TiKal
d(paLpovp,evov Bca(p€pecr6ai, Koi Kcvelcrdat

rj

fj,epov
oXov

TO

ei/co9

rj

ovTw
irpay/jidTcov

rcov

o-vveaTCbvai,

rjv

Se Koi rrjv ^\\tdha.

6p,oico<;

Tal
iarc, /ita? re eJvat koi TavTi]<;

fiifJLTjcTL'i

13

Trpa^tv oiav \i<^o^ev

filav

ovro) koX

ia-riv

ev6<;

fMLfirja-i^

ava'yKalov

aWa

Odrepov yeveadac,

28—1451 b

145 1 a

5.

roiv

etc

Kal

elpr/fievcov

ov

ore

to

to,

yevofieva Xeyeiv, tovto ttoctjtov epyov iariv, dX)C ola av

Bvvard Kara to

40 yevotro koX ra

yap

1451 b

[aTopcKO
Bta^epovaLV,

d/xeTpa

rj

et/co
ov

7rotr]Tr]
yap

e'lrj

av

fieTpa TeOrjvai, Kal ovBev tjttov av

/xeTpov

^L\oao(^(jOTepov Kal cnrovBaiOTepov

yap

fxev

fjbdWov

'7roL7)cn
"TTola

cLTTa crvfM/3aLvec Xeyeiv

i7riTi9ep,evr],

28.

Tjv

T)

X^yoififv

apogr.

Sia(p4pea0ai

?

:

Arabs. 40. [Kal .

.

:

^c

TO,

29.

A<=.

33.

5ia(f>ope?crdai,

habuit 36.

fort,

Kal cf.

Suvard] Maggi. .

.

.

to,

iroiw tcl 4

^

ovop-aTa

A.\Ki^idBr}<; eirpa^ev

Kcop.q)Bia<;

rjBr}

tovto 5

yap tov fxvdov Bid twv

"K^yofMev

2,

lect. S,

'

TOVTCfi

10.

.

:

&v 35.

8t.a(pdelpea-dai coni.

:

et

confundatur oCrw A^.

ov rb apogr. .

A^

Susemihl.

corrumpatur 38.

4.

Xiyoifxev

:

Kal

464 b 13

ws apogr.

1451 b

apogr.

ratjTrjs

:

de Div.

rd Spengel.

tS

fxev,

eaTLV

laTopia

B""

7roirj(ri
rj

Tr]<;

TavTT]s

utramque

Trotet, iirlbriKov

TwA'=: TOVTO

ovv

crva-TrjaavTe
Vahlen.

Margoliouth

.

:

p,ev

eirl

yeyovev

Brjkov

Bib kol 3

irpdTTeiv KaTa to eiKO^

rj

crTO'^d^eTai

to Be KaO^ eKaaTov, Ti

eiraOev.

Ti

rj

ov

dvayKaiov,

TO

/;

tov

tc3

iroirjcn'i l(TTopia
KaOoXov,

tcl

ei?

fXCTa

Ti<;

Bia
eaTiv Be KadoXov

KaG' cKaaTOV \eyet.

10^

'UpoBoTOV

laTopia

yevofieva Xeyeiv, tov Be ola av yevocTO.

5 fiev TO,

7]

efXfieTpa Xeyeiv 2

to,

eXrj

dvev pueTpwv, dXkd tovtw

7]

to dvayKoiov.

rj

^

tc3

.

to apogr.

tcJj :

:

apogr.

t6v

A<=.

:

tovto

ARISTOTLE'S POETICS VIII. the host

—

:

— IX.

35

5

which there was no necessary

incidents between

or probable connexion

3

but he made the Odyssey, and

likewise the Iliad, to centre round an action, that in our

sense of the word

one, so the plot, being

is

As

one.

is

imitative arts, the imitation

one,

is

therefore, in the

when the

other 4

object imitated

an imitation of an

action,

must

imitate one action and that a whole, the structural union of the

being such that,

parts

any one of them

if

is

displaced or removed, the whole will be disjointed and disturbed.

For a thing whose presence or absence makes

no

difference,

visible

not

is

an organic part of the

whole.

IX

It

that

moreover, evident from what has been said,

is,

has happened, but what

may

happen,

—what

is

yj

possible

according to the law of probability or necessity. 1451 b

s

not the function of the poet to relate what

is

it

The

;

2

poet and the historian differ not by writing in verse or

The work

in prose. verse,

and

metre no

would

it

of Herodotus still

be a species of history, with

than without

less

it.

The true

Poetry, therefore,

is

a higher thing than history

:

mean how

speak or necessity

a more philosophical and 3

By

the universal 4

a person of given character will on occasion

according to

act, ;

and

it

is

this

the

law of probability or

universality at which poetry

aims in the names she attaches to the personages. particular suffered.

the poet

is

is

for poetry tends to express

the universal, history the particular. I

difference

what has happened, the other what may

that one relates

happen.

might be put into

—

for

example

In Comedy first

— what

Alcibiades

this is already apparent

:

did

The or

for here 5

constructs the plot on the lines of prob-

^ i

/^

\

36 s

1

5

IX. 5

—

1451 b 14

lo-

eiKOTWv ov ra rv^ovra ovofxara virortOeaaLv, koI wcrrrep

01

8e

iirl

aXnov h

ovv

fiev

rwv

Tpay(pSia<;

Tr]<;

dhvvara.

dWa

ov

/nrjv

Kal rd ovofiara ov

ou?

on

30

TTOLTjrrjv

eariv,

35

7roLrirr)
roiv

14.

oi5

Kard

7roirjrr)
BrjKov ovv 9

rrjv fiifirjalv

dpa avfi^y yevo-

kolv

rwv

ea-rc

rotavra

yevkdQai,

0X17069

jvcopifjia

rcov fivOcov elvat Bee

7roti]r^<;

KwXvei

Kal

dvre'^ecrdai.

elalv,

KaO^

yevo-

dv

ola

elvat

eKelvo
etKO'i

avrwv

eariv.

'nequaquam' Arabs:

:

^jTiTi^e'ao-tapogr.,

Susemihl

quemadmodum

si

quis

:

Bekker.

15.

22.

iviais A<=.

unum

esse

bonum

oiiTu

r^y A'=

(dat. 'Avde6s), cf.

seclua.

Parthenius

Spengel.

Vahlen.

34.

Ka.1

irepl

statuit

:

codd.,

twj' r(^

'

cf.

1451 a

apogr.

20.

'Aydduvoi dvOei

at

<evSoKt/j.ovcrai>

dward Susemihl: 36. tCiv

aTrXwj 5^ ruiv Castelvetro.

:

Arabs male Syrus Pro dvdeL coni. 'Avdel :

ipwTiKQv iradTjfidTwv, Mackail.

26.

adai seclus. Vorlander, om. Arabs. 8^ d-n-Xwp codd.

:

^j*

legisse videtur ^v t6 dyadbv 6s Av 6^ (Margoliouth).

elmt

ev(f)pal,vei'

TrapaSeSofievcov 8

roiv

/xdWov

rd rat

Be dXkcov fJbv6(ov Kal rrpd^ewv ai eTreLaoBicoBei^ 10

iv ivlais apogi'., '

olov ev

rd re irpdyfiara

Kal rd

Be rd'i 7rpd^et
(vel ovxl) scrips!

38.

ovofidrfov,

ev,

eixppaivec 'jrdvra
6)Jbco<;

Troirjrrjv

Bvvard

Kal

icrrlv

ev rovrtp

^Tjrecv, iirel

ovBev

evia

ijevero, el

rpa'ywBlac'i ev 7

ovS'

^rjrrjreov

ovOev rjrrov

jxeva rroielv,

yeveaOat

Sward, rd

Kal ovSev rjrrov

ro)V fierpcov, oaco

rj

he

rpayaBlac

at

rov

fiifiecrat

ixevcav

yap

elvat

yv(opifid eartv dXk'

eK rovrojv

rd

rat<;

fyvoipifjioiv

ev eviat'i

ofiolco'?

rovro

lydp yeXoiov

Kal ev

ireirolriraL,

7rdvro)<;

rrepl

fivd(ov,

dvr- 6

Sward, ov yap dv

dWd

hvo rwv

rj

TreTTonjfieva,

^AydOcova dvOei'

25 axrr

ovo/xdrcov

yevo/ieva ovttco irKnevofiev elvai

fir)

eVtat9 fiev ev

Se

iart

oy^

ttoloxxtlv.

to Svvarov.

yevofxivcov

iriOavov

otl

Be yevofieva (f^avepov ore riv

top Ka6^ eKacrrov

Trepl

lafx/3o7roLol

^^(ovTai,.

20

— 36

rpayuiSiai /cai

dward

U dWuu Tyrwbitt

25.

coni.

yev^:

tQv

'ARISTOTLE'S POETICS IX. 5—10

and then

ability,

the lampooners

But tragedians

what

that

is

characteristic

inserts

who

possible

is

credible

at once feel sure to

happened

is

Still

We

must

legends, it

it

would not

known names,

the rest

In others, none are well known,

in Agathon's Flower,

are fictitious,

but what has

:

there are some tragedies in which 7

there are only one or two well fictitious.

unlike

what has not happened

:

be possible

manifestly possible; otherwise

have happened.

—

names, the reason being 6

to real

we do not

being

names;

write about particular individuals.

keep

still

37

and yet they give none the

not, therefore, at all costs

to

as

less pleasure.

keep to the received 8

which are the usual subjects of Tragedy.

would be absurd

—

where incidents and names alike

attempt

it

;

for

Indeed,

even familiar sub-

a few, and yet give pleasure

jects are familiar only to

maker

'

should be the maker of plots rather than of verses

:

to

It

all.

since

he

is

historical

there

is

And he

even

is

why some

happened should not conform and

possible,

'

9

^

,

subject,

no reason

the poet or

because he imitates, and what he

a poet

imitates are actions.

an

that

follows

clearly

and in virtue

of

if

he chances to take

none the

less

a poet; for

events that have actually to the

law of the probable

that quality in

them he

is

their poet or maker.

Of

all

plots

and actions the epeisodic are the worst. 10

,

X "^

:

38

IX. lo

— X.

Xeyo)

'^elpLarai.

elcrlv

iTreLCToSia

iTretaoSLcoSr]

S'

oKkrfka

fxer

— 1452

1451 b 37

3.

ovr

Toiavrat Se Trocovvrat viro

twv

w ra

ev

jjuvOov

out

et/co?

jxev

a 20

avdyKij

(paiiXoyv

elvat.

Sl

ttoctjtcov

40 avTov<;, vTTo Se tmv d
1452 a

ajjiUTa

fydp

vovTe
fMvdov

Kol

Bvva/MLV irapaTei-

rrjv

dvayKd^ovruL

Siaarrpe^eiv

<0Tav> fidWov

OavfJiaaTov

e^et 12

ovTOi
T7]
koX

TavTU davfiaaiMTaTa SoKel oca wcnrep

T(ov aTTo

TV'^7]
eVtTT^Se?

(palveTat

yeyovevai,

olov

6

o)?

dvSpcd<;

tov

6

tm

MtTt/09 iv "Apyei direKTeivev tov aiTiov tov OavaTOV OecopovvTi

10 M.LTVL,

yevea-Qai.

elKrj

11

\^KaX\

/judWov

Kol

So^av,

rrjv

yap

to

aTTo tov avTOfiaTOv Kol

el

rj

irapd

yevrjraL

dWrjXa'

81'

to

/^tytiT/crt?

rj

Kol ekeeivoiv, ravra he ylveraL

(f)o/3€p(ov

orav

fidXiara 5

TToWaKL'i

eVel Se ou p,6vov Tek€La<; icrrl 7rpd^ea>
€(f)e^r]
dWd

Kot irapd

TToiovvre'i

tou?

dvdyKrj

(ocrTe

yap Ta ToiavTa ovk

eoLKe

efM7r€(T(i>v'

tolovtov^

elvat

KaXKiov
X

etcrl

twv

Be

fivOcov ol

Kal yap al irpd^eL'i 15 CTLV ri
jjuev

wairep

yivofjbevq^

TrepLireTela'i

rj

ireirkeyfievr]

S'

^

:

cruz/ep^oO?

t^9

1452 a

2.

A" :

:

nrepL-

r)

fjtvdov,

Gomperz.

3.

Se

Set 3

cocrre

e'/c

Bekker

/cat

seclus.

Kal /xdXtora Kal fxSXKov Srav yivrjTaL irapa ttju dd^au codd.

correxit Reiz

apogr.

ylveTai,

41. wapareivovTei apogr., seclus.

17

:

codd.

lect.

tuetur Tucker, Kal kclXXiov scripto pro Kal fiaWov

[Kal /j.d\\ov] ve\ [Kal fxaXiara] Spengel. \4^is

tov

dvev

fitd
TavTa

eaTCV.

(rvarTdcre(o
Trpd^Lv 2

[juev

dvayvcopca/xov

fieTd^aal
rj

Kal

fieTd^aai<;

77

fieTa

r)^

Kpiras apogr.

vaparelvavres A^.

Susemihl.

wpicrTat

ecnlv

avTrj<;

40, viroKpiras A<=

ol /xvdol elatv virdp'^ov-

\eyco 8e aTrXrjv

dvayvoiptcrfjiov

d/ji(f)OLV

20 ytveadat i^

difkol ol 8e TreirXey/Mevoi,

fJiL/j,'^crei<;

ovaai TocavTai.

ev6v
Trere/a?

oiv

5^ ecTTiv ^^ ^s (h. 5^ irpa^is

ijs

e.

Ueberweg.

5^

•

-/l

e^Tys)

18.

Valilen

5' ^o'TtJ' :

^s

SusemiM

:

:

5^

Se e^ ^y vel 5^ Trpa^ts

ARISTOTLE'S POETICS IX. I call a plot

'

epeisodic

in

'

lo— X.

39

3

which the episodes or

acts suc-

ceed one another without probable or necessary sequence.

Bad

by

poets compose such pieces

poets, to

the

please

players

their

own

beyond

pieces for competition, they stretch the plot 1452 a

and are often forced

capacity,

good

fault,

they write show

as

for,

;

its

to break the natural con-

tinuity.

But

Tragedy

again,

an imitation not only

is

complete action, but of events terrible and

an

effect

by

surprise

same

best produced

is ;

and the

when

effect

will then

striking

the events come on us

;

for

when they have an

The

one another.

be greater than

themselves or by accident

even coincidences are most air

Such events seem not therefore,

to be

on

constructed

We may

of design.

murderer while he was a spectator at a

Plots,

tragic 12

they happened of

if

instance the statue of Mitys at Argos, which

him.

all

heightened when, at the

is

time, they follow from

wonder

of

Such

pitiful.

fell

festival,

due

these

to

upon

and

his

killed

mere chance.

principles

are

necessarily the best.

X

Plots are either in real

show

life,

of

Simple or Complex,

which the

plots are

An

a similar distinction.

for

the actions

an imitation, obviously

action

which

is

one and 2

continuous in the sense above defined, I call Simple,

when

the change of fortune takes place without Eeversal (or Eecoil) of the Action

A

Complex

accompanied

by

both.

and without Eecognition.

action

is

one in which the change

by such Eeversal,

These

last

should

structure of the plot, so that

or

arise

by Eecognition, from the

is

or

internal 3

what follows should be the

40

X. 3

TMV TO

avfi/Salveiv

yiyveadat ravra'

rdSe Bca rdSe

trdai,

pb€Taj3o\rj,

OISlttoSi

To5

to

w?

Trpo?

P'^vo'i

TOV

davelv,

Tovvo/xa

(piklav

et?

he

KaXKla-Trj

35 wpccrfxevcov TreTetat fiev

yivoyvTai,

dWai

ovv Koi

Treirpaye Tt9

»7

p,a\taTa tov jxvdov icTTLV

et,p7]fMevr) 1452 b

TTCTeta

i)

22, ravra

:

:

commate

delete

36.

Fort, otav

By water.

^(ttiv

:

a.])ogr.

:

ws

fKeov coni. :

(ireidr]

to.

dXX'

irpd^ecov

7)

Kal irept- 4

dvayv(opia-c
varepa Gomperz. seclus. Zeller,

post /xera^oXri TL

Gomperz. 38.

Tpaywhia

rj

Vahlen.

35.

39.

Susemihl.

1452 b

1.

Susemihl, pos, commate post

oioji'

ecrrLv

66'

apogr.

:

Kad' &

Susemihl.

Gomperz.

6t€ ucrirep Ric-

<6>ir€p Gomperz. :

el ixt)

v-n-bKeirai.

•^

a/ta nepLveTdq.

^M^^apogr.

/cat

< >

:

probante

Essen,

eanv

:

KadaTrep dpr)Tai,

25.

Gomperz

uxnrep A<=:

i<XTlv

<6>Trep Spengel

avpLpaivei A°.

Kal TrepLirireLa seclus.

5^

d-yjrv^a

7rpb<;

fidXiaTa t^9 Trpd^eca

rj

ToiavTrj

ad wdTrep X^yonev

Post ^x^P'^" ^^^- ^ &X.Xo

cvfi^aivnv

elalv 3

koX yap

(jjo^ov, o'iwv

rj

34.

rj

Kal

yap

ravavria Bonitz

gloss,

jrpoypTjTai

cardianus

irepi-

vTroKecTac ert he Kal to aTvyeiv Kal to evTv^elv

fxcfXTjaa

tanquam

eXeov e^ec

oTav d/xa

ireirpayev eaTiv dvayvcopicrat'

firj

r)

tc3

rj

hvaTv^iav

r)

'7rep etpTjTat crv/ju^alvet, Kal

&>?

ec

r]

ev

77

koI 2

p,eTa^oXrj

OlhiTrohc.

dvayv(apLcri<;,

e')(€L

&)?

diro-

wcrirep

he,

evTV^iav

dvayvcopia-et';'

Kac Ta Tv^ovTa ecrTiv

40

he

olov

dyo-

puev

uKoXovdcov

eh yvwcnv

7rp6
09

S7]'kcoaa<;

Treirpayfievcov

dvayv(iipLaL<;

i^ dyvoia<;

eyjdpav TOiV

elf

rj

tmv

e/c

koI

OlSiirovv

Aavao'i

he

6

avve^rj

Be

wairep iv

kol iv tcS KvyKel 6

aadrivai.

a7}/j,aiveL,

tov

(po^ov,

jxrjTepa

dTrodavovjjbevo'i,

6i
diroKTevoiV, tov /xev

civayKalov

77

evcppavMv

Tr)v

tovto

kuI

etpr^Tai,']

etVo
^v, TovvavTLOV eTTolrjcrev'

30

Kara

rj

yap ttoXv to yiyve-

to ivavTLOv tmv irpaT-

et9

rj

{^Kaddirep

eX9ci)u

diraWd^ayv tov

2

fierd rdSe.

tj

Xeyofiev kuto,

coa-irep

b

i^ avdyKrjii

7)

Biacj^epec

eari Se TrepcTrereLa fiev

25 TOfievcov

— 1452

1452 a 21

4.

irpo'ye'yevriiievwv

€Iko<;

XI

—XL

41.

AP.

Kal>

olop A^.

TreptTr^reta 2.

Iri

ARISTOTLE'S POETICS X.

3— XL

41

4

necessary or probable result of the preceding action.

makes

the difference whether any given event

all

It is

a

case of propter hoc or post hoc.

XI

Reversal (or Recoil)

a change by which a train of

is

action produces the opposite of the effect intended, subject

Thus

always to our rule of probability or necessity.

in

the Oedipus, the messenger comes to cheer Oedipus and free

ing

him from

who he

by

his alarms about his mother, but

he produces the opposite

is,

the Lynceus, Lynceus

reveal-

Again in

effect.

being led away to his death, and

is

Danaus goes with him, meaning outcome of the action

is,

to

slay

Danaus

that

him

;

but the

killed

is

and

Lynceus saved. Recognition, as the

name

indicates, is a

change from 2

ignorance to knowledge, producing love or hate between the persons destined by the poet for good or bad fortune.

The best form

of recognition

is

coincident with a Reversal

(or Recoil), as in the Oedipus.

There are indeed other forms.

Even inanimate things

most

of the

times be objects of recognition.

trivial

Again,

kind

may

we may

recognise

or discover whether a person has done a thing or not.

1452 b

But

the recognition which

is

most intimately connected with

the plot and action

as

we have

persons.

is,

said, the recognition of

This recognition, combined with Reversal, will 4

produce either pity or fear effects are those

sents.

.3

some-

;

and actions producing these

which, by our definition, Tragedy repre-

Moreover,

it is

upon such

issues that fortune or

XL 5-XII.

42

TOiV TocovTcov (TVfji^rjaeTaL.

eVfc

iirel

orav y

fiovov,

avayvcoplaai,

Set

avayvdopiai^i 5

r)

olov

Trj<^

afji<j)OTepov^

^Opecnrj

to5

'l(f)Lyev6La

fxev

t]

i7riaro\r]<;, eKeivov he

t?}?

7r€p,-\frea)
tov erepov

7rp6<;

arepo^ rt? iarLV, ore Be

Srj\o
dveyvcopLcrdr] eK

hrj

Oarepov

Tivoiv iariv avayvcopLatii, at fiev 5

3-27

1452 b

3.

7rpo<; rrjv ^IcjicyeveLav aX\7]<; eSet avayv(opi
hvo [xev ovv TOV fivOov 10 nreTeia koI avayv(t)pLac<;,

TreptTrereta fxev Koi dvayvciipicn'i 7rpd^L
cf)6apTLKr)

OdvaroL

koi

[jovtwv he

etpT^rat,] 7rd6o^

koi

Trepccohvvlat

irepi- 6

iart,,

irdOot;.

ohvvqpd, olov ot re ev

i)

at

ravr

jrepl

fMepi]

rpirov he

tc3

he

ecrrt

(pavepoi

kuI

Tpd)aeL<;

ocra

Toiavra.

XII

rpaywhia'i

he

[f^^PV

rdhe

Ke^oopicr/jbeva

KOLvd 20 Kol

fiev

to

he

'X^optKov

25 CTTdaL/jLov Tpoxct'i'OV,

diTO 3.

he

T)

yu,eA,o?

fiept]

eireLbr)

2, ut videtur.

Bywater

iKeivcp

:

9.

2

Susemihl, om. Arabs.

K6/J,fjLoi

del.

:

Trept

4.

Maggi

Susemihl.

Christ praeeunte Ritter.

oXrj

27.

AVestphal

oh

fj.h

wj

eraipov eKeivov

non habuisse

10. tovtwv di

re apogr.

:

cap. seclus. Ritter, recte, ut opinor. 24.

:

7.

irepov

trepl

:

:

6\ov

dire

19.

apogr.

26. :

—

eipyjraL

15.

A<=.

kolvo,

A<=.

e'ideai dei

hel 3

ethecri,

codd.

raiVd Twining. di

Koi

i^^^

co?

fiev

:

12.

xopov,

dvairaiCTTOv

oh

seclus.

/ieXo?,

oXtj

x'^P'^^

0' 77 Bekker. Bernays grepos -rrepl

xopov

\e^L<;

iird

:

arepo^

seclus.

(Margolioutli)

KOivo
he Tpay(phia
codd.

eaTt

dvev

'^^

dprjvo
videtur

Totum hoc

crKrjvrj^

rrj^;

o\ov rpayw- 2

fxepo
irpcoTTj

rj

X^P^^

apogr.

5.

ovk

o

jxeO^ fjuev

he

KO/jip,o
AP'-.

e^oho
x^P°^ irapohov, eiretaohLov he fiepo^ okov jxeTa^v oKwv '^opLKcov p,e\o)v, e^oho^; he

irdpoho'i

crKrjvrj
€7ret 57}

eireLaohtov

ravra, thia he rd diro

oKov Tpaywhia'i

lxepo
eh a hiaipelrai

Trdpoha TO he crrdaifMov

fxev

earcv he 7rp6\oyo<; fxev

Sta? TO irpo

hel '^prjcrdac

ethecTL

irocrov koI

irpokoyo'^

ecrriv,

d'rrdvrojv

Ko/xfjioi.

Tpayrphla'i

to?

/xev

he rb

TOVTOV TO

Koi

"^opiKov,

ol?

Kara

16 irporepov eoiro/xev,

fih

.

.

.

tQv add.

oh fih

8ei

A".

XL 5— XII.

ARISTOTLE'S POETICS

Eecognition, then, being between 5

misfortune will turn. persons,

may happen

it

—when

by the other

may

is

recognised

known

already

is

—

or

it

be necessary that the recognition should be on both

Thus Iphigenia

sides.

make

required to

Two

—

;

revealed

is

Orestes

known

parts, then, of the Plot

and the

by the

on the

is

to Iphigenia.

—

A

The Tragic Incident

action, such as death

Orestes

to

but another act of recognition

turn upon surprises.

Incident.

XII

that one person only

the latter

sending of the letter

tion

43

3

Eeversal and Eecogni- 6

third part

is

is

the Tragic

a destructive or painful

stage, bodily agony,

wounds

like.

[The parts of Tragedy, which must be treated as elements of the whole, have been already mentioned.

We

now come

parts into

to

the quantitative parts

which Tragedy

is

divided

Episode, Exodos, Choric song

and Stasimon.

into Parodos

plays

:

peculiar to

stage and the

the

this

some are the songs of

is

The Exodos

which has no choric song Parodos

Chorus

:

the

is

the Stasimon

or trochees

and

actors.

:

the separate

being divided

common

to all

actors from the

that entire part of a tragedy which 2

Parodos of the Chorus. .

the

last

These are

that entire part of a tragedy which choric songs.

—

namely, Prologue,

Commoi.

The Prologos precedes

;

—

the

first is

Commos

The

is

is

The Episode

is

between complete

that entire part of a tragedy

after

it.

Of the Choric

undivided

utterance

of

part

the

a Choric ode without anapaests is

a joint lamentation of Chorus

parts of Tragedy

which must be treated 3

44

XII.

3— XIII.

^pija-dac Trporepov

a Siaipelrat

XIII

MV

Se

ravr

icjie^rj'i

av

ovv Bel

Trjv crvvdeacv elvat

dirXijv

dWd

fit,fL7]TLKJ]V,

irpwTov

fxifiriaeoi^ ecTTiv,

avBpa
Tr]
BvcTTV^^iav,

Bel evKa^elaOai crvv-

vvv

t?}? Tpa'y(pBla
elpTj/jbivoi'i.^

KaWiaTTj'i Tpa'y(pBia
koX

7a/3

ovtc

ea-TiV

wv

e;^ei

ovT€

ecTTiV

ovTe tou9 e'meiKel<;

fiev BfjXov otc

tov<;

oils'

eh BvaTv^iav

dvOptoTTov e^OL dv 5

rj

av tov

ovTe

crcfjoBpa

to

fieTaTTLTTTecv'

ToiavTrj crvcrTa(TL
•X^ovvTa, 6 Be irepl

Be

(j)o/3epov X.ot7ro9.

tov

irepX

dW

Be

TOtovTa

6

ovTe

Tr}V

fjueydkr}

30. 2.

S}i>

BvaTv^iav

apogr.

:

wj

a5 rbv apogr.

Ritter,

ovtcov

Bo^T]

A<=, :

dXkd

6 firjTe dpeTrj

koI

Bi

ovTe eXeov

6.

?Xeos ij^v

Slwovs A°,

.

.

ovTe

dpa tovtoov

twv

OlBiirovi

.

kol

jxeTa^dXkwv

34. ireirXeyfxivqv seclus. Susemihl.

a5 t6 A^.

quod non confirm. Arabs (Margoliouth).

Bvcttv-

tov dvd^iov,

Ttvd,

olov

e|

yap ^l\-

Bca
dfiapTi av

evTV^ia,

ekeeivov

ekeeivov

fieTa^i)

10 BiicaLoa-vvr), firjTe Bid KUKiav Kol fioyOrfpiav

eh

ovBev

Trovrjpov

fiev

fiev irepl

&crTe

o/jlolov,

to avfi/Satvov.

ecTTai ecTTt

tov o/xolov, eXeo?

eU

aTV^ia'i

e^

p,0')(6T]poi)^

ovTe (f)o^ou, 6 fiev yap irepl tov dvd^iov icTTCv

(f)o^o'i

kol

ToiavTT)
Tr}9

ovTe yap ^CkdvOpwTrov

Bel,

evTv^ia<;

2

fir]

(po^epMV

TavTrjv

tovto jdp tBiov

40 evTV^iav, aTpaycpBoTaTOv
et?

[xeTa^dWovTa^ (patveadac ef evTv^la^ eh ov
Bei

fiiapov

a

TOL
TreirXey/Jievrjv

35 iXeeivcov elvat

to ttoctov koI

Be

koI iroOev earat to

\eKTeov

eir]

a 12

icrrlvJ^

aro'^d^ecrdaL Kol

Sel

28—1453

Kara

etirafiev,

Ke'^copcafiiva

31 i(TTdvTa<; TOv
epyov,

1452 b

3.

ev

Kal

1463 a

rhv S/ioiov seclus.

12.

Oldiirovs apogr.

:

3

a

3— XIII.

ARISTOTLE'S POETICS XII.

whole have been already mentioned.

as elements of the

The is

quantitative parts

divided

As

XIII

—

45

3

—

the separate parts into which

what has already been

the sequel to

we must

said,

proceed to consider what the poet should aim

at,

what he should

and by

what means the

A perfect

avoid, in constructing his plots specific effect of

;

seen, be arranged 2 It should,

moreover, imitate actions which excite pity and

being the distinctive mark of tragic imitation. plainly, in ,

K

'''./

the

that the

place,

first

brought from prosperity to adversity: fear

;

it

^.

''-i^-for

1453

merely shocks

this

for

the

no single tragic quality

moral sense, nor

A

hibited.

it

would

to

by the misfortune event,

therefore,

of a

will

pity

man

be

neither

nor

just,

—

that of a

yet whose misfortune

or depravity, but

be

man who

one who

is

is

by some highly

is

^^^\^'e~^

Such an terrible.

brought about not by vice frailty.

'

^

nor^ \ ^

not eminently good and

error or

.

Nor,<<'"^''6^'^N

There remains, then, the character between these two extremes,

v'

3,

satisfies

fear.

ourselves. pitiful

^ '

<-»

;

inspire neither pity

like

^^

\^ * prosperity --X-^S -^'' ^ Tragedy it\

neither or

.3.

^

moves ^^

by unmerited misfortune, fear^

fear; for pity is aroused

^

man\>

kind would, doubtless, satisfy

plot of this

the moral sense, but

forth

calls

it

;

'

Nor, again,

us.

nothing can be more alien to the spirit of

a possesses

^^

change of fortune '\^t'

/q_^V ^I'that of a bad man passing from adversity ^<J^

fear, this

It follows

presented must not be the spectacle of a virtuous

\^>S(^\ neither pity nor

and

Tragedy will be produced.

we have

tragedy should, as

not on the simple but on the complex plan.

'

it

are here enumerated.]

He must

renowned and prosperous,

—

3

>*

^l\ ^

S

XIIL 3—8.

46

®uearT]<; koI ol

apa

dvayKT] 15 /xaXkov

ovK

koXm'?

evrv^lav

et9

CK

afiapriav fjbeydXrjv rj

20

rj

tou9

Troirjral

ot

7<x/3

nvh

j)aai, koX

aWa

Sia

/xr}

rovvavrtov

fxdWov

TV')(ovTa
fiv6ov<;

aWoi
crv/ji^e/3r]K€v

Kara

25 ovv

Opecnrjv

Bio Kol

Kol

yap

TOVTO

iaTLV

al

TOcavTat,

tmv

ttoitjtwv

XeyofievT]

vtto

tlvwv eaTiv

irpoiTrj

35 re

Tr]v

avaTaaiv

TeXevTMcra

e^

BoKel Be elvai

rot?

Bid

nrpoiTrj

fjurj

Trjv

rj

tcov

dWd

oIkovo/xcI

rj

^OBvaaeia, Kal

om.

iatn S.

rj

Kal

'^elpocnv.

OedTpwv dadeveiav

ev')(rjv

to?9

iroLOvvTe'i

27. tout' avrb

rjBovrj 8

Thurot

:

avrol

to ai/rb codd. Vahlen, secludendum coni. Margoliouth collate Arabe.

Reiz

:

28.

iroWai Knebel

:

1

TroXXat

<;ai> Tyrrell.

dedrpuv A^ et S, ut videtur

34.

cnjaraffis

1449 a 9, Herod, vi. 21 ^s SaKpva '^ireae rb derjTpov, Aristoph. Eq. 233 Tb yap dearpov 5et,i.6v): OeaTuiv apogr. 39. avrr) <}]> coni. Vahlen.

seclus.

Twining.

37.

7

BcttX^jv

eaTCV Be ou^ avTrj <>]> diro Tpay(pBia
21. KdWicrraL seclus. Christ,

8'

BevTepa

[crycrTacrt?]

^eXTioac

dKoXovOovcTi yap ol TTOirjTal KaT 6eaTai
ev

(palveTai.

KaOaTrep

6'^ovaa,

ivavTia<;

Be

arifxelov

dv KaTopdoiOwcnv, Kol

(palvovTai,

aXka

rpaycp-

rekevrwcnv.

Kol tcov dycovwv Tpayu-

TpayiKcoTaTO'i ye

el

Tat<;

opOov.

e'cprjTat

crKrjvcov

to,

l^vpc7riB7]f;

TavTr}
e/c

Bvcrrv^lav

Kal

6

fiev

rj

ol ^vpnrlBr] €yKa\ovvT€<; 6

et?

Mcnrep

eVi yap tcov

30 /jueyiCTTov

KooTaTac

avrov

-TToWal

6(tol<;

7rotr]aai,.

rj

TOVT avTO dfiaprdvovaiv, ore tovto Spa iv hlai
koI

T^\€(f)Ov

rpaywhia

KaWlarr]

iari.

(TVcnda€co<;

TYj'i

koL

iraOelv heiva

ri-^vv^

ttjv

vvv

[KaWcarao] rpajaySlac avvri-

Svecrrrjv i)

fxev 5

aTrrjplO/jiovv,

Oevrai, olov irepl ^AXKfialcova koX OISlttovv koI

yieXiaypov Koi

ot

koX to yiyvofievov vrpcorov

Se irepX 6\l'ya
KoX

i^

aWa

^€\ti,ovo<;

rj

eLvat 4

fxerajBaXkeLV

/jbo^drjpuav

oXov elprjrat,

arjfielov Se

'^elpovo'i.

airXovv

jxvdov

ZvcrTV')(ia
SvaTVVLav,

eh

evTvyia';

e7ri^avel
e'^ovra

SlttXovv, axTTrep

rj

jevMV

tcov tolovtwv

e'/c

rov

13—39

1453 a

(cf.

8

ARISTOTLE'S POETICS XIII. personage

men

Thyestes,

—

47

other

or

illustrious

of such families.

A in

Oedipus,

like

3

well constructed plot should, therefore, be single 4 issue, rather

its

than double as some maintain.

The

change of fortune should be not from bad to good, but, reversely,

from good

to bad.

should come about as

It

the result not of vice, but of some great error or in a character either such as

The

rather than worse.

At

our view.

came

first

we have

frailty,

described, or better

practice of the stage bears out 5

the poets recounted any legend that

Now,

in their way.

story of a few houses,

tragedies are founded on the

— on

the fortunes of Alcmaeon,

Oedipus, Orestes, Meleager, Thyestes, Telephus, and those others

who have done

or suffered something terrible.

A

tragedy, then, to be perfect according to the rules of art

Hence they

should be of this construction.

who

censure

Euripides

principle in his as

we have

plays,

just

many

because

he

are in error 6

follows

this

which end unhappily.

of

The best proof

said, the right ending.

It

is,

is

that on the stage and in dramatic competition, such

plays,

they are well represented, are the most tragic

if

in effect

;

and Euripides, faulty

management

he

as

of his subject, yet

in the general

is

felt to

is

be the most

tragic of the poets.

In the second rank comes the kind of tragedy which 7

some place

first.

Like the

Odyssey,

it

has a double

thread of plot, and also an opposite catastrophe for the

good and

for the bad.

It is accounted the best because

of the weakness of the spectators in

what he

writes

by the wishes

pleasure, however, thence derived

;

for the poet is guided of his is

audience.

The

not the true tragic

8

:

48

v..

8— XIV.

XIII.

40 aXXa

fidWov t^?

eyOtaTOL oiaiv iv tXoL
ovSeU

XIV 1453b

20

yap

eKec

av

ot

fivOw, olov 'OpecrrT^? Koi AL
eVt reXeurr}? i^ep-^ovraL koI airoOvrjcTKeL

ovhev6<;.

VTT

eaTiv

ovv to (po^epov Koi ekeetvov ck

/xev

, " sjv a ecrrtv be jLyveaaai,

hel

40—1453 b

OLKela'

Ka)fi(pSla<;

ra>

,j-

V

yap Kol dvev rov opdv

eK

Trj
avcna(Te(o
rr)^

ovrco

rcov

avvecrrdvai, rov fivOov,

rd Trpdy/xara yivofieva Kal

axrre rov aKovovra

Kol iXeelv

.

.

,

e^ avTrj^

/cat

iarl "rrporepov kov ttoltjtov afxeivovo^.

Trpajfjudrcov, oirep

5

1453 a

4.

t%

to Se Sid

aKOvcov rov rod OlhiiTov fivOov.

(fiplrrecv

dv irdOoc

direp

avfM/SatvovTcov

rtov

Ti
oyjrea)';

2

TOVTO TrapacTKevd^eiv dre'^voTepov Kal ^oprjyla^; Beofievov Be

01

e<7TLV.

to ^o^epov Bid

firj

vovaiv ov ydp irdaav

dXkd Bid

ytit/iT^creo)?

(bavepov 15

oiKelav.

Trjv

TpaywBia

ovv Beivd

dvayKT]

Xd^fOfiev.

Brj

ToiavTa<; irpd^ei';

rd's

ovv

iydpo'i

uvto to

oTav

hv Bonitz

exOpov

:

:

:

8'

hv

ev

ol

Tal
codd.

dT£X''^'''^P°''

-A-*^-

:

Khf

elvai r)

irdOo'i'

^iK[ai
ol

16.

Ueberweg.

ovB'

Spengel

dv

irotSiv

dv

eyyevr^rai

ex^pbv diroKreivri Bekk. praeeunte Pazzi.

oiid'> iXeeLvop

aXXrjXovi 4

irpo^

ovTe

Spengel. Srj

iroia

avfiTTiTTTOVToyv,

jj^eTepwv.

ekeeivov

kut

ttXtjv

ot

<^i\wv

e-^fdpcov

ovBev

/jueWoov,

repov apogr.

rj

rj

ttoitjt^v,

i/j,7roi7)Teov.

tmv

<})aLV€Tai

ej^Opov,

20 eyovre^;'

40.

oiKTpd

rov

irapaaKevd^eiv

r)Bovr]V

irola

rj

iXeov Kal (fyo^ov 3

Be ttjv utto

eirel

Bel

to

kolvoj-

Bel ^rjTetv rjBovrjv diro TpaycoBia^

tovto ev rot? irpayp.acnv

ft)9

dWd

o-v/re&)9

t?}?

10 TepaTcoSe<; fiovov 7rapaaKevd^ovTe<; ovBev

fxev

ovts

jJ,r)B€T€pco
Ta

1453 b 5^ codd.

4\eeu>bv

:

irdOr],

8.

drexvo18.

< (po^epbv

;

ARISTOTLE'S POETICS XIII. pleasure.

It

who, in the

—

1453 b

Fear and pity

may

but they piece,

poet.

which

from the inner structure of the

the better way, and indicates a superior

For the plot ought

will thrill with horror

This

is

to

be so constructed that, even

who

and melt

to

by the mere spectacle

is

and dependent on extraneous spectacular

means

hears the tale told pity at

we should

the impression

But

hearing the story of the Oedipus. effect

like Orestes

be aroused by spectacular means

without the aid of the eye, he

place.

—

is slain.

may

also result

is

enemies

quit the stage as friends at the close,

and no one slays or

Xiy

49

4

proper rather to Comedy, where those

is

piece, are the deadliest

and Aegisthus

8— XIV.

to

what takes

receive from

produce this

2

a less artistic method,

aids.

Those who employ

a sense not of the terrible

to create

but of the monstrous, are strangers to the purpose of

Tragedy

;

we must not demand

for

of

Tragedy any and

every kind of pleasure, but only that which to

And

it.

afford

is

since the pleasure

is

proper

which the poet should

3

that which comes from pity and fear through

evident that this quality must be impressed

imitation,

it is

upon the

incidents.

Let us then determine what are the circumstances

which

strike us as terrible or pitiful.

Actions capable of this effect must happen between 4 persons

who

are either friends or enemies or indifferent

to one another.

If an

enemy

kills

an enemy, there

is

nothing to excite pity either in the act or the intention,

—

except so far as the suffering in itself

again with

indifferent

persons.

incident occurs between those

E

is

pitiful.

But when the

who

So

tragic

are near or dear to

XIV.

50

o&X^o?

olap el -q

vws

4— S

1-5

eSieK/^iiov

Spa, Tovra

;:

vro?

17

fjofrepa avoKrei^ei

-

3

— :-54

^^

varcpa ^ P'^*IP rj ti, aXXo tovoutov

fieXXei

^

avv

irtipeCK.'q^itevavii

t^

^^ktrraifivrjc-rpav

Tovq ftep

^ifnfTeop.

IMvOovi \vetp ovK eoTor,

a 3

\eya

Se otop

5

25 awodaanwa-cai' vjro tou 'Opetrrtw tctu ttip *Eipt^vX.Tjv inro

rtm *A\xftalefP09, avrop Se of^iaKew

^va/tep vpa^cp,

o-a^tetrrepop.

wnrep

Set

xal tok Trapa-

to &e icdXuf_Tl \eyofLev,

SeBofMhmv jQtfiadai icdXa^.

yap

etrri iiep

ovrto yivetrBat rijv 6

vaXoioi ewolaup elSora^

01

^vyvda-

ictu

30 aicapTtKt KoOdvep mcu ^E^pnnZitp ivoltfo-ep airoKreivovaav ravn

?a«2ia?

eartp

Mj^Seidv.

"npr

Be

irpa^qd,

fjuev,

opfPoovpTtK Be wpa^at to Setpop, &ff wrrepav avayvwpujai Twpf ^>iXiap,

aup 35

e^

atrwep 6

So^KXeou^ OlM-vouq' rovro

rov BpdfiamK, ep

AXxpaiav 6

S* airry

^

'AjcrrvSofutpro^

Tpavpa-na, X^hvaa^eZ.

en

t§ TpaiyaBia

6 TijXe^opo^ 6 ev

Be rpirop

fieXXopTa voiesp ri tAp aPfjKearap &'

plaaA wplp wot^eu.

to t€ yap piapop

owaBih yap

.

Bemepop.

ej(€i,

Kpeopra 6 MpMBP.

fieXriap Be to aypooupra pep

ftrj firj

elhoTai;,

Trpa^ai

Ktu ov rpayiKov

Biavep ovBels voiei opoiofi,

olap ep 'ApTtyopg top

a, pri oXtydKi<:,

to C€ irpa^ai 8

vpa^u, Trpd^avra

2& elntfta' apogc. : dkwftBf A*. Si. i 'Aki^MiMW i Gsryj^ : o "AXu3& Poet vmfk -Tmhrm, <:Td /fidXSdggm yim&ffmirnL tsml p-i) arv^gm, mi. tvm{pra»- eooL TaMtau: vn^ -rs&m, sedas. M. Jy^^iwit ri Bmite : -vdv AF. 1V% a, S-7. Hmms ocduaem Urn, T^&aem&am CoaaeJt Sosamdlhl: ^Sknw Si vA T^tevrmm, l^iyu Sk &a> . . . aptrypaiurm eodd.

,

l^

IW

vScfisai-

Kfihne^v Si

-ri

7

Ktu vapa Tavra ovk eartv aWtot;.

yap vpa^oA opajic^ ^ §171 Koi aSoras rj 40 TouTtap Se TO pep ytwaaKopra peXXSjaai tc€u

iss&z

6

t^

vapa rtwra ro ajpouw avayvco-

ri

j(jdpurrap-

/jl^v

olov

AffmSvTU )ih>

.

.

.

iamrp>i^iema.- -rk

-re

ykp

iu.a.pat'

S

4—

51

kills,

or intends to

ARISTOTLE'S POETICS XIV. one another kill,

—

for

if,

example, a brother

a brother, a son his father, a mother her son, a son

any other deed

his mother, or

of the kind

are the situations to be looked for

by the

done

is

—

indeed destroy the framework of the received legends

was

that Clytemnestra

fact, for instance,

and Eriphyle by Alcmaeon

—

these

He may not

poet.

—

the 5

by Orestes

slain

but he ought to show invention

of his own,

and skilfidly handle the traditional material. Let

us explain

more

what

clearly

meant by

is

skiKiil handling.

The action may be done consciously and with knowledge of the persons, in the

manner

indeed that Euripides makes

It is thus

but done in ignorance, and the

an example.

the

slay her

may

be done,

;

but cases occur where

the action of the play

:

one

Astydamas, or Telegonus is

of kinship or friendof Sophocles

Here, indeed, the incident

drama proper

Again, there

tie

The Oedipus

ship be discovered afterwards. is

Medea

Or, again, the deed of horror

children.

a

third

may

in case,

the

6

of the older poets.

it

is

outside

falls

within

Alcmaeon

cite the

Wounded

of

Odysseus.

where some one

is

just 7

about to do some irreparable deed through ignorance,

and makes the discovery before

done or not done, all

persons,

and then not

without 1454

—and

But of

a therefore,

instance,

is

being

that wittingly or unwittingly.

to act.

tragic,

These are

done.

these ways, to be about to act

for

is

the worst.

knowing the It is

shocking

no disaster follows.

It

never, or very rarely, found in poetry.

however,

is

in

threatens to kiU Creon. tlu\t

it

For the deed must either be

the only possible ways.

the Antigone, where

The next and

the deed should be perpetrated.

better

Still

is,

One

Haemon way

is

better, that

S

:

vlov

Be

KoX iv

at

TOVTO,

dX)C diro

Te^i/779

dvayKa^ovrai ovv

TTOtoy?

XV

ovv

jiev

'TTepl

5

Tvepl Be

rd

rerrapd

€v p-ev Kal TvpoyTov

oirco'^

idv wcnrep iXej^drj

iroifj

20 irpoaipea-lv Be

iv

riva

ye

dvBpelov 25 dvBpeiav

Kparel

5.

Tt

p,ev

<5^

^a^epa;' Aid., Bekker. <:T}Tt.s

t)

(pvyrjv

aXK"

5 coni.

Diintzer

:

TpiTov

Trpd^a

ecmv

'^pTjarr}

Kal

ydp 2

ecrTiv

Be to o/xocov.

"EWt;

9.

20.

Vahlen

'AvtiStttj

:

to

tovto 3

Valckenaer.

secludendum, Tiva <S>7j Bywater:

Trpoalpeaiv rivaiji A'^: §

(? cf.

irpoaipefflv Tiva

irpoaipeffiv Tiva, (pavXov

apfj.6TTovTa coni.

tj

rj

dpfioTTOv yvvaLKi

ov'^

Tr\€l> arov Tucker.

19.

&v>

Be ^do<; p,ev

^prjcrrijv.

ydp yvvq iarcv

elvat.

vel

Kal

iKavci)<;.

e^ei

\0709

6

olKLWi

Bel aro^d^ecrdai,

a>v

y.

(jiavepbv

rd
tovtcov to p,ev yelpov, to Be oXtw?

rjOo';,

Betvr]v

r}

drro

av(TTdaea><;

eiprjTaL

BevTepov Be Ta dpfioTTOVTa'

iaTcv.

(jiavXov

icrrcv

'^prjo-rd

Kal

tcroi
ovk

irdOrj.

•^priarbv Be idv

[77],

eKoxTTW yevei'

Bov\o
ravra^

iirl

Bel Tov
tjOtj

TroWd

Trepl

ydp

TrpayfiuTcov

roiv

rrj'i

elvat

Tivd
rrj

evpov to tocovtov irapaa-Kevd^etv

diravrdv 6aai<; rd roiavra (TVfi^e^rjKe 1

rbi'

dveyvcopiaev,

ov

ecprjrat,

^7]TovvTe<;

elcrlv.

rv')(7}<;

iv Tol
aXK"

ov,

iKBiBovac fxeWcov dveyvcoptaev.

iraXai

oirep

TpayipBlaL

McpoTT?/ fxeWei

r/

Be

dBeX^rj rov dBeXipov, Koi iv

7)

i/i09 Tr]v fMrjrepa

yap

yevq

Kpea(f)6vT7]

airoKreivei

^I(J3C'yev€La

rfj

'EW77 10 Bid

tw

olov iv

aTTOKTelveiv,

7]

KpariaTov Be to reXevralov, 9

avayvMpKTiii iKTrXrjKTLKOv. \ej(o

4—25

1454 a

3-

to re yap /xiapov ov irpocrecrriv koI

Be dvajvoopiaai' 5

8— XV.

XIV.

52

Arab.)

:

< ^xoira,

biroia.

tis

Siv> y

fxh eav (pavXi) 3, xpTjurw k.t.\. apogr.

Vahlen, probante Gomperz,

24. rt ^609

Gomperz 23. to

Hermann

*tui A^ ovrm Vabl. coUato Pol. iii. 4, t6 apogr. 9jdos codd. 1277 b 20. Desunt in Arabe verba t^j dpdpeiav ehai, quorum vieem ut appareat haec clausula, 'ne quidem in ea omnino' (Margosupplet TO

:

:

.

liouth).

Unde

Diels ry dvSpeiav

veram lectionem

Teiecerit,

.

.

.

scribendum

.

.

dvai glossema esse arbitratus quod esse

coni.

ware

fi-qd^

<palve<76ai

;

8— XV.

ARISTOTLE'S POETICS XIV. it

53

3

should be perpetrated in ignorance, and the discovery

made

There

afterwards.

case

when

the best, as

is

is

then nothing to shock

produces a startling

wliile the discovery

So in the Iphigenia, the

life.

liis

in

up.

This, then,

when on

why

is

who he

is,

the

sister recognises

the point of giving her

a few families only, as has been

already observed, furnish the subjects of tragedy.

was not

art,

is

spares

Again in the Helle, the son

time.

recognises the mother

us,

last 9

Merope

in the Cresphontes

about to slay her son, but, recognising

brother just

The

effect.

It

but happy chance, that led poets to look for

such situations and so impress the tragic quality upon

course

to

are compelled, therefore, to have re-

They

their plots.

those houses whose

history contains

moving

incidents like these.

Enough has now been

XV

said concerning the structure

and the proper constitution

of the incidents,

of the plot.

In respect of Character there are four things to be

aimed

Now of

it

any kind will be expressive of character

will be

good

if

to each class.

slave

;

being, to

and most important,

First,

at.

must be good.

any speech or action that manifests moral purpose

aim

the purpose

is

Even a woman may be

though the

woman may

but for a

propriety.

woman

appropriate.

to

There

is

is

relative

good, and also a

The second thing

a type of

be valiant, or

Thirdly, character

the character

be said to be an inferior

and the slave quite worthless. at is

:

This rule

good.

terrible,

2

manly valour would be

must be true

to life

:

infor 3

XV. 3—7-

54

rod

'yap erepov

wcTTrep

Ti?

ava)fia\o
to

-^prjcrTOV

y

ttjv

tw

iv

ri6ov
T^9 Me\avi7nr7}<;

Tj

35

XP^

^^

^^

'^^''

ware

rov

dva
rocovrov

rd

ecKO'i,

kol

rj

dvajKalov ^

roiavra rovro

on

rwv

i]

M?;8e/a drrb

iv rfj

rov diroirXovv dXXd Bpd/jiaro
elBevat,

Tj

ocra rrpo

fXTj-yavfj

rov

rj

ytveaOai

rj

Kal rd
f^rj

ra

'IXtaoi

rfj

'^prjareov iirl

ra

rrepi,

rov

e^(o

a ou^ olov re dvOpwrrov

fye
d Betrai

varepov,

ocra

rj

Kal iv

fir]Yavrj
eLK0<;,

nrparreiv

i^ avrov Bel rod /ivdov av/j,/3aiveLV Kal

1454 b yu.u^(uv

irpa'y- 6

ro

rj

rovro

fMerc

(f)avepov ovv

eiK6
Xeyetv

varepa.

rrj

rfj

to dvajKalov

rj

Av\IBl

iv

rj

iKerevovaa

rj

warrep Kol iv

TjOecTiv

'^^^'^

avarda-ei del ^Tjrelv

fjudrcov

5

eotKev

fMij

ZKvWrf Kat

Trj

rov Be dvco/xaXov

pijai^,

ovBev yap

Kai

aTTpeTTOv'i

dpfxoTTOvrof; 6 re 6pr]vo
^ItpLyeveia'

ecTTiv 5

dvayKaia^ olov

firj

rov Be

'OpeaTrj,

tolovtov

Kat

dvcofiaXov Sec eivac.

r)6o<; viroTLOel'^, 6fjiQ)
6

Kav

ofxaXov.

irape^cov

/Jbifjirjcrcv

30 Be 7rapd8eL
to

8e

5

koI apfjuoTTOV iroLrjaaL

ojdo'i

reraprov

eiprjrac.

26—1454 b

1454 a

Kai

rrpoa'yopevcreco'i

'The manly character is indeed sometimes found even in a woman yap dvdpeiov fxev rb ^dos), but it is not appropriate to her, so that it never appears as a general characteristic of the sex.' Sed hoc aliter dicendum fuisse suspicari licet itaque Susemihl huiusmodi aliquid tentavit, wcrre firjS^ (palveadai iv avrrj ws iwiivav, vel Cos eiriwav dndv: 'There is indeed a character (rt 17^05) of manly courage, but it is not appropriate to

KadSXov

:

(^(mi/

;

a

woman, and as a secludendum

fort,

quem

Spengel,

Bywater

:

seq.

E. 33.

Exemplum

Sus.

Bywater,

(Margoliouth).

refert,

not found in her at

Hermann

dprirai.

Susemihl.

ed.

1,

:

32.

rj

1454 b

3.

post vcrrepov disting.

pTJffis

coni.

tQv /jlvBuv

:

38.

;

cf.

<ws>

tQv rjOQv S, ut videtur dirXovv

5.

A'=.

R. Hardie, qui dyyeXlas ad

wpoayopevaeus ad Saa varepov.

seclus.

Bywater.

Vettori

Hermann.

dTrovXovv apogr., S:

W.

olov

'Odvaa^ws

intercidisse

dvayKoiov 39.

fort, recte.

e'iprjTai

uxrirep statuit

dvayKalou A*^: dvayKalov apogr.,

30.

37 et 38.

Cbawep

27.

all.'

lacunam ante

:

dvayKa^of] Gomperz.

[/xrj

Christ.

tov dvo/xoiov post

Susemihl, Christ.

Commate

is

iiTrep

dvayKaias Thurot

Miiller,

Kal TovTo

rule :

fiira

Trph

rod

— ARISTOTLE'S POETICS XV. 3—7 this is a distinct thing

the

of the

subject

be inconsistent,

is

imitation,

consistency

who

:

for

we have

of character gratuitously bad,

in the

though 4

suggested the type,

he must be consistently inconsistent.

still

As an example Menelaus

from goodness and propriety, as here

The fourth point

described.

55

Orestes:

of

5

character indecorous and

inappropriate, the lament of Odysseus in the Scylla, and

the speech of Melanippe at Aulis,

—

her later

As

:

of inconsistency, the Iphigenia

for Iphigenia the suppliant in

no way resembles

self.

in the structure of the plot, so too in the por- 6

traiture of character, the poet should always at the

necessary or the probable.

aim

Thus a person

either of a

given character should speak or act in a given way, by the rule either of necessity or of probability

just as

event should follow that by necessary or probable

this

sequence. of the plot, 1454 b

;

It

is

no

therefore evident that the unravelling 7

less

than the complication, must arise out

of the plot itself, it

Deus

ex Machina,

—

as

must not be brought about by the in the

the Greeks in the Iliad.

Medea, or in the Eeturn

The Deus

ex

of

Machina should

be employed only for events external to the drama,for

antecedent or subsequent events, which

the range of

human knowledge, and which

lie

beyond

require to be

ayyeXla'i'

airavra

akoyov Se

firjhev elvau

eVet Se

tw

1)

rpajMSla

e^co

jjurj,

So^o/cA-eou?.

/SeXriovcov

dya6ov<;

tov<;

fjUfietadat

tm

OISlttoSc

opdv.

6€0t<;

Kad >

eKelvoL a7ro8cS6vTe
Td
TavTa

irapa

ef dvdjKrj<;

Kt,
to,

Brj

tov

olov

aKkrjpoTrjro'i]

0/jLr]po<;.

TTOcrjTtKr]'

Troirjrrjv

raXka

/juLfiov-

rotavra

tcl

tcov rjdcov, toiovtov; 6vTa
eirl

{TrapdhetyjJba '

ovtw koi tov

'Ypd(f>ovcnv'

Kol opytkov^ koI pa6vfiov<; koI

8

Koi

elKOvojpa(f)ov
KaWLOV
Kol

20

Tot<;

Te
ej(pvra
airoSlSofiev

iv T049 Trpdyfiacrtv, el 8e

yap

fjievov

1

6—29

to iv

iariv

/jbl/jirjai
Bel

rj/j,d<;,

1454 b

3.

Tpa
Trj
10

7— XVI.

XV.

56

'A^iWea ^Ayddoov

ScaTrjpelv

Set

kol Trpo? TOVTOL
dKo\ovdovaa
ala6j](Tei<;

ttj

KoX
e'iprjTai,

Be

avTOiV iv

irepl

toI<;

iKBeSofievoi,
X07019

licav(xi<;.

XVI

dvayvcapiaa Be

tl /xev

•^pcovTaL Bl' dnropiav, fiev

25 dcrTepa
o'iov
KOL TOVTcov Tu

Bid TOiV

rj

tw

iv

t6 vel

tQ apogr.

ttj^ rb

:

goliouth collate Arabe

:

ov\rj<;

1

A"

:

ra Aid.

17

(R. Ellis).

:

ol

TrXela-TT)

apogr.

A".

:

29.

<6>

iificis

A°: 5« apogr. A".

irXeia-Tyj

i)

(tk6l4>7)s

eKTO'^,

cr/ca^?;?.

'^elpov, olov 3

7)

^ Kad'

rets A'=.

irepiUpaia Pazzi et apogr. pauca

olov apogr.

9.

St]

:

:

27.

Ta Be r?/?

Stahr, Mar-

15. Trapdd€iyfj,a
Bywater. 16. 5?? Se? Aid., Bekker rd vel Ttt Trapa tols apogr. ras Trapa pauca.

rj

dveyvccpiaOrj vtto t?)9

dX\,a)
^^Ss codd.

"

Be iTTiKTr/Ta,

to,

^ekTtov

r)

elBrj

TrXeiaTr)

Vrj'yevel'i

Tvpoi Btd

tt]

Kal TovTOL
ecTTLV Be

^OBvaaev
^opovcn

€v T&> adifxaTL, olov ovKai,

jjbev

fj

tovtoov Be Ta 2

cnj/xeicov.

rjv

Kap/ciVo?,

%ve(JTr)

Ta irepiBepaca Kal olov iv

8.

uTe^voTdTT] koI

rj

" Xoj^rjv

olov

avfji(f)VTa,

irpoTepov

ecTTLV, e'iprjTai

Be dvajV(oplcreco
:

'Odvffcrevs

'

:

irepidippea

ensis

'

Arabs,

Bywater.

17. ras

23.

A=

wapa

aTex'^^To-Tri apogr.

22.

:

ij

apogr.

vepl

a-ird6r]s

:

•^

A^.

dipaia Aid.

2, ut videtur

7— XVI.

ARISTOTLE'S POETICS XV. reported or foretold

for to the

:

we

power

ascribe the

Within the action there must be

of seeing all things.

If the irrational cannot be excluded,

nothing irrational. it

gods

57

3

Such

should be outside the scope of the tragedy.

is

the irrational element in the Oedipus of Sophocles.

Again, since Tragedy are above the

common

an imitation

is

form

distinctive

which the

true to

is

in

poet,

indolent,

preserve Achilles

the

of

a

likeness

So too

men who

representing

or

have

other

the

type

and yet ennoble

is

make

beautiful.

original,

and yet more

life

defects

are

irascible

or

should

character,

of

In this way

it.

portrayed by Agathon and Homer.

Nor should

These are rules the poet should observe. lie

8

portrait-

They, while reproducing

painters should be followed.

the

who

of persons

example of good

level, the

9

neglect those appeals to the senses, which, though not

among the

concomitants of poetry

essentials, are the

here too there

is

much room

But

for error.

;

for

enough

of this

has been said in the published treatises.

XVI

We

What

Eecognition

will

now enumerate

First, the wit, is

been

has

is

its

least artistic

Of these some are congenital, the earth-born race bear on

by Carcinus

acquired after birth as scars

;

;

explained.

form, which, from poverty of

most commonly employed

introduced

already

kinds.

in

—

—

recognition

such as

'

their bodies,' his

by

signs.

the spear which 2

Thyestes.

or the stars

Others are

and of these some are bodily marks,

some external tokens,

as necklaces, or the little

ark in the Tyro by which the discovery

is effected.

these admit of more or less skilful treatment. the recognition of Odysseus

by

Even

Thus

in

his scar, the discovery is

3

:

XVI.

58 30 Tpocf)ov KoX

3

TreyotTrere/a?,

(acnrep

a ^oiiXerao

6

eveyKelv. 1455 a (pcov^.

TpLTT)

hia

roU

yap Tov KiOapiaTOv Kal rerdpTT}

on

Hor)(p6poi<;,

eiBov TOV cro
dpa

yap

Kal

eXijXvOev.

etVo?

r

7]

<6>

34.

fit

vicinum

eo

quod

Toia{iTr]

W.

Bywater

'OpeVrT^s

Spengel. '

ev

4>y)(fi-,

TpLTT]

t(J5

" KepKiSos 7]

Ac.

3.

:

(pcovriv

apogr.

xXo^^6pots

Reiz

'Opea-r-qs seclus.

d.Tro\6y(p apogr. 7. A<^.

r;

kXvu)."

fix^ecr^at

A<=.

(pLvidan

5'

:

Jlo\v-

yap rov Kal

Kal

vocem 7)

Diels sec. Arabem.

Vahlen,

S

38. Alia

A.'^.

'^ocpoKXeovs Trjpel

R. Hardie coni. TOLavrr]

rj

rj

yap rov tottov avveXoylaavro

dixit Sophocles se audiisse 5'

ovOeh

©eoBcKTOV TvBel,

Kal iv to3

36. 5td ^771/s rt

dioTi tyyii^

:

:

iv 6

Be

irvOr)

d8e\(pr)

ore iXOcbv &)9 evprj(7cov vlov avTO'; djroWvTat.

Tot9 ^cvelBaif;, IBovcrat

rrjv

olov

ofioi,o<;

^l(f>iyeveia<;'

on

avWoyiaacrdai,

OpecTTTjv

ISovra, 5

ri

avWoyLcrfiov,

iXrfKvOev,

T7]
10 avT(p av/M^aivet dvecrOat.

K6pKlBo<;

rrj'i

alaOecrOai

ihaKpvaev, 66ev aveyvw-

e'/c

97

n<;

ofioto'i

rj

^AXklvov a-TTokoyw, aKOVwv

/jLvrjcrOel^;

Be

'OpecTTT;?, ovro'i

6

Trjpel

rat

iyyvf rt

yap av evia kol

e^rjv

A.iKatoyevov
iv

7)

areyvot. 4

'Opeo-T?;?-

Bcb

/iivdo<;'

earlv,

fjiVT]/ji,7]
KuTrptoi?

picrdTjcrav.

on

eKeivo^ he avro^ \eyet

Xo(/)o«A,eoi'9

ypa^7]v €K\avaev, Kal

plcrd-q

at /xev

fieXriovi.

iroirjTov, hio

aX\' ou^

dfjiaprla'?

tm

iv

rj

77

yap

elal

^iiTTpoi'i,

rov

t?}? i7naTo\7J
Kal iv rj

rot?

iv

7)

7roir]Tr]<;

elpijfievrj'i

dXX

^ ^^

\<^L
rrj

yap Bia

35 eKeivrj fxev

5

— 1455

crv^oroiv'

tcov

ireiroirjixevai, vtto

olov ^0pe(7Tri<; iv

uiairep

vtto

aX\ci)<;

Sevrepat 8e al

Tr]<;

1454 b 30

6.

eveKa are^vorepac, Kal al rotavraL rraaai, at he

iricTTew'i etc

—

ttjs

cf.

contempti

KepKidos

ey t(^ [2o0o/cXe'oiis

39.

17

?]

'

"

T-qpel

sunt in

(Arabs) Ati/ulos"

"

ttj^

fort-

;

:

unde

dvavdov,"

Spengel: ijroi. rrjt. A° 1455 a 2. rots apogr, rrjt :

:

dTrd X6ywi' A°. :

cpuivrj

Tplrr]

Gomperz.

IToXueiSou apogr.

dveyvu-

Arab, 'quam ob causam

legisse videtur, 'haec

radii

iv

rrjv

6.

Xo7}(p6poLs

UoXveldovs A°.

12.

Vettori ^iveldaL^

;

3—6

ARISTOTLE'S POETICS XVI.

made

in one

— — is

way by

The use

men.

59

the nurse, in another by the herds-

of tokens for the express purpose of proof

and, indeed, any formal proof with or without tokens is

a less artistic

mode

A

of recognition.

better kind

that which comes about by a turn of incident, as in

the Bath Scene in the Odyssey.

Next come the poet,

recognitions invented at will by the 4

and on that account wanting

Orestes

in

Iphigenia

the

She, indeed,

Orestes.

makes

For example,

in art.

the

reveals herself

that

fact

known by

he

is

the letter

but he, by speaking himself, and saying what the poet, not what the plot requires.

This, therefore, is nearly

above mentioned

allied to the fault

:

—

for Orestes

instance

the

is

'

voice of the shuttle

might

Another similar

as well have brought tokens with him. '

in the Tereus of

Sophocles.

The

1455 a

memory when

third kind depends on

some object awakens

a

feeling

as

:

the sight of 5

the Cyprians of

in

Dicaeogenes, where the hero breaks into tears on seeing the picture

;

or again in the

Lay

'

of Alcinous,'

where

Odysseus, hearing the minstrel play the lyre, recalls the past and weeps; and hence the recognition.

The fourth kind the Choephori

:

by process of reasoning.

'

me

no one resembles come.'

is

— Some

Such too

one resembling

but Orestes

:

altar

like

my

to

sister.'

make,

I

lose

my own

life.'

'

I

So too

:

It

was a natural

So I too must die at the

again,

So,

Theodectes, the father says,

'

in 6

come

made by Iphigenia

in the play of Polyeidus the Sophist. reflection for Orestes

Thus

has

therefore Orestes has

the discovery

is

me

came in

in

the

to find

the

Tydeus

my

sou,

riiineidae

:

of

and the

:

on

€lfiap/x€vr]v

ecopaKGL, TO

Kal

eiKOToov,

Bi'

^\<^iyeve[a'

Trj

iraadv he

olov [6]

OSvcrael

yvoocreadac

rcG

ov'^

iv

at yap

a-rjfieicov

Kal TrepiBepalcov.

TotavTat

ypd/i-

iTrtOelvai

avev twv

8

ycyvo-

OIBlttoBl

%o<^OKkeov<=;

tu>

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Bel Be T0U9 fxvdov; crvviaTavai Kal

25 epyd^eadai otl /xdXiaTa

yap av ivapyeaTaTa

koX

avTal
eKeivov avayvwpiovvTO^ hia tovtov,

8?)

fxaTa.

XVII

tm

iv ecpT]

ef avTOiv tmv Trpay/xuTCOv

97

fjLev7)<;

w?

8e,

olov

yap to ro^ov

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eTTolrjae /otfji?

Oarepov,

6 puev

'ylrevBayyeXo)-

13—33

eariv Be ri? Kal avvderr] €K 7

evravda.

rou

15 TrapaXoyta/jbov

1455 a

2.

tovtw eL/xapro airoOavelv

iv

i^ereOrjcrav

•yap

20

6— XVII.

XVI.

60

irpo

Xe^ec avvair-

Trj

o/xf^aToov TiOe/xevov

opcov Mcnrep irap

[0]

ovtco

avTol<; yiyvd-

p.evo% T0%
av XavOdvoL \to\

30

6

yap

ar^fielov

'A/x,(^iapao9

Be

BvvaTov Kal

yap

TaTOt

tovto

Bvar-^epavdvTcav

i^eireaev

diro

tt)^

avTrj
Ac.

rr}?

iv

ol

(f)vcreco'i

Hermann:

dvrjei, qKT}vrj
oaa

OeaTOiv.

avvaTrepya^ofxevov.

Tol
Tov Oarepov Bursian, praeeunte

tojv

tovtov o

i^ lepov

opoiVTa \tov 6eaTriv'\ ekdvOavev, eVt Be

[xr]

15.

virevavTla.

to,

J^apKivo)'

iireTL/jbaTO

Be

'TrtOava)- 2

Tol'i

irddeaiv

tov Oedrpov codd.

16.

Tyrwhitt d)s 5t' codd. 18. Locus autem prope desperatus est. Multo plura legisse videtur Arabs quam nostri codices praebent' (Margoliouth). 19. iKTrXrj^euis apogr.: TrXij^ews A°: rrjs e/cTrX^^ews €Ik6tu}v cm. Arabs. 20. 6 seclns. Vahlen i] apogr. 22. pauca. ai yap roLavraL vepibepaiuv seclus. Gomperz. 23. Tre pidepaiuv apogr. (cf. 1454 b 27), Vahlen ed. 3: depeuv A^: depalwu Vahlen ed. 2. 6

fih apogr.

rb

:

Aid.,

(irolrjffe

ixev

Bekker

:

17.

TroLrjaai

uis 5tj

:

codd.

'

.

.

.

:

.

.

24. a-vvaTrepyd^ecrdai

.

:

ivepyidTara A°. ^apogr.

hv

:

6

A''.

elrj

dwepyd^eardai. Suseniihl.

om. Aid. 30.

dearriv seclusi (simili errore irrepsit)

credo,

fir]

:

inscius

Tyrwhitt

:

bpCovr :

rbv

opGivra codd.

:

bpGivr

29.

hv Vahlen.

dvrjei.

rbv

1358 a 8 roiis aKpoaras in textum [^earV] Gomperz, emendationis meae,

Rhet.

aTbv ttoltjttiu

26. evapyeffrara apogr.

rb om. apogr.

28.

i.

Dacier,

2,

Suseniihl.

33.

dw'

codd. lect. confirmare videtur Arabs (Margoliouth).

avTrjs

rrjs

ARISTOTLE'S POETICS XVI.

women, on seeing the

we

doomed

are

Again, there

is

to

6— XVII.

place, inferred their fate

die,

here

for

we were

61

2

:

— Here '

cast

forth.'

a recognition combined with a false in- 7

ference on the part of one of the characters, as in the

A

Odysseus Disguised as a Messenger.

would know the bow, This remark led

man

said he

—-which, however, he had not seen.

Odysseus to imagine that the other

would recognise him through the bow, thus suggesting a false inference.

But, of

all

which

recognitions, the best is that

arises 8

from the incidents themselves, where the startling covery

made by

is

Such

natural means.

Oedipus of Sophocles, and in the Iphigenia;

for it

natural that Iphigenia should wish to despatch a

These recognitions alone dispense with the of tokens or necklaces.

Next come the

dis-

that in the

is

was

letter.

artificial aid

recognitions

by

process of reasoning.

In constructing the plot and working

XVII

proper

the

diction,

the

should

poet

as far as possible, before his eyes.

In

this

everything with the utmost vividness, as spectator of the action, he will discover

with

it,

and be most unlikely

The need Carcinus.

of such a rule is

shown by

is

he were a in keeping

the fault found in

way from of one who

his

This fact escaped the observation

On

scene,

way, seeing

if

what

out with the

to overlook inconsistencies.

Amphiaraus was on

the situation.

it

place

the temple. did not see

the stage, however, the piece failed,

the audience being offended at the oversight.

Again, the poet should work out his play, to the best

of

those

who

his feel

power,

with

appropriate

gestures

;

for 2

emotion are most convincing by force of

XYII. 2—5.

62 Kol

elaiv

14£5

\>

koI

17 '^aXeiralvei

evcpvov'?

Kol

\6yov<;

av Oewpelcrdai to KadoXov, olov

5

TvOeta-T]^

Tcvo<;

Ovaacnv,

iBpvvOeLar]';

rov<;

^]v

koI

Koprj<;

Se

(rb Se otl

oXXtjv '^copav,

Tov KaOoXov \e\6elv

eKei],

10 fivOov), e\6d)v Be koI \ri<^del
eW

picrev,

Kara ro

J

w?

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o)?

IIoA-iJetSo?

/xera

ravra Se

7;

77877

fjuavia

Bi

7^?

ra

e\7](j)67j

eTreiaoSia, olov ev

Kal

rj

re apogr. 38.

:

Ka66\ov Vahlen. TOV

i^eraffTiKoi

codd.

rS

rd erreLaoSca

S

^Opearr]

Kaddp-

rrj<;

crvvrofjua, 5

(Diels).

to^tovs re

37.

roiis

vel roijs

tovtovs re A<= (Vahlen, Christ), sed ne Graece qiiidem dieitur.

TrapeiXTj/x/jLivovs

reiueiv A<^.

e'^oj

:

dSe\(f)7]v

awrTjpia.

7)

Sta

<j(j)r7]pia

36. Var. lect. eSirXaa-Toi et drrXaffroL habuisse videtur

eKaraTLKol cod. Vettori

eiroirjaev,

vrroOevra ra ovofxara eTreiaoBcovv, 4

ev p,ev ovv rot? hpdpiacnv

aecof;.

iXdecv

e^w rod

rrjv

Kal avrov eSei rvOrjvai, Kal evrevOev

Se earat oiKela

lepw-

Tr)v

6 re Si,

ecf)^

dWa 5 OTTft)?

toI<; vo/jio';

fj

dveadai fxeXXcov dveyvo)-

ovk apa fxovov

ore

Be

^eo? Bia rtva alriav,

6

koX

eW^

^vpiirLhrj^ eirroiv

ev

avve^rj

aSeXcfxM

tc3

civeTXev

iepeia<;

€^(o

aSrjXco'i

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tt}

vcrrepov

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Xejco

^l(f)i>y€peia
Trj
a(f)aviadeLcn]'?

Se et?

6vetv

^eVof
'^pov

01

Tov
avrov iroiovvra eKriOeadat Ka6-

koI

oXov, eW^ ovTO)'i eTreLaohiovv koX irapaTeivetv. ovTco<;

6

iroLrjriKi'i

t)

evifKaaroi

[xev

01

re

TOv
elcriv.

Set

7r€7roLr]/jievov^

8io

tovtwv

ixaviKoi)'

rj

34—1455 b

yeLixal^ofxevo^

0X7)6 ivcarara.

eKaraTLKOi

8e

6

•^eiixaivei

35 opyL^o/x€vo<; icTTiv

1455 a

9.

coni. Vahlen.

KadSXov:

fort.

KaddXov (Diintzer, Susemihl).

olim Vahlen.

1455 b 2. irapaTdveiv Vettori Vahlen. 10. fj.v6ov

/jlv6ov

Secludendum videtur aut 17.

eXdelv

e/cet

(Bekker

dveyvuplaOr]

5pdfia(nv (vel da-fiacn) apogr.

:

:

:

irepi-

fort.

ed. 3) aut

M. Schmidt,

apfiaatv A'^.

et

;

ARISTOTLE'S TOETICS XVII. 2—5

One who

sympathy.

angry rages, with

is

agitated

most

the

63

one who

storms,

is

Hence

reality.

life-like

poetry implies either a happy gift of natnre or a strain

any character

proper

made

for the

amplify in

he should

for himself,

it

and then

outline,

A

young

girl is sacrificed

who

mysteriously from the eyes of those

is

up

offer

ministry she

is

him

ordered

strangers to the

all

The

when on the The mode of

recognition

:

— So '

who was doomed

in

it

to

is

outside

is seized,

and,

who he

is.

be either that of Euripides

whose

was not

this

some reason

coming

again, of his

may

To

he

play

my

sister

be sacrificed

'

exclaims

very

only, but I too,

and by that remark

;

saved.

After fill

in

relevant

this,

the to

his

the names being once given, episodes.

the

example, there

and

her

the general plan of

point of being sacrificed, reveals

Polyeidus,

of

naturally

to

by

later her brother

However, he comes, he

the action proper.

is

sacrificed

fact that the oracle for

to go there, is outside

The purpose,

the play.

he

illustrated

she disappears

;

goddess.

Some time

appointed.

chances to arrive.

or

sketch

transported to another country, where the custom

is

to

ready 3

it

first

the episodes and

in

fill

The general plan may be

detail.

the Iphigenia.

she

out of his

lifted

is

whether the poet takes

story,

or constructs

general

its

can take the mould

in the other, he

;

self.

As 1455 b

man

In the one case a

of madness.

of

is

action.

We In

it

remains 4

must see that they the

case

of

Orestes,

are for

the madness which led to his capture,

deliverance

by means

In the drama, the episodes are

of the purificatory rite.

short,

but

it

is

these that 5

?}

8'

tovtol<;

iiroiroLla

20

5— XVIII.

XVII.

64

TToWa Kal

icTTiV

OSvaaela^

yap

Tr]<;

nvo^

a7roBr)fiovvT6<;

errj

TrapacpvXarro/jLevov vTrb rov IIo(TetB(Ovo
VTTO

ockoi

tcov

Be

ert

fiovov 6vT0<;, '^p-tjfJMTa

fxrjKvveTaL.

A,0709

6

fiUKpb'i

18—38

1455 b

2.

eTTi^ovXevecrOac,

avTo
eyovrwv ware ra

ovTco
dva\lcrK€a$ac

fxvrjarrjpcov

acfjiKvelrac

hrj

rov

kol

vlov

Kal

'^eifMaadel';

dvayvwplcra'i ore avTO
8'

ej^Opom

dWa XVII [

30

earo Be

rd

fiev

rb

Be

XoLTTov

'keyw

Xutrt?.

r]

Becnv

Be

pepov<;

'^^^

'^o'^'^'O^

P'^XP''

rd re TrpoTreirpaypeva Kal

35 Kal TTaXiV alridcreo)';

19.

pev

avrojv S^ *

r)

rov davdrov recrcrapa,

elal

eXBr)

"f*

fxiKpbt

apogr.

Castelvetro.

21.

seclusi

:

els Si'crri'Xtaj' d'

sermo non

S:

e-n-ei

>

lect.

^>

addenda

A^.

Bywater

iroXXd/cis

28.

.

23.

ort avrbs

:

.

.

oXov '

alios secutus

esse coni. Vahlen.

i]> coni. Vahlen:

i]

35.

e.

ov

IloaeLdwvos seclus. St? :

coni.

Vahlen

:

riuai airrbs olim

post ^^uOev collocavit 31.

<(Tv/j.^aivei

:

earlv

Arabs, h.

eonfirmat Arabs (Margoliouth).

Gomperz,

Tf;9

iXe^dV']

p^eprj

rb

est longus

20. Trapa(pv\aTTOfj.ei'ov ^Tt apogr.,

avrbs seclus. Spengel.

dvcrrvx'-o-'^ av/jL^aivei.

Xvffis

'

:

Becn<;

rpaycpBla'? Be 2

re\ov<;.

rj<;

et?

X?}-v|rt9

<.Xvat dirb

rreirXeypevri,

24. rivas avrbs codd.

Ueberweg: codd.

"f*

rj>

@eoBeKrov

[roaavra yap Kal rd

fiaKpbs A<^

:

*

rrjv

eartv

fjberal3daea)
'^V'^

rov TraiBtov

rj

p-ey^pi' "tov

Be>

rj

/xoKpos (Margoliouth).

oe codd.

ea'^arov

Bvarvx^av avp^aivet

<el
Beai
r)

elvai

fiev

b

wcrirep ev rut Av
reXovi'

P'e'xpi'

7]

S'

ro Be \vac
Beai'i

evrvyiav, \vaiv Be rrjv aTTo t^9 dp^V'*

p,ev

ra

tovto,

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ov pera/3aLveiv

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fiev

e^codev Kal evta roiv ecrcodev TroXXa/ct?

dp^r]<;

CLTT

to

BiecjiOeipe.

iireiaoSta.

17

avTwv 8rj<\u}(ns, Xvais

avrQv d'

<eis

^ i^ eiirvxias

Brj

< dTrayujyri,

7]> Christ, quod

confirmare videtur Arabs, 'et ea quae patefecit, solutio autem est quod 36. rov davdrov fort, rod Aavaov (Vahlen fiebat etc. (Margoliouth). :

'

roaavra yap iX^x^V seclus. Susemilil ed. 1. rd /ivdov Sus. ed. 2 sec. Ueberweg. rd fivOwv Tyrwhitt Zeller (cf. Vahlen, qui post dvayvupiaLS 39 <.i]

et Spengel).

rd

/jL^pr)

38.

i]

:

fiev

de aTrX7J>

37.

.

.

:

cum

definitione deesse susj).).

.

ARISTOTLE'S POETICS XVII.

from home

for

Poseidon, and

many

arrives

against

—

them and

essence of the plot

XVIII

;

certain

is

jealously watched

Meanwhile

son.

At

length,

his true self;

man

the rest

in

is

and he

tempest-tost,

he attacks his enemies,

two

parts,

This

is

the

— Complication

Incidents extraneous

(or Ddnou&tnent).

combined with a portion of

the action proper, to form the Complication

By

by

episode.

is

into

to the action are frequently

the Unravelling.

absent

is

home

his

himself preserved.

is

Every tragedy faUs

and Unravelling

of the

A

suitors are wasting his substance

his

and reveals

destroys

he

;

left desolate.

a wretched plight

plotting

briefly.

years

65

2

Thus the story

give extension to Epic poetry.

Odyssey can be stated

5— XVIII.

the Complication I

;

the rest

mean

all

is

that

comes between the beginning of the action and the part

which marks the turning-point

The

Unravelling

beginning of

the

is

that

to

good or bad fortune.

which

comes

change and the end.

between

the

Thus, in the

Lynceus of Theodectes, the Complication consists

of the

incidents presupposed in the drama, the seizure of the child,

and then again * *

from the accusation

of

extends

murder

to the end.

There are four kinds of Tragedy,

—

first,

the < Simple, 2

then> the Complex, depending entirely on Eeversal and

XVIII.

66

—

1455 ^ 39

5-

koI dvayvMpiaL'i,

TreptTrereia 1456 a

2

Ataz/re? Koi ol ^l^loveq,

Kol

XlTyXeu?.

6

Kol

^opKiSe^;

Kal

5 fJbi'yicna

Tovcnv

ev

Xvovcrc

Be

OTrep

TO

[8e]

re

at

iwv

to,

jjurj,

crvKocpavp.epo<;

rov

d^covcrc

BiKacov 8e koI rpaycpSiav aXX.rjv koI

Sec

KaKOi
<&)9>

'la(o<;

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€Kel fiev

et

irXe^avre'i

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del

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yap Bia ro

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T7)9

ra

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rrjv

vTToXrjyp'iv

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pnrlBri'i,

20 TTLTrrovcrLV

diro^aiveL.

Kal

eTTOLTjaav

rj

Nto/37;i/

KaK6i
Kal

irepaiv 5

ocroi

a-rjfielov

Be,

fir]

Kara

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firj

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dycovi^ovrai,,

iirel

Etr-

wo-irep

eK-

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Kal ^AydOcov i^-

1456 a 2. TO 8^ rirapTov oijs to 8i TeparQides Scliiader to de TeparQdes < dWdrpLov > Wecklein t6 de TirapTov < tj clttXtj, olov * * irapiK^acyit 5i T] TepaTw>57]i Susemihl to 8i T^rapTov 6\pis (cf. 1458 a 6) By water sed :

:

:

:

;

hoc loco eadem iitique esse debent quae in xxiv. 1. 5. re apogr. 7e A^. 7. eKaa-TOV apogr. eKnaTov A^. 9. ovSevl Lffws (lis Bonitz ovdevl ujs Zeller oidev I'crws t(^ codd. tovto Tairb TO.

dSj) in

:

:

:

:

Teichmiiller

:

tovt(^ Bursian.

:

11.

KpaTeladai

{ci.

Polit. iv. (vii.) 13,

1331 b 38) Vahlen: habuit iam 2, 'prensarunt utrumque codd.

Te2(jdai

Susemihl, [/cat

.

.

.

Spengel

14. :

5e

pro

cm. apogr. ]^i6^t]v,

AiVx^Xos,] Reinach.

'Ekcl^tiv

19.

?)

coni.

4

irotelv

/jlt}

iiroTrouKov

rov

rL
rovro

rco fjLvdq)'

ttoWoI 8e

a/x0&)

8e

TroXXa/ci?

e'lprjTac

15 TTOtol fivOov.

Se

el

tt)9

djadov

ISlov

re

jxaXLcrTa 3

aSov.

jeyovoTcov yap Kad' eKacrrov

Xeyecv ov8ev

eiroTTouKov

o'i

olov

0779 "f

iv

€'^^lv,

avrii ttXokt] koX \v(TL
7]

olov

olov at ^Oiwrthe^

aWa)
eKaarov rov

eva v7rep/3dWeLV.

&v

ireLpdaOai

hel

T0v
TT)V avTTjv

oaa

koI

a 20

iraOrjTLKri,

rjdLKrj,

rerapTOV

he

irXela-ra,

d
10 Se,

TO

IIpo/jLT)9€v<;

airavra

ovv

fiev

"f*

Se

1)

8e

rj

— 1456

'

Arabs

add. Vahlen Valla,

:

unde

t)

:

Kpo-

'locpuiu

'Ekcl^tjv

;;

ARISTOTLE'S POETICS XYIII. 2—5 Eecognition apassion),

—

next, the

;

such

motive

Pathetic (where the

the

as

67

on Ajax and

tragedies

next, the Ethical (where the motives are ethical), as the Phthiotides

such

world.

The poet should endeavour,

combine

all

;

such

the

Phorcides,

the

as

Prometheus, and tragedies whose scene

poetic merits

—

<'We here exclude

and the Peleus. kind>,

supernatural

the

is

Ixion

in the lower

is

to 3

possible,

if

or failing that, the greatest

number and those the most important

the more

;

so,

in

For whereas

face of the cavilling criticism of the day.

have hitherto been good poets, each in his own

there

now

branch, the critics

expect one

man

surpass all

to

others in their several lines of excellence.

In speaking of a tragedy as the same or best test to take

different, the

Identity exists where the

the plot.

is

Many poets

Complication and Unravelling are the same. tie

the knot well, but unravel

it

Both

ill.

arts,

how-

ever, should always be mastered.

Again, the poet should remember what has been often i

and not make a Tragedy into an Epic

said,

By an Epic plots

:

as

structure I

if,

mean one with

for instance,

you were

out of the entire story of the

owing

to

length,

its

magnitude.

In

the

Iliad.

each

part

drama

the

answering to the poet's expectation. the poets

who have dramatised

to

structure.

a multiplicity of

make a tragedy

In the Epic poem,

assumes result

proper

its is

far

The proof

is

from that 5

the whole story of the

Fall of Troy, instead of selecting portions, like Euripides or

who have taken

the whole tale of Niobe, and not a

part of her story, like Aeschylus, either

fail

meet with poor success on the

Even Agathon

stage.

utterly or

;

68

XVIII.

iirecrev

iv

5— XIX.

wv ^ovKovrai dav-

he TOVTO, OTav 6 ao^o
jjueTa

[/tiei/]

koX

%Lav(f)o<;,

dvSpeio
TOVTO

€<JTLv Se

to

TOV oXov Kol avvaycovi^ea6at 30 &cnrep So(f)OK\€l.

fxdWov TOV KaiTOi

dWov

et?

dXkcov

fiev

ovv

TOiV

koX

Biavoia
Bidvotav iv

Trjv

cBiov /jLciWov

Trepl

TOL
t?}9

€KeiV7)<;

ecrTLV

Bio

e/x-

A.yd6wvo
rj

oXov

eTreicroBiov

rj

dXV

^vpLirihr)

efx^oKiixa aSeiv

rj

dXko dpfioTTOi

Xe^e&)9

Trepl

36 irepl

Bia^epet

Tfc

koX jiopiov elvat

cocrTrep

firj

^oXifia aBovcriv TrpcoTov dp^avTO'i Tov.

koI tov yopov 7

€Ik6<;.

dWrj
?)

rjTTrjOTJ.

Be XotTTot? to, aB6p.eva

Tol
/LLvdov

Be

dBt,KO
fiev

6

e^aTraTrjOrj,

Mairep 'A
elKO'i

iroWd Kol irapd

ryivecrdac

irovripLa'i

Se eva Bel viroXa^elv tcov viroKpiTOiv,

XIX

ecmv

TpajiKov yap tovto koI (^CKdvOpwirov.

jxacnoi'i'

jdp

i

ev he rat? TreptTreTetat? [/cat iv

crro'^d^eTac

T0t9 aTrXoi? irpd'^ixacrL]

25 Mcrirep

1456 a 21—1456 b

2.

tovtw fiovw'

:'

\oLirov

ecpTjTai,

r/S?;

elTrelv.

to,

ovv

fxev

tovto yap

Keicrdco,

priToptKrj
fieOoBov.

KaTa

Be

€(tti

Be

irepl

ttjv

Bidvoiav TavTa, ocra vtto tov \6yov Bel irapaaKevacrOrivai. 40

Be tovtcov to re diroBeiKvvvai Kal to \vecv Kal to 2

p^eprj

TrapaaKevd^etv, otov eXeov

1456 b 'jrdOrj

21.

Kal iv

Tois

.

irpdyfiaai seclus.

.

.

Tucker,

dXXots

Gomperz.

irpdyfjiaffi

rai codd.

24.

aut legend. 6

<:Kal> :

Kal

uffTrep Trap'

,

Margoliouth 5iS6fj.€va

aliud

(rocpbs

etVos

coUocat

videtur

22.

confirm. Arabs.

elKbs

Arabe. ofJSiv

'

Arabs) S,

:

^'So/uei'a

ov

(Margoliouth).

seclus. Bernays, tuetur Arabs.

.

35. 36. Kal

30.

Maggi,

air\o7s,

iv

dTrXaJs

(rroxd^ov-

:

cum Arabe)

apogr.

26.

elKbs

post

(pcKdvOpuTrov

29. ibinrep

Vahlen, add. Maggi.

add.

ut videtur.

.

.

cum

pro

:

Kal

:

Heinsius

Bekker.

irapd Aid.,

(bairep

.

Twining

(Margoliouth

fi^v

Si

fiera irovTjplas

opyrjv Kol

rj

tuetur Arabs

:

ffToxdl^erai

Aut secludendum ixkv

(f)6/3ov

diirXoU

:

ante

A'^.

S

36

Susemihl,

.

iroirjTov

Susemihl

qui rpayiKdv

cum

amplius

Arabs,

1451 b

collato

rj

.

.

XotTrots

ijTTTjdri

wcmep

.

TroXXots

:

quae canuntur Arabs habuit iam 2 ('nihil

ijdr]

'

'

.

32.

apogr.

Hermann

:

i)

:

tolovtov rjd'

codd.

A«

:

:

'

.

:

.

poeta

elSeQv ut 41.

Trddrj

5— XIX.

ARISTOTLE'S POETICS XVIII.

known

has been

to

from this one

fail

69

2

In his

defect.

Eeversals of the Action, however, he shows a marvellous skill in

the effort to hit the popular taste,

—

moral sense.

tragic effect that satisfies the

to produce a

This effect

produced when the clever rogue, like Sisyphus,

Such an event

witted, or the brave villain defeated.

moreover, probable in Agathon's sense of the word is

probable,' he says,

that

'

many

is 6

out-

is

is, '

:

it

things should happen

contrary to probability.'

The Chorus too should be regarded actors

share in the action, in the

As

of Sophocles.

pertain as

—

They

a practice

difference

interludes,

It

is

first

to another

sung as mere

Yet

begun by Agathon,

act,

?

Tragedy having been already discussed.

of

Ehetoric,

to

which

to

strictly belongs.

pity,

fear,

may assume what inquiry

Under Thought

is

the

;

anger,

is

said

subject

;

in particular,

the excitation of the feelings,

and the

like

in

more

included every effect

be produced by speech

proof and refutation as

therefore,

remains to speak of Diction and Thought, the parts

which has

1456 b

are,

there between introducing such choral

Concerning Thought, we the

of Euripides but

and transferring a speech, or even a whole

from one play

other

manner not

to the subject of the piece as to that of

little

interludes,

XIX

one of the 7

for the later poets, their choral songs

any other tragedy.

what

as

should be an integral part of the whole, and

it

;

—

such

2

:

koL ere

0(ra Tocavra,

Be OTL Kol [eV]

Set

(f)alvea0at

Tov

XeyovTO'i

ytyveadat. tjSt)

a

loXe^iv

TOLaVTtJV

dv OTL

6

ev')(ea-daL

7]fjiapTfj(76aL

OL6pbevo
^ea," TO yap KeXevaaL 20 ecTTLv. ov

XX

Bio

d^iov

koX

tl

TrapeLcrOw

eVToXr]

KOL

rrapd ttjv

tl

rj

koI ttjv 5

tl

eirLTLp^a,

" ixrjVLv

eliriav

TTOcelv

4

ttoltjtiktjv

ctttouSt}?.

deiBe

eTTLTa^h

firj

Tfj<;

7roL7}TLKrj
^leprj,

a-TOt^eiov

6ed)p7]fjba,

[t>}9 Be

Xefe&)9 d7rdaT]<; TdB^ ccttI

Ta

o-vWa/Srj (TVvBea/xo
ttjv

ipcaTrjaa

dW7]<; kol ov

ci)9

Trj'i

tov

a UpcoTayopaf;

iTTiTdTTet (prjalv

ttjv

a'^rjp.aTa

Tl

eh

ovBev

dryvoiav

rj

(f>6peTaL

Xojov

irepl

koi

koi

direCkr]

dXko tolovtov.

tl

el

v7roXd/3oL

TL
olov

dp'^LTeKTOVLKl'jV,

koi

tcl

vTroKpiTLKr]^;

rr}?

BtTjjTjaL'i

KOL

Oecopla'i

elBo<;

fxev

vtto

el (f)aivoiTO

Be

tcov

to,

Xoya rov

irapa

;

eiKora

i)

on

8La(j)€p€i,

Koi

tov Xojov

elBevat

'yvwaiv

iTrcTi/Jbrjfia

fiejaXa

i)

IBeMV

avTOiv

tov \e
etrj

Blcl

e-)(OVTO
diroKpLai'i 15 TOVTCov

av

eaTiv

icTTtv

Kol

ev')(r]

roaovrov

ttXjjv

firj

fjbev

d

Seiva

TrapacTKevd^ecrOai

KOL

€V

Xe^e&)9,

?)

SriXov 3

fjLiKp6Trjra
avev ScSacrKa\[a
tl
Bet

Koi

/ji6ye6o
iXeeiva

rj

TrapaaKevd^ecv

5 Set]

2—24

1456 b

2.

Tot? Trpajfjuaatv airo to)v

orav

Set -^prjaOai,

tI

3— XX.

XIX.

70

2.

/uLLKpoTviTas A<^

Spengel).

(pavo'iTo

(TixLKpbT-qTo.

:

t'Sewc

codd.

9.

^wv't-j

apogr.

t^St]

Sl

:

del

Xoyo^;.

irTwcrL'i

dBLalpeTO';, ov irdcra Be apogr.

eloeCbv

3. A'^.

Tyrwhitt

:

^Stj

seclus.

8.

(paivoiro

Castelvetro

dX)C 2

Ueberweg

iv

:

scripsi -IjSt]

8l'

Gomperz (praeeunte Spengel): TjSia codd., 23. Updpov cum Hartung rj Sioi Vahlen ed. 2. Vahlen ed. 3 seclusi (cf. Susemilil), sed eo dubitautius quod proprio loco post a-vv5ea/j.os transposuit iam Spengel hoc verbum statuisse videtur S (cf. Arab.) (njvde(r/j,os <;^> dpOpov 'ovoixa prj/j-a Steinthal. avra SusemiM:

ijdri

-tq

diq.

:

:

—

;

ARISTOTLE'S POETICS XIX. importance or

its

3

Further,

opposite.

—XX.

it

is

71

2

evident that 3

the dramatic incidents must be treated from the same

when

points of view as the dramatic speeches, is

evoke the sense of pity,

to

The only

ability.

fear,

difference

the

that

is,

the object

importance, or probincidents

should speak for themselves without verbal exposition while the effects aimed at in a speech should be pro-

duced by the speaker, and

a result of the

as

For what were the need of a speaker,

if

speech.

proper

the

impression were at once conveyed, quite apart from what

he says

?

One branch

Next, as regards Diction. treats

Modes

of the

of the inquiry i

But

of Expression.

this

province

of knowledge belongs to the art of Declamation,

the masters of that science.

— what

is

a

command, a

It

know

art.

Homer by

For who can admit the Protagoras,

—

that

in

goddess, of the wrath,' he gives a idea that he utters a prayer

do a thing or not to do

may,

To know

not 5

or

these things involves no serious censure upon

the poet's to

to

prayer, a narrative, a threat,

a question, an answer, and so forth. to

and

includes, for instance,

it

fault

imputed

words,

'

Sing,

command under

the

For to teU some one to

?

is,

the

We

he says, a command.

therefore, pass this over as

an inquiry that belongs

to another art, not to poetry.

XX

[Language in general includes the following parts the Letter, the Syllable, the Connecting word,

the

Verb,

the

Inflexion

or

Case,

the

tlie

:

Noun,

Proposition

or

Phrase.

A

Letter

is

an indivisible sound, yet not every such

sound, but only one which can form part of a group of

2

>

XX.

72

—

2

1456 b 25

6.

25 ef ^9 Tre^VKe avvOeTr] yiyveaOai

aBiaiperoL

elcrlv

Be

TavT7)
(fxoprjev

r

TOV (TTOfXaTO^ Kol

rP

TO

Try? fj

aXka Kal ovTe

a(t>d)vov

Be eaTLV

<^

tov A,

fieTO,

eVl

[crvv]Ti6eadat Kal

'

aw err]

:

acr7}fMo<; 6

^covr)

eK

cn]fiavTiKr}v

jjbiav

(ficovrjv

compositae voci

'

intercidisse videtur

i^ dcpibvov Kai Tj/xKpdbvov

tcov

38.

A''.

Post

.

Post
^XOVTos coni. Christ <'^ irXeibvuv acpdjvwv Kal (puvrjv ^xo>'tos>.

yap

P

rP

t6

sine

toO

dvev

A non

A

avWa^rj

faciunt syllabam,

Kal

fieTO.

quoniam tantum

fiunt

Kal

nam T et syllaba cum A

A°

toD A,

'

:

'

Arabs (Margolioutb), unde restituit Susemihl quod in textum recepi Kal yap rb PA dvev rov P (n/XXa/3r; Kal fiera rod P Tyrwhitt Kal yap rb A avev tov TV avWa^r] Kal fMerd rov PP M. Schmidt. 1457 a 1-8. Locus valde impeditus. Codicum fide ita vulgo legitur oihe KwXvei :

:

oiire

Kal

/J-iav

fxev,

iJToi,

34

(vel

ev

5^).

/ttSs a7)ixavTi.KGiv {crrjfxavTiKbv

dpdpov

5

olov Tb

diJ,
iffTl

0wj'7j

(^.

p,.

I.

iK

crrjfiavTiKTjv,

&Kpwv Kal

tGiv

iirl

apogr., Bekker)

apfjidrrri

ohv

TTOiei

Oeadai,

A<=

:

^ttI

Tr\ei6vo}V

tov

ixiffov,

•^

fj

(pujvr]

dcrrj/jLOS

Troielv

fj

-f)

ipiovUbv

Tre(pvKv1av

fjp

apfihrTeL

/jlt]

dpxv Tidevai KaO' airiv

A°) Se

daij/xos,

5

kol yap

e'^^ovTO'?.

aarj/jio<;

(fxovr]

avWa/Sr] aXKa

TTOLel

Arabs

25. ffwderr] apogr.,

/j.eTpLKol<;

toI<;

eaTiv

tovtcov Oewprjaai tcl^ Bia(f)opa<;

7re(f)VKvla

cf)(ov(ov,

^^tCKoTT^TI,

o^vttjto kol /dapvTrjTL

Be

avvBecrfioq

ecTTiv.

/jbeTpLKr]
ouTe K(o\veL

irXeLovcov

A

dvev TOV

rPA.

40 olov TO

* Kot

uKovaTov,

KOl

Ba(TVTr]Tl

Be

avWa/3r)

^wvrjv,

a^'^/xacylv re 4

Biacpepei

KaB' eKaaTov ev

cov

Oecopetv.

i^ a(f>wvov #

crvvOeTr)

a

irepl

ne(T(p'

Tft)

TrpoarjKeL

KOL

Be

cicpcovov

e')(pv

jLvofievov

(fecovrjv

TOTTOL'i

koI 3

irpocrl3o\i)<;

Kol to P,

TavTa Be

/3pa')(yT7]Ti,, eVt

(xroc^etov.

rj/xttpcovov

he to fxeTO, 7rpoa/3o\rj<;

%

to

to

KaO^ avTO fiev ovBefiiav

Kal TO A.

35 KoX ^irjKeL Kol

koX

<.ro> avev

7]fjbl
Be T03V e')(ovTwv Tiva

olov TO

Xejco

ovhefilav

fiev

aKOV(TTrjv, olov

(f)0)vi]v

fxeTo,

1457

(pcovrjev

ixeTCL 7rpoa/3o\rj
Kol

re

aKOVcrrrjv,

e')(ov (pcovrjv

TO

to Se

ecrriv

a
30 e'xo^

oiv

a 2

Kol 'yap rcbv drjpicov

(fxov)]'

<^wva\

fMeprj

— 1457

:

(k

(avTrjv

TrXeidviov

avvrl-

{^v

fj-r]

Tyi'whitt), /xev

(puvQu

iricpvKev fxiav arifxavTiKTjv
\6yov dpxnv f) r^Xos Aid. , Bekker) Kai rd

r)

diopLfffibv

StjXo?,

Kal

dXXa.

irepl

to.

:

ARISTOTLE'S POETICS XX.

2—6

For even brutes utter indivisible sounds, none

sounds.

The sound

of which I call a letter.

mean may be

I

A

either a vowel, a semi-vowel, or a mute.

which without impact of tongue or

that

73

A

audible sound.

semi-vowel,

vowel

is

has

an

lip

that which with such

A

impact has an audible sound, as S and E. that which with such impact has

by

These

according

distinguished

are

mute,

no sound,

itself

but joined to a vowel sound becomes audible, as D.

3

G

the

to

and form 4

assumed by the mouth, and the place where they are produced

;

mediate

;

treatise

A

tone

as they are acute, grave, or of

which

Syllable

A it

is,

in

an

inter-

detail

to

a

a non-significant sound, composed of a 5

is

GE

for

:

inquiry belongs

on metre.

mute and a vowel
they are aspirated or smooth,

according as

;

long or short

— GEA.

a mute, a semi-vowel >

of

A

without

and a

not a syllable, but with

is

But the investigation

of these differences

belongs also to metrical science.

A 1457 a

Connecting word

neither causes nor into one

In Ed.

1

mutavi.

is

a non-significant sound, which 6

hinders

sound

significant

;

the union of

may

it

sum Susemihl (praeeunto Hartung), nee quicquam liic Sed nescio an Doring verum viderit qui locum sic restituit

secutus

a-Opdeafioi d^ iariv (puivrj dcrrifios

S^ TTOieTv 'wi<j>VKev

fjcLav

^ iK ir\u6v(>iv (fxjov-qv, ^v

crriiJLavTiKTjv

fi^v fxr]

TiBivai Kad' avT-qv, olov rb dfKpi Kal t6 wipi koI (juavT)

many sounds

be placed at either

&(T7]p,os,

t)

oCre

(piiivQv {m(pvKv'ia.v'\

KwXijet.

oiire

(xwrldeaOaL,

(pwvCiv, /xias a-tjfx.avTiKwv apfibrTei.

to.

&\\a.

ii>

apxv \6yov

&f)dpoi>

5'

iarl

noiei (puvrjv jxiav
< dXX' >

-i)

Xoyov

apxw

V t^^os

rj

diopia-fibf

twv dKpoiu Kal iwl rod /x^crov, olov fiiv, Nullam tamen Arabia rationem Doring habuit, et Arabs tjroi, 8^. Ipse ut in re nondum quidem cum nostris codicibus parum congruit. 5ri\oi,

ve(pvKv7a ridcaOai Kal

satis explicata CTr^x""

™e

iirl

fateor.

irecbvKvlav avvrldeffdai codd.

2.

wetpvKvla rldeaOai "Winstanloy

:

XX.

74 UKpcov Kot fiev

aXXa'

Biopicrfiov SrjXot, fjv

KaO^

avTijv,

OVTe

K(o\v€L

olov

ifKeiovcov

TretpvKev

to

dp'^7]v

fxiav

koX

irepl

to,

T6\o<;

i)

rj

7

dp/xoTTec iv dp-^r} Xoyov TiOevai

/xr]

rjToi,

fiev,

OVT€

\6yov

r}

e'/c

7)

irotetv

he,

to afKpu koI

darjjxo'i

(f)Q)vr}

— 29

daTi/jbo
(fioovr)

?)

olov

cficov7]v,

1457 ^ 3

II.

(77] [MavTiKOiV

/XLd
5 (jr]fj,avTiK7)v

—

rov fieaov

iirl

(f>(ov(ov

6

Se.

(pcovrj

[17

(pCOVrjV

'TTOtel

darjfjio
r)

€K

arjfXaVTlKTjV

fMLUV

10 "TrXeLovcDv (fxovcjv 7re(f>VKVta TideaOai koX eirl tojv uKpcov

Kol

Tov

eirl

avTo KaO^ avTO 1

5

ov aripbaivei. -^povov

Be

pf]fj,a

ou '^pcofie$a

StTrXot?

tm

olov iv

crrjfiatvov,

crvvdeTTf

(fxovrf

to

ovo/xaTcov

yap

fjuev

to

crr}/jiaiV€i

to fiev tov irapovTa j^povov

Be

rj

dvOpcoTTO^;,

avvOeTi] tc-

arrj/jLatveo

ov

yap

ivBe-^eTai

8-11.

T)

.

.

^adl^ei apogr. S.p'

add.

:

aTra?

olov

seclus.

TroXXot?,

/3d5tfe

olov

vTroKpiTCKa,

eoBrj

evca

icTTLV.

iK

kol

i)

Hermann. Alteram

21.

Gomperz, quern secutus sum etiam in

18.

to add.

e^aSife;/

KaT

\6yo<;

A^.

loci interpunctione.

Be II

avTa Kal

6picrpL6
prj/xaTCOv elvac \6yov.

apogr.:

10

jSdBi^e

prjjjidTcov

dvdpcoTTOv

rj

ocra

dvOpwrroL olov

Kad^

jiepr]

X6yo
"6 tov

Reiz,

/3a5ij-«v A^.

Vahlen.

7^9

dvev

fxeaov

.

pr)p,aTO
rj

arj/Matvov

yap i^dBiaev

TO

a7]/xavTCKr]

ovo/xuTcov (7vy KeiTai,

aW'

7)

Ta

Trpocr-

tov nrap-

Be

6v6fiaTo
KaTa TavTa Ta

25 TTTcocTi? pyp.aTO's (f)covy

evl

to

kol

XevKov ov

1)

j3e^dBiKev

rj

tovtw

rj

KaTa

Be

iTTLTa^LV

epooTTjatv,

iaTLV

B

tovtov

kutu to 7;

^aSl^ec

Be

TTTMcrt^

KaTa to

ToiavTa, ij

to

iroTe,

20 e\7)\v6oTa. TO

fieTa 9

crTjfiavTCicrj

dv6pu)Tro<;

cnjfiaLveL

/xev

koI

a)
©eoScopcp to Scopov

ovBev jxepoq arjfxaLvet kuO^ avTO, wairep

rj^

Tb)v

iirt,

toU

iv
arj/jLavTiKov'

avvOeTrj 8

(fxovr)

ovSev iaTt kuO' avTO

/xepof;

rj';

iaTC

Se

ovofia

fxecTov.^

dvev y^povov

fiepo
wori Spengel.

apogr. 29. Kal

24.

add.

1

;

ARISTOTLE'S POETICS XX. 6—11 end or in the middle

of a sentence.

75

Or, a non-significant

sound, which out of several sounds, each of them signi-

and the

irepi,

Or, a non-significant

like.

which marks the beginning, end, or division such, however, that

A

Noun

double

compound

or

itself at

as fxev, tjtoc. Be.

a composite significant sound, not marking 8

is

which no part

of

—

as

sound, 7

of a sentence

cannot correctly stand by

it

the beginning of a sentence,

time,

—

capable of forming one significant sound,

ficant, is d/jL(f)i,

in

is

itself

significant; for in

we do not

words

employ the

Thus

separate parts as if each were in itself significant. in Theodoras,

'

hwpov or

god-given,' the

gift

'

not in

is

'

itself significant.

A

Verb

a composite significant

is

time, in which, as in the noun, no part

For

ficant.

of

'

when

but

;

'

man,' or

'

'

'

white

marking

sound,

9

in itself signi-

is

does not express the idea

'

he walks,' or

he has walked

*

does

'

connote time, present or past.

both to

belongs

Inflexion

expresses either the relation that '

men

of '

question or a

modes

'

of,'

number, whether one or the

;

noun and

the '

or

to,'

or

many,

as

'

like

;

or

man

'

or

or tones in actual delivery,

command.

'

Did he go

?

'

and

and 10

verb,

the

*

e.g.

go

'

a

are

verbal inflexions of this kind.

A

Proposition

Phrase

or

is

a composite significant

sound, some at least of whose parts are in themselves significant

;

for not

of verbs and.

—

but

it

nouns

may

every such group of words consists

—

'

the definition of man,' for example

dispense even with

tlie

verb.

Still it

will

1

^

XX.

76

aei

30 fMevTOi "

KXiwv

6

€V

— XXI.

II

ri

cr7}fiaiVQ}v,

'IXta?

eh

avvSecr/xw

/xev

/SaBi^etv"

St%w9,

rj

ap 12

olov

avvBecr^cp,

avOponrov

tov

Se

6

el
b 9

tw

" iv

Be ea-rt Xojo'i

irKetovwv

iK

6

rj

— 1457

olov

e|et,

arjfjbatvov

K\eft)i/09."

6

1457 a 30

4-

r)

ev

toS

(77] fMaive IV.

XXI 36

Se

6v6fj.aro<; yLtr/

TOVTOV Be

Tw

ovK iv

TO

arjjMaCvovTO
usTb Tcov yiaaaaXiooTcbv 'iraTpi>.

arrrav rj

Ta iroWa

olov

rj

\eyco

S

Be

yXwTTa

rj

eireiCTeTapbevov

i]

Kvpiov

t]

TreTroirj/xevov

rj

e^rjWayfievov.

rj

eKacTTOi,

'^pcovTUC

to Be €K

av koI TpiifKovv Kai

iaTiv

6vo/j,d

Koa/io
v^riprjixevov

(ttXt/v

aa-7]fiov

'^p/xoKaiK6^av6o<;
'

Be

koX

[/cat acrrjixov]),

B

eiT]

to Se hiirXovv

TroWairXovv,

koL

ovofia

fjb€Ta<popd

olov

arjfiaLVOVTO
e/c

(TvyKeLTai.

(7T]fMaLv6vT(ov

aifKovv, airXovv he Xeyo)

/J,ev

av
/lev

ovofiaTt

40 TeTpaTrXovv

5

to

€087]

(TTj/xacvovTcov

e'/c

rj

Kvptov

Be

co

fiev

OTi KoX fyXSiTTav kol Kvptov elvat Bvvutov to avTo,

Toh avToh r]ixlv

jXwTTa.

Be

€7ri,(f>opd 30. jSaS/feti/

Ac

Bigg:

iv ri^

olov

tov

"

ivrbs

TOV

:

(rvvMafiuv

6v6/xaTos

dWoTpiov 4

rj

KX^oic " 6 KXews' plerique edd.

/3a5lfet

^a5i^eiv," "KXiiov 6 KXeiovos" avvdiapni) apogr.

elBo<;

31. KXiojv 6 KXiicv codd.

/3a5tT« apogr.

:

eTrl

fxrj

Kvpcov,

/xev

fieTacfjopd Be ecTTiv 6vo/j,aTO<;

diro

rj

aiyvvov KuTrptoi?

to
Be'

:

aTro

tov

rb

KX^wv

:

olov ''iv tuj

M. Schmidt: (habuit S KXeuvos). 33.

A'^.

Tucker.

rip

ovS/iari

apogr.

Vahlen,

rd

:

S

32.

38.

A"^.

A°.

ovdfjiaTos

:

Kal darjfxov om. lam 2, ut videtur ('non tamen indicans in nomine' Arabs). Idem effecit Ussing deleto Kal darj/jLov in v. 33, mutata quoque

interpunctione, dcr-qfiov,

.

.

iK arj/j.alvovTOi,

.

Arabe ('sicut multa de

dominum

ilassiliotis

Massiliae

:

/xeyaXelwv olov

d(prip7]fxivov

Spengel

(cf.

:

rf dvofian

arjixaLvovro^,

MacrcraXiwrcD;' Diels, qui

"Ep/io/c

.

.

.

Kal

coUato

urbem

inter

:

tanquam

'Ep/io/c.

Hermum

iam missas facere, Bekker ed. 3 fieyaXelwv 1458 a 1).

licet

Trarpl

opici

ad Pliocaeam Caicum sitam. e.g. fxeyaXeluv ws Win&v Vahlen. 1457 b 4.

ex coniectura restituit.

fj.7jTp6TroXiv,

Ceteras emendationes

stanley

ovk iv

Hermocaicoxauthus qui supplicabatur

caelorum') totum versum

carminis, cornice scripti, spectat,

ttXtjv

41. fxeyaXiurQv codd.

et

3

(pavepov

wcrre

eTepoi,

2

ARISTOTLE'S POETICS XX. II— XXL 4

77

always have some significant part, as 'in walking,' or '

A proposition

Cleon son of Cleon.'

a unity in two ways,

—

may form

or phrase

Thus the

as consisting of several parts linked together. Iliad of

XXI

one by the linking together of parts, the definition

is

man by Words

the unity of the thing signified.] are

simple I

mean

such as

7-7.

either

12

either as signifying one thing, or

By

a

of

of

two kinds, simple and double.

By

those composed of non-significant elements,

double or compound, those composed

significant

non

and

-

element

significant

(though within the whole word no element or of elements that are both significant.

is significant),

A

word may

likewise be triple, quadruple, or multiple in form, like 1457

b so

many

Massilian expressions,

<who prayed

e.g.

'

Hermo-caico-xanthus

to Father Zeus.'>

Every word

is

either current, or strange, or metaphorical, 2

or ornamental, or

newly -coined, or lengthened,

or con-

tracted, or altered.

By

a current or proper word I

in general

which

is

use among

in

a people

;

use in another country.

the same word

may

lance,' is to the

is

3

Plainly, therefore,

be at once strange and current, but

not in relation to the same people. '

mean one which

by a strange word, one

The word aiyvvov,

Cyprians a current term but to us a

strange one.

Metaphor

is

the

application

of an

alien

name by

transference either from genus to species, or from species

4

XXI. 4—8.

78 10 etSovi

TO

iirl

olov "

kardvai

5

iarcv,

c5

eirl elSo
Ta/xelv dpixrat

TO 20

dvakoyov

he

eVl

Se

ecmv /xvpi

hrj

rj

<Ti>

ttoXv

fivplov

etSov<; Be

dir

dpvaa
-y^v^riv

o-tto

fxev

dpvaat

ecprjKev

yap

d(^e\elv tl ecTTLV.

'\eyoi,

cifi^co

oTav

ofJLOiwi

rafxelv, to

to

e-^r)

hevTepov 6

TO TpiTOV ipel

TT/OO?

yap dvTt Tov hevTepov to TeTapTOV

dvTl tov TeTapTov

rj

TO hevTepov, Kal evioTe "TrpoaTtdeaatv dvd' ov \eyet 6

\ey(o he olov

icTTL.

Kal dcTTrU 7rpo9 "Apij'

^yeo ^idXr]

oyu,ot&)?

epei

Kal eairepa

yrjpa
Kal

ri/jiepa
'E/XTreSo/cX?}?, Kei/Jbevov

Trpo'i

to

yrjpa
(f>\oya diro

TrjV

fjbev

d(j)ievai,

om. apogr.

rd

dva/jLO.^

apogr.:

dva-fj-as

jSIoy

AS

^ Vahlen.

T)fiipa%

aTrelpeiv, to

14. tI

add.

29.

irpo^;

tov Kapirov,

Twining.

tQv A^:

a rov Kapwbv Castelvetro.

he

0fM0i,a)
e^ec

tw

eaTL he

tmv

ocKeicov

27.

to

to apogi-.,

ri/j.^pas

tl,

.

.

.

eawepav ^iov ^ 32. Bekker.

-yTJpas

7

Xe-yOrj-

dW

dTro^rjaat

ihairep 'E^ttcSokXi;? koX

Mairep

Kal aWco^, Trpocr-

TpoTTcp TOVTO) T7/9 fjieTa(f)opd^ y^prjaOaL

10.

o/jlolo)'?

OeoKTicrTav ^\6ya."

ayopevaavTa to dWoTpiov

r;,

ovk eaTiv ovofia

tjttov

TOVTO TTpo? TOV rfkiov Kal TO airelpeiv

35

b y^jpa'? rrpo^

yStof

8'

tov rjXiov dvcovvfiov

hco etprjTai " aireipajv

rj

eairepav evioi
twv dvakoyov, aXX' ovhev

30 creTat' olov to tov Kapirov

Trpo^;

Aiovvaov

epel toIvvv Trjv eairepav

rj/xepav

^iov.

hvcrfia'i

tt/qo?

tolvuv ttjv (fadXrjv darriha

25 ^Lovvcrov Kal ttjv dairlha ^idXrjv "Apeft)9. /Slov,

i]

evravOa yap to

TO TTpCOTOP Kul TO TeTUpTOV

7rp0
"

yevo'i,

vvv dvrl rov iroWov Ke'^pr]Tat. olov " ^a\«ft)

eioo<;

to yap opfieiv

'

ea6\a eopyev" rb yap

dretpei ^aA-«:c5." 8e

ecrrrjKev

eiSovi

eVt

etSof?

airo
he

Xi'ya) 778'

air

rt.

'08ucrcreu9 I

Se fioL

V7]v
rov

airo

rj

Kara to avaXo
10—35

1457 b

8

S

4—

ARISTOTLE'S POETICS XXI. from species

to genus, or

my

ship

From

to species, as

lying at anchor

for

; '

species to genus, as

number, and

of large

number

From away

generally.

blade of bronze drew

a

is

is

used for

again for apva-at,

Analogy

—

'

the

is,

lies 5

of lying.

species to species, as

the

and

life,'

Tafxelv,

is

a

here used for a large

to

'

:

'

With

Cleft the water

'

Here apuaac, and

cleave,'

'

to

rajxelv

each being a species of taking away.

or proportion

fourth for

There

thousand

for ten

;

is

when

is

the second term

We may

as the fourth to the third.

first

'

species

with the vessel of unyielding bronze.'

draw away,'

:

Verily ten thousand noble

' :

deeds hath Odysseus wrought species

by analogy, that

to species, or

Thus from genus

proportion.

79

second, or

second

the

is to

the 6

then use the the

for

fourth.

Sometimes too we qualify the metaphor by adding the term to which the proper word

cup

is to

therefore,

shield so is '

'

is

be

called

'

the

shield

the cup of Ares.'

'

of Dionysus,'

in the phrase of Empedocles,

In some cases one specific

name

;

the metaphor

instance, to scatter seed

'

'

the evening of setting sun.'

life's

is

may

called sowing

be used. :

process bears to the sun the

the seed.

Hence the expression light.'

kind of metaphor alien term,

same

There

may

is

and then deny

Still this

relation as sowing to

of the poet,

another

be employed.

7

For

but the action

of the sun in scattering his rays is nameless.

god-created

to life,

terms of the proportion has no

of the

still,

and the is

Evening may therefore be called

evening to day.

or,

The cup may,

Or, again, as old age

the old age of the day,' and old age,

life

Thus the

relative.

Dionysus as the shield to Ares.

way

'

in

sowing the

which

We may

this 8

apply an

of that term one of its proper

:

8— XXII.

XXI.

80

36—1458

1457 b

I.

a 21

"A/^eo? aXX' aoivov.

olov el TT}v daTTcBa eliroi (pidXTjv

firj

TreTronj/iievov 8'

KoXovfievov viro tlvcov 9

earlv o

Tiderat 6

avTO'i

oA,&)
fir]

BoKel >ydp evca elvac roiavra,

770477x7^9,

olov ra Kepara ipvv'ya<; koI top lepea dpijTrjpa. 1458 a

TO Be dv

TO UrjXeiBov^ HrjXTjidBeo), TO Bcb Kal " B

Twv

S

oaa

/xev

eh

H

oaa e«

Kal

laa crvfx^aivet

cocrre

eh oaa

TrXrjOei

3

TavTa

eh TavTa Kal

Be fxeTa^v A,efeci)9

Be dpeTrj

aa(f)r]

20 ^eaTaTT) /xev ovv eaTCv Tairetv^.

36. dXX'

irapaBeiy/xa Be

aoivov

Yettori:

Hermann. Arabs

:

4. 6-q$

:

A*^

(h.

e.

om. A^.

ttXtjOt] A<^.

add. apogr. t6

15.

e/c

A* to,

eh

Be d(f)a)vov

eh

T

to

Be

Be to rrevTe.

Kal S.] fxrj

elvai.

aa-

ovo/iaTiov,

dWa

TaTreivrjv

tmv Kvplwv

K.\eo(j>a)VTO<;

oSC'Is).

7701770-49

1458 a

codd.

2.

11.

Ueberweg. add. ry S Tyrwhitt.

vairv rb ybvv rb d6pv rb dcrv.

kol

S 14.

Kal

t)

Kexpvf^^vos

M. Schmidt.

seclus.

ante ravTO.

nwv rb

r/

et9

/Spa'^v.

eh

t6 n7;Xet5oi; add.

dlls vel

12.

P

Bvo,

appeva Kal

eaTiv.

covi]ev

koI

otvov

fiXXa

nryX-ijos koL

N

ck

rj

to,

Treirept.

kojxixl

Kal

S' icTTLV

to3V (^covqevTOiv etV re tcl del

ovBev ovofxa TeXevTa, ovBe eh

Tpla fiovov, ixeki

N

to

el<;

Kal tmv iTveKTetvofxevoov

fi,

to fydp "^ Kal to

drfKea.

Vettori

TeXevTO,

Kal oaa eV tovtov avjKeiTaL, TavTa

fxaKpd, olov

TO,

11

KaTaXeiTrr) to Be

fiev

ovofxaTcov to, fiev appeva to. Be O'^Xea 12

appeva

"^ Kal E, drjXea Be

XXII

i^rjWayfievov

o-»/r."

olov TO " Be^iTepov KaTO, fia^ov " dvTt tov Be^iov.

10 TO, Be fieTa^v,

I

ifi^e-

olov to Kpl koI

d^rjp'r][jbevov Be

ylveTac dficfiOTepcov

/jLta

[avTb)v Be

Kal

avWa^rj

rj

y avTov, eTreKrerafxevov

OTav tov ovofxa^o/xevov to

ea-Tiv

TTOifj,

5

rod oiKeiov

rj

d(f)r}p7)fxevov tl

eireK- 10

ro /xev eav (fxov^evri

TO TToXeeo? 770X7709 Kal to n77X,eo9
fiev olov

1

dcj^rjprjfxevov

i]

Ke'^prj/xevov

fjuaKporepo) ^Xij/xevrj,

5

eanv

rerafievov Be

6.

H^

apogr., Maggi, TrXifjdei

17.

apogr.

post irivre

—

—

XXL 8— XXII.

ARISTOTLE'S POETICS attributes

;

A

to call the shield, not

newly-coined word

Some

but

use,

words

such

'

the cup

the wineless cup.'

'

even in local

'

we were

as if

of Ares,' but

81

i

is

appear

there

sprouters,' for Kepara,

'

one which has never been 9

is

invented by the poet himself. be

to

as

:

and aprjTqp,

horns,'

ipvv
supplicator,'

'

for lepev<;, 'priest.'

A word is lengthened when its own vowel

1458 a

exchanged 10

is

when a syllable is inserted. A when some part of it is removed.

a longer one, or

for

word

is

contracted

Instances of lengthening are,

tion,

Kpl, So),

and

o-v/r,

altered

word

is

An form

is

ttoXt^o? for TroXecy?,

and UrfKr^idhea)

for HrfXeo^,

for lirfkeihov

as in

jiveTat a/xiporipcov oy^.

fjuia

one in which part of the ordinary 11

unchanged, and part

left

n?7X^o?

of contrac-

:

repov Kara /xa^ov, he^nepov

re-cast

is

;

as in Se|t-

is for Se^tov.

[Nouns in themselves are either masculine, feminine, 12 Masculine are such as end in

or neuter.

some and

letter

—

—

9,

and

co,

those in

a.

77

and

—

and f are equivalent to endings in a mute or a vowel short by nature.

—

fiiXc, KOfifii, iretrept,

in these

The mean.

or in

?,

yjr

of vowels that admit of lengthen-

Thus the number

nouns masculine and feminine end

XXII

v, p,

these being two,

Feminine, such as end in vowels that are always

^.

long, as

ing

compounded with

two

latter

:

end in

five

vowels

;

The

clearest style ;

at the

is

is

the same

No noun

;

which for

yfr

ends in

Three only end in v.

also in v

perfection of style

or proper words

9.

of letters in is

c,

Neuter nouns end

and

9.]

to be clear without being

that which uses only current

same time

it is

mean

the poetry of Cleophon and of Stheuelus.

G

:

—

That

witness diction,

82 2^9eve\ov.

i]

av

Tc
av

avTT)

iaTt,

KaTa

fxev

XeyovTa

TO

ToiavTa.

TO,

dpa K€Kpda6al TTOirjcret

35 Kal 1458 b Ttjv

ei9

Taireivov, olov

firjBe

Kal TciWa

Kocrfio
Xe^etu? Kal

t?}?

cra(f>e<;

Kal dTTOKOiral Kal TO 5

dW&)9

fxevov,

e'^eiv

TO

€icodoTO
i7riTt/J,(i!)VT€
10

ev

25. Tts {Liravra vel tis

apogr.

:

iroirja-ai.

avTrj

Hfia

fxr]

etSi],

fjiepoq

?;

ISccotikov fieTa(f)opa

to Be Kvptov

avp,(3dWeTat 4

ovo/xdTcov Bed

yap

fjuev

ela>6o
yiyvo-

Bid Be to KOLVcovetv tov

wcrre ovk 6p0a)<; ^^reyovatv ol 5

olov

Tr]'i

BiaXeKTOV Kal BcaKQ)-

^vKXelBrjf;

6

dpyato^;,

ci)9

CKTeLvetv €0' ottoctov ^ovXeTai,

Bciicret,

Xe^ei.

tj}

awavTa apogr. 29. &\\cov

A<=.

yap

lBlcotlkov at eTreKTdaei^;

fjurj

To5 TOIOVTO) TpOTTO)

cafji/3o7rocT]cra'i

Set 3

/3ap/3apLa/jL6
y\u)TTa Kal

r)

iroirjcrei.

iroirjTrjV,

ovy

dvepc KoW^jcravTa,^^

to Kvptov, rrrapd to

0)9

TTOtelv, ec Ttf

avvdyjrai.

elprjfjbiva

e^aWayal twv

TO aacpe'i eaTai.

/layBovvTa TOV

paBtov

rj

IBtcoTCKOv

1X7]

to,

dSvvaTa

fiev

ovk eXd'^iaTov Be

aa(f)i]vetav.

TO

eV

to

tovtol'?-

7rco
yap ISea

ovofxdTcov avvOeaiv

tmv jXcottwv

eK

eav

re

he ttjv jxeTa^opdv evheyeTai,

olov " dvSp^ elBov TTvpl '^aXKOv

Kol

eaTai 2

a'cvijfxa

alvly/xaTO^

•

vTrdp'^ovTa

KaTa

iroLrjcraL,

i)

ficTacfiopcbv, atvLj/jia,

ovv ttjv twv

30 olov re TovTO

iroir^arj,

ovv €K

p.ev

yXcoTTcov, jSap^apiapbO'i

e/c

rj

yXMrrav koL

iireKracnv koI irav to irapa to Kvpiov.

afia airavTa ToiavTa

^apjBapiaix6
Se

to ISlcotikov

^cvlkov Se Xeyco

Ke'^prj/jLevrj.

fieTa(f)opav koX

aXV

i^aWdrrovaa

Kol

8e

ae/jbvr]

Tot? ^evcKoi<;

25

1458 a 22—1458 b 10

XXII. 1—5.

:

coni.

"

elBov

^^iri'^dprjv

Sv Eiravra

A.°.

Troi-fiaT]

Margoliouth, collato Arabe

nomina Kvpiuv Heinsius. 32. ante Tel post e/c lacunam statuit Gomperz ^k r < cl/xIkt > 03v yXuTTuv Tucker. 33. KtKpaadaL Maggi e cod. Lampridii, liabuit iam S (cf. Arab. si miscentur haec'): KeKplcrdai ceteri codd. 1458 b 1. ffvu^dWeraL A": '

reliqua

'

:

.

^ap^apiaixhs

.

.

:

'

a-vfj.p6.\\opTai

Tyrwhitt Arabs).

apogr.

{'E.TrixdpT]v)

10. :

itrl

elSov apogr.

:

ifret x^-P'-" A<=

x°-P'-^

:

'EinxdpTiv Bursian praeeimte

2, ut videtur ('appellatum

t5op A<=

:

Ihihv

Gomperz,

cum

favore'

—

;

:

ARISTOTLE'S POETICS XXII. 1—5 on the other hand,

lofty

is

mean

and raised above the common-

unusual

which employs

place

83

words.

By

unusual, I

strange (or rare) words, metaphorical, lengthened,

anything, in short, that differs from the normal idiom.

Yet a

style

wholly composed of such words

riddle or a jargon

a jargon,

if it

a riddle,

;

if

either a 2

is

metaphors

consists of

it

For the

consists of strange (or rare) words.

essence of a riddle

is

Now

possible combinations.

true facts under im-

express

to

this cannot be

done by any

arrangement of ordinary words, but by the use of metaphor

Such

can.

it

is

the riddle

:

— A man

saw who

I

'

on another man had glued the bronze by aid of

A

same kind.

others of the

strange (or rare) terms

A

a jargon.

is

fire,'

and

made up

diction that is

of

certain infusion, 3

therefore, of these elements is necessary to style

;

for the

strange (or rare) word, the metaphorical, the ornamental,

and the other kinds above mentioned, the

words will make 1458 b

will raise it

commonplace and mean, while the use

more

it

But nothing contributes

perspicuous.

produce a clearness of diction that

to

above

of proper

is

4

remote

from commonness than the lengthening, contraction, and alteration

cases

For by deviating in exceptional

words.

of

from the normal idiom, the language will gain

distinction

while, at the

;

same

time,

the partial con-

formity with usage will give perspicuity. therefore,

speech,

are

and

in

error

hold

the

who

author

up

Eucleides, the elder, declared that

matter to be a poet will.

He

if

The

critics, 5

censure these licenses to it

ridicule.

of

Thus

would be an easy

you might lengthen

syllables at

caricatured the practice in the very form of

his diction, as in the verse

:

XXII. 5—7-

84

M.apa6(ovd8€ /SaSi^ovra,^^ koI " eicelvov

eWe^opov."

11—29

1458 b

7' ipd/j,€vo<;

av

ovic

to p,ev ovv ^aivecrOai

rbv

'^co/xevov 6

ttco';

rovTOi To3 rpoTTw yeXoiov, to 8e fieTpov kolvov diravTOiv

Twv ixepwv Kol yap

icTTl

dWot^

15 Toi
Ta

av dTrepydaaiTO.

to avTo

oaov

ovofxaTcov eh to fieTpov.

tmv

he Kal irrl

to

8e dpfJuoTTov 7

^vpiTriSov,

uvto

ev

Koi

eirl r?}? yXcottt;?

aXkcov

tojv

enrl

lap-^elov Acct'^vXov

7rot^(ravTO
Be

ovo/xa

fiovov

fjLeTa$evTO
[^Kvpiov] eico6oTO<; yXcjTTav, to fiev (fialveTac

AtV^uXo?

eyreXe?.

yap

fxev

(payeSatva <6'>

25

et Ti9

ioiv

fx

Xeyot

vvv 8e

fx

fiov crdpKa<; iadlet 7roSo9,

-^

11.

&v 7'

dvaio-OriTU}?

18.

Kvpiwv

apogr. 12.

:

:

iihv

fi

15.

dirpeirQs

:

iirl

Vahlen. neraTidevros

:

to.

Kvpiov

Twining

yeXoTa 17.

21.

sttuv

fi/ct/cus.

:

irpLa-

Hermann

jravTus

Gomperz.

16.

iireKrdaeuv Tyrwhitt.

Evpnridov

Essen.

Kvpiov vel elwBdros

eiwOSros Heinsius.

dd Nauck. non conveniat

:

seclus.

AtVxi^Xy 23.

A'^.

25.

5'

22.

secludendum (vel t') add.

2". deiK??? Castelvetro (var. lee. Odyss.

^aye8aiv'

c), Arabs 'ut

decB7]<;'

au yepdfJ.evos A"^: yevadfiepos Tyrwhitt: ttws

dpfj.6TTOVTos A".

:

coni.

Vahlen

Ritter: 1.

oXiyos re Kal oiiridavos Kal

vvi'

Tucker.

fieTadevTOi Aid. coni.

de

epd/j.ei'os

apfidrrov apogr.

deiKrj'i}

/xeTaTidel'i

kol daOeviKo^; Kal

Gomperz.

/xevos

Kal

icbv jXLKpo^ re

515,

ix.

S'

ev to5 ^iXokttjtt) eTroLTjcre

0X1709 re Kal ovTtSavb'; Kal

Kvpia

to,

dvTi

KaXov to

o Se dvTl Tov iadiec to OoLvaTat fxeTeOrjKev.

vvv Se

Ihewv

Kvpia ovofxaTa kutlSoi otl dXTjOrj

to,

to

olov

Kal

/leTacjiopoiv

20 fieTuTiOel'; av rt?

Kal

koI

eVt toov iirwv Oewpeiadco ivTiOefievcov twv

Sia(j}ep€t

Xeyofiev

koL

/ieTa(f)opal
etSeac '^pcofievof; 7ra>9 Koi eVtTT/Se"? eVt

'

:

deiorjs

codd.

:

&klkvs Odyss.

1.

c.

7

ARISTOTLE'S POETICS XXII. ^FjTTf^dprjv elBov

5

—

85

Wapa6covd8e ^ahl^ovra,

or,

ovK av y

To employ such but

grotesque;

rov eKeivov iX\e/3opov.

epdfievo
license at all obtrusively

in

any mode

of

Even metaphors,

must be moderation.

words, or any similar forms of the like

eiffect

if

poetic

made by

is

no doubt,

would produce

used without propriety, and with the

How

great a differ- 7

the appropriate use of lengthening,

may

be seen in Epic poetry by the insertion of ordinary forms in the verse.

So, again,

if

we

take a strange (or rare)

word, a metaphor, or any similar

and replace of

our

by the current

it

observation

be

will

mode

of expression,

or proper term, the truth

Eor example

manifest.

Aeschylus and Euripides each composed the same iambic

But the

line.

who employed one,

makes

trivial,

alteration of a single

one verse

(f)a
'

word by Euripides,

the rarer term instead of the ordinary

appear beautiful and the other

Aeschylus in his Philoctetes says

Euripides

vvv Se

<S'>

substitutes

rj

/jlov

fx

ioiv

:

(TdpKa<; icrOlei, "Koho^-

OoivaraL

Again, in the

feeds on.'

'

feasts

on

'

for

icrdlei

line,

6X1709 re koI ovTtBavo<; koI

the difference will be felt

if

we

d€tKt]<;,

substitute the

common

words, vvv Be

fjj

6

there

strange (or rare)

speech,

express purpose of being ludicrous.

ence

is,

diction

ecov /XLKpo^ re

koX da9eviKo<; koI

aetS?;'?.

'

7— lo-

XXII.

86

1458 b 30

— 1459

a 18

30 Kol hi<^pov [t'] aeLKeKiov KaTa6el
re Tpdire^av.

Bl(f)pov /jLO'^Orjpov Karadeli; fjuLKpav

"

Kol TO

1459 a

Sco/xdrcov,

TOiavTa'

TO

BnrXoi
ecTTL

jxovov

elvat.

fieTa(f)opiKov

Xa^elv

y\(OTTai T0?9

Kal iv fxev iv Be Tot9

TavTa dpfxoTTet

yap ev

B

Toi
at

elprjixeva, /xi/jieiaOai,

Be

Kav iv

[6croL
Ta TOtavTa to Kvpiov Kal

\oyoL
/zera-

iKava Ta

iv

Tr]<;

tw

irpdTTecv

fiL/ji^-

eiprjfieva.

'

Odyss, XX. 259, 5i(ppov deiK^XiOv Karadeh oXiyriv re rpaire'^av.

2

Iliad xvii. 265.

aeiKiXiov codd.

31.

r'

f'lTTOi.

apogr.

K&v Harles odols 2,

Be

lafi^eloL^.

Ta

ovv TpaywBia<; Kal

ecTTQ) tjjmv

35.

ra 10

Bed to otl fjidXiaTa Xe^iv

toov ovofiaTWv oaoL<; ecTTt

/jueTa-

ovop^dTcov

BiOvpdixjSoi'i,

at Be fj,eTa(f)opal

to

dXXov

K6(Tfxo<;.

Trepl fiev (Tea)
Tol
kol

fieyLcrTov

rjpwuKol^ diravTa '^prjaLfxa

Tol'i

la/Jb/3ei0L
15 Tt? '^pijcraiTO'

<^opd Kal

dpfioTTet

r)po)iKoi
Be fieya fiev 9

yap tovto ovTe irap

tmv

Ta

diravTa

j^prjcrOai,

Be

re arj/xeLov eaTL' to

ev(^via
fidXiaTa

BiirXa

ecTTiv

ttoXv

(pipecv TO TO ofjiooov decopelv eaTiv.

10 fiev

\e^€L

irpeirovTO)';

elpTjfievwv

Kal j\a)TTaL
ovo/xacrc

iv Tol'i

etvai

fx-q

Tjj

A^tXXeo)?,

rrepl

firj

yap to

tovto ruvoec.

Be

twv

dWd

Bid

ISlcotikov iv

fjiT]

iK6ivo
eKaaTM

TO

Se 8

'in

a ouSet? av

Kol ro aeOev Kol to iyat

irepi,

oaa aXka TotavTU.

KvpioL
5

dirb

fxr]

Be VLV, Koi TO ^A'^iWeoo'?

Kal

Kpd^ovaiv.

r)i6ve<;

SiaXeKTO) TovTot
rfj

dWd

airo

^

Tpa7ft)8ou9 iK(Ofi
roi)^

^ApL(j)pdSi]<;

35 ecTTOL iv

I3o6(ocnv "

rji6v€
:

:

:

et-rrrji

t'

aiK^Xiov

A^.

Kal codd.

ut videtur

(Ellis), cf.

Vahlen

1459 a del.

ocrois

Arab.

'

5.

:

re seclus. Susemihl ed. to apogr.

:

tQl A=.

1.

14.

Aid.: <:tois> Xoyoi^ Gomperz

quot usurpant homines in

via.

:

:

ARISTOTLE'S POETICS XXII. 7—10

87

Or, if for the Hue,

hi^pov [r

we

deiKeXiov KaTa6el
]

read,

KaraOel^ fiLKpdv re rpdrre^av.

8l(f)pov fjiO'^Orjpov

Or, for

^ooaxTiv,

'^i6v€
Kpa^ovcrtv.

rjtove'i

Again, Ariphrades ridiculed the tragedians for using 8 phrases which no one would employ in ordinary speech for 1459 a

example,

(TeOev,

phrases

'A^t\Xcci>9

viv,

and the

'A'x^tWico';,

not

are

instead

utto

Boy/jbdrcov

Si

iyob

of

drro

Bco/idTcov,

instead

of

Trepl

It is precisely because such

like.

part

of

"Jrepi,

current idiom

the

that

they

This, however, he failed

give distinction to the style. to see.

a great matter to

It is

several

modes

of expression

and so

(or rare) words,

far

is

to

observe propriety in these 9

—compound But the

forth.

have a command

of

cannot be imparted by another

—

for

to

make good

metaphor. it is

;

words, strange

greatest thing

metaphors

the

by

This alone

mark an

implies

of genius,

eye

for

resemblances.

Of the various kinds

of

words, the

compound

are 10

best adapted to dithyrambs, rare words to heroic poetry,

metaphors

to

In

iambic.

these varieties

are

heroic

which reproduces, as

far as

poetry,

But

serviceable.

may

in

indeed,

all

iambic verse,

be, familiar

speech, the

most appropriate words are those which are found even in prose.

These

are,

—

the current or proper, the meta-

phorical, the ornamental.

Concerning action, this

may

Tragedy suffice.

and

imitation

by means

of

JUyj

:

XXIII.

88

XXIII 20

he

irepi

Tr)<;

—

1459 a 19

3.

— 1459

I

t>

koI ev<\> fxerpa

Btr]ryr)fjLaTtKr]<;

Bel rov<; /jLvdov<; KaOdirep

oTi

TLKr]
I

fitfjbrj-

ev Tai
avvea-Tavai Spa/xaTiKov
^(pov

laropl.ai'i

ofjLOLa
25

p^

^

'

«

7rpa^eco
iMLa
eV

•"

rovTcp

'X^povov'i

ra^

tt/jo?

T

rj

dX\

SrjXcocnv

eva

coairep

"ZaXaficvL

iyevero

ZiLKeXia }^ap'X^r]SovlQ)v

Odrepov /xerd

reXo?.

a'yeoov oe ol iroWol tcov

'

ypovov, ocra

eKaarov

a)v

yap Kara

T«3

vvv

fieya
fcal

'^povoa

rovro hpoiau.

Troirjrciyv

rca fi7]8e

KaraireTrXey/jievov

€v fiepo^ diroXa^cov

40 BiaXafjb/Sdvet rrjv Trolrjcnv.

oXov Xlav

dWoi

01 S'

IcTTopias

28.

ixera ddrepop Castelvetro,

apogr.

:

t6 A=.

fj,€Tpid^ovTa

A<^

post ^aeadai 39,

codd.

ffvvrjdeis

TCLS

oh apogr.

36. :

fxiya

.

Bursian. :

5ls pr.

11,

ras avvdiaas Dacier,

iffTopiais

Hermann

[J-ifo. .

.

.

fj.i-^as) .

olov 6

iv i^afxirpip :

avviaTavai

confirmare videtur Arabs apogr.

.

.

.

.

fierpla^ov

avrQv seclus. Christ

et ceteri codd.

:

Vahlen :

vaijfxaxos

fierd daripov codd.

corr.

evavvoiTTov 38.

A=

(rec.

eva Troiovat

Trepl

1459 b 36)

vavfiaxi-a. :

avrwv

eireLaoBiOi'i, ol<;

TroXvfjbeprj,

21. avveardvaL coni.

iv n^rpcfi codd.

:

24.

A'^.

31.

1449 b

ivl (vel e^ evl) fjArpi^ conieci (cf.

Heinsius

rj

TroLKiXia.

rr}

Ke^prjrac

eTreLcroBioc^

Kal TrepL eva -^povov Kal {xlav irpd^ov

19.

(^avelr} 3

tov irokepiov Kaiirep

TToWol^, olov veSiv KaraXoyw Kal dWoL'i

1459 b

ivlore

ovk evavvoino'i efjueWev eaeadai,

fxeyedei fxerptd^ovra 8'

ev

t]

ev ovSev yiverat,

35 e'^ovra dp'^rjv koI Te\o<; eiri'^eLprjcrat irocelv

yap dv

koX

kol ravrrj 6ea7reaio<; dv

dWov;,

co?

Tov
vavfia'^ia

ddrepov, ef ojv

eiTro/juev rjhr],

irapd tou9

Ofxrjpo<;

evb
e^e^i)^

rol';

yiverac

wairep

/mtj

dvdjKT} ovj(l

ovSev Trpo? to avro avvret-

fid-y^r}

30 vovaat reXo^, ovrco kol ev

hio,

Kol

aU

7rX,e/oy?,

?)

dWrjXa.

ev

BijXov

iroieladai,

iV cdairep

TeA.09,

oiKecav rjSopijv,

TTjv

avve^r} irepl

erv^ev e^eo

•

koX fxeaa kol

o.p'^rjv

TTOLrj

:

eva-ivoTrros

posito

A''.

34. .

ry .

.

commate

avroO Heinsius.

ARISTOTLE'S POETICS XXIII. 1—3

XXIII

As

poetic

that

to

imitation which

89

narrative

is

in

form and employs a single metre, the plot manifestly ought, as in a tragedy, to

be constructed on dramatic

have

should

It

principles.

for

a

subject

its

single

whole and complete, with a beginning, a middle,

action,

and an end. picture

It will thus resemble a single

proper to

It

it.

compositions,

from historical

will differ in structure

which of necessity present not a single

but a single period, and

action,

and coherent

and produce the pleasure

being,

living

a

of

all

that happened within

that period to one person or to many, little connected

together as the events

may

be.

For as the sea-fight at 2

Salamis and the battle with the Carthaginians in Sicily took place at the same time, but did not tend to one

sequence of events, one thing sometimes

result, so in the

foUows another, and yet the two

any common end. most

Such

Here

poets.

observed,

the

manifest.

He

is

then, as

again,

transcendent

not work up to

we may

say, of

been

already 3

has

excellence

never attempts to

Troy the subject of

may

the practice,

make

of

Homer

poem, though that war had a

his

beginning and an end.

It

would have been too vast a

theme, and not easily embraced in a single view.

he had kept

again,

it

within moderate limits,

it

If,

must

have been over-complicated by the variety of the

As

cidents.

it

is,

admits as episodes of the

others 1459 b

war

—

—such

is

the whole war of

in-

he detaches a single portion, and

many as

events from the general story

the Catalogue

of

thus diversifying the poem.

the

ships

and

All other poets

take a single hero, a single period, or an action single indeed, but with a multiplicity of parts.

Thus did the

4— XXIV.

XXIII.

90

rotyapovv 4

l^virpia irotrjcra^ koX ttjv fiiKpav 'IXtaSa.

TO.

eK fxev ^Vkidho^ koI 'OSucrcreia
2—26

1459 b

4.

8uo fiovai, eK he ^VTrpiwv iroWal koI

rj

'IXtaSo?

fXLKpd<;

[TrXeov]

'IXtou

koL

irepcn^

oirXwv

olov

okto),

EupvTTuXo?,

^eoirroXe^o'i,

^ikoKTrjT'r}^,

KUivai,

rpwycpSia TTOLelrai

aironfkov^

tj";9

KpLcn<;,

Aa-

Trrw^eia,

koi

Xlvcov

[«al

TpwaSe?].

XXIV 10

[en

ert he rfj

rpayayhla,

yap

koi

iraOrjTLKrjv

ravrd' koi yap

ra

yap Kal

20 Kal

Kal

Ke'^prjTai

Kara

at

Tcov

el<;

elr)

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TO

iKavQs apogr. sup.

ovv

ixev

av tovto,

h

elev,

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ev

/xev

1459 b 2. KvTrpia Tyrwhitt TpydSes seclus. Hermann. Arabs. scr. Ac.

12. :

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t/cavw?. 2

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he

jxev

to

Tpaywhla

:

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KvwpiKa A^. 9.

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apogr.

5. :

dpy^aiwv iXdr-

Tpaywhioiv £%£' tj

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irXiov et Kal

Stj A<=.

5^

apogr.

Fort. KadLe/jL^vuv Richards.

17. :

18.

dfia

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10. tjOiktjv

dvayvaipiaeis Christ.

yap A".

he 4

eTToiroila

Kal rjOwv post dvayviapiaeuu add. Susemihl.

Uavos A=.

6

Kal

rrjv dp'^rjv

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1)

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he

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el

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chiov

rov

(TvcrTdaet<;

25 Trpo
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TO reXo<;.

7)

o-v^ew?

he ^Ohvcrcreia ireirXey-

r)

re tt}? (TvaTdcre(o
fxerpov.

elpriixevo'i'

Tov
irpS)ro
yap hcoXov) Kal hiavola

Kal

Xe^et

he

TO

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koX

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(dvayvwpiai'i

TOVTOL
i)

fjie\o7roua<;

hel Kal dvayvcoplaecov Kal

irepiTrereioiV

'iXta? ciTrXovv Kal iraOrjriKov, ixevov

hel e^ett' ttjv eiroTrodav

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r)

e^co

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15 Kal

ravra

ethr)

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ere to.? hiavola<; Kal ttjv Xe^iv e^ett* /caXw?.

TraOrjixcLTOdv

ot?

ra

he] t]

Trdirar Aid.

om. 14.

TjOiKbi' rec.

24.

4— XXIV.

ARISTOTLE'S POETICS XXIII.

author of the Cypria and of the Little Iliad. reason

the

and

Iliad

or,

For

this 4

Odyssey each furnish the

the

subject of one tragedy,

91

4

two

at most, of

;

while the

Cypria supplies materials for many, and the Little Iliad

—

eight

Award

the

the Arms,

of

the

Philoctetes,

the

Neoptolemus, Eurypylus, the Mendicant Odysseus, the

Women,

Laconian

the Departure of

the Fall of Ilium,

the Fleet.

XXIV

Again, Epic

Tragedy or

'

The parts

pathetic'

and

song

poetry must have

must be simple,

it

:

are

scenery,

same

for

;

these respects

Homer

is

'

ethical,'

must be

requires

it

Eeversals, Eecognitions, and Tragic Incidents.

the thoughts and the diction

kinds as

with the exception of

also,

the

many

as

complex, or

or

Moreover,

artistic.

In

siifficient

model.

our earliest and

Indeed each of his poems has a twofold character. Iliad

at

is

complex at the

once simple and

(for

is

is

it

:

—

being

run through

we have

As regards down an adequate

the beginning and the end must be capable of

epics,

and

This condition

a single view.

by poems on a smaller answering in

poetry

has,

capacity for enlarging reason.

and

metre.

its

already laid

length

to

tragedies presented at a single sitting.

Epic

it),

IMoreover, in diction and

from Tragedy in the scale on 3

differs

brought within

will be satisfied

old

ethical.'

constructed, and in

scale or length,

limit

'

The

and the Odyssey

supreme.

Epic poetry

which

pathetic,'

Eecognition scenes

same time

thought he

'

all 2

however, its

a

great

dimensions, and

scale than the

the

—

a

group of

special

we can

—

see the

In Tragedy we cannot imitate several actions

i

1I II

1

U .I1JII

I

I.

I

I

I

I

I

XXIV.

92

Bia

iiroTTOLba

30 iroLelv

Tov

l

llll lll

to

olKeicov

diro

r]p(OLKov

aXXw

Ttvl

irelpa'i

T)]<;

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ovtmv

av^eTut 6

dv (jjaLVOtTC

7roA.Xoi9, ttTTpeTre?

to he fieTpov 5

yap

ev

tj

ev

aTaat-

i)p(OiKov

y\(OTTa
40 Kal

Biriyrj/xaTtKr)

?;

fj,ifMT](Ti(;

TrepiTTT]

tmv dWcov).

kov

yap to

8e lafjb^ecov Kal TeTpd/xeTpov KivrjTiKd, to fxev 6p-)(riaTtKov

TO he

irpaKTLKOv.

dTOiroiTepov,

Be

ctc

avTd, wcnrep Haip^/Jbcov.

dWo)

ev 5

rt?

ttolocto

fjLi,/ji7](nv

to

el

Kal oyKCoSecTTaTOV tmv fxeTpwv ecTTiv (Sto

/jbcaTUTOV

1460 a

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iroWa

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35 TO

tt)?

he

ev

to
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eVl

to

e^et to dyaOov et?

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wv

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I

il

— 1460

1459 b 27

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cf.

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'si

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(Margoliouth)

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tc5

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T)

pnyvvoi

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ovBeh fjuaKpdv crvaTacnv

hco

Boiiitz,

:

kivtitlko.

2.

ij.I/x7](tis

/xiyutjoi

Aid.

in litura corr.) 5.

Bekker

Aid.,

:

:

:

/j-iyvrjei

/a?;

7^0^77

avr^ apogr.: avTrj

confirmare videtur Arabs

•

ARISTOTLE'S POETICS XXIV. and the same time

carried on at one

4—7

93

we must

;

confine

ourselves to the action on the stage and the part taken

by the

But

players.

can be presented

;

an

these, if relevant to the subject,

The Epic has here

poem.

to the

diverting the

mind

of the hearer

episodes.

Eor

incident soon produces satiety, and

makes

the

story

on the

As fitness

in

with

varying

and relieving sameness

of

tragedies fail

stage.

for the metre, the heroic

by the

measure has proved

test of experience.

its

5

poem

If a narrative

any other metre or in many metres were now com-

posed,

it

measures massive

;

would be found incongruous. the

heroic

and hence

the

is it

metaphors, which

and

stateliest

For

and

of

the

all

most

most readily admits rare words another point in which the

is

narrative form of imitation stands alone. 1460 a

the

to

and one that conduces to grandeur of

advantage,

effect, also

owing

poetry,

events simultaneously transacted

and

add mass and dignity

Epic

in

many

form,

narrative

On

the other

hand, the iambic and the trochaic tetrameter are stirring measures, the latter being akin to dancing, the former expressive of action.

mix together

Still

more absurd would

different metres, as

Hence no one has ever composed a poem on a in

any other than heroic

have

said, teaches

Homer, admirable

imitator.

Nature

great scale

herself,

as

we

in all respects, has the special merit 7

he should take himself

him an

be to 6

the choice of the proper measure.

of being the only poet

as possible in his

verse.

it

was done by Chaeremon.

own

who

rightly appreciates the part

The poet should speak

person, for

it is

as little

not this that makes

Other poets appear themselves upon

»

1

...........

ev9v
(Ta./juevo'i

ovv 5

8'

raU

ev

elcrd'yeL

ovhev

Kol

[rj6o<;]

6\i
Be

fjLifiovvrai

1

7— lo-

XXIV.

94

ev

1460 a 11—32 6

dvhpa

yvvatKa

i)

aXX'

arjOrj

e'^ovra

rb

iroielv

irpaTTOVTa'

eTrel

Trepl

tcl

ovTa 'yeXola av

(TK7]vrj
Si(OK0PT6'i,

/xaXXov

hiw^iv

iirl

koI ov

ecTTcoTei;

XavOdvei.

eireatv

TOL
avfM-

opav eU tov

firj

ol fxev

ri fiev 8

o

8l

'^KTopo
Trjv

(pavelr],

Se avavevcov, ev he

6

Set

Oavfiaarov,

ixaXiara to OavfiaaTOv, Sta to

jBaivei,

dWo

i)

tjOtj.

dXojov,

to

eTTOiroLLa

rfj

Se oXlya (ppotfiia-

oXtyaKL^;'

rpa
evSe'^erai

::

20 TO he Bav/jbacTTov rjhv' arjfielov he- 7rdvTe<; yap TrpocrTi-

aTrayyeWovacv

OevTe'i

eaTi

tovto

he

OTav Tovhl

dWovi

Toh\

25 vcTTepov ecTTiv, Kal to irpoTepov elvat he eaTi

hcb

yjrevho'i.

TovTov

ovhe,

TrapaXoyi^eTaL

yap to tovto

Tjjxoiv

\oyov
avvicTTaadai

jxr)

iam S

^dos om. Reiz, habuit

13.

ovUva.

Toh

A=.

fjd-r)

iireaiv

Vettori apogr.

Kal> Christ,

dvdXoyov codd.,

:

iireiTa

:

rd A°,

fort, recte "2.

dXX' ov8i rec.

:

Vahlen ovdi

.

dXXo,

:

.

edv yap

.

-g

dvdyKt] ti

corr.

.

.

tovtwv

drjaiv 6 dKpoaTTjS, et 18,

28.

?)

fiXXo

:

Christ

6

:

t?

5t?

:

t)

:

5t6

apogr.

codd.

:

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add.

Bonitz

Tucker.

Cum

:

if

15.

dXoyov

17.

eirei

A=, rec.

Robortelli,

apogr.

< Kal

Post oSf add.

Se2 Bonitz, Christ.

5^ cod.

KdKeivo

:

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14.

Tov'i

dXkd

ra

corr.

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di

&\\o

verbis

5'

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5'

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on :

8

dXX'

contulerim Rhet. i. 2. 13, 1357 a 17, ovd^ del Xiyeiv avrbs yap tovto irpocTlaTeepavhrjs rd 'OXty/iTrta, ov8^ Set irpocdeivai.

ivpoadetvai

.

seclus. Bonitz, Christ

TOVTO A=

Bursian.

6 Vettori

24. 26.

Trpoatpetadac 10

Kav rah Gomperz.

:

5t'

S.

25. 'yeviadai coni. Christ. A<=

etSos

:

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re hel

to

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elhevat

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p.aXi(TTa "OyLiT/po? Kol TOV
^ Vahlen.

30.

ToiTov codex Robortelli

ARISTOTLE'S POETICS XXIV. 7—10 the scene throughout, and imitate but

Homer, a

and

little

rarely.

few prefatory words, at once brings in

after a

man, or woman, or other personage

wanting in

95

characteristic

none of them

;

but

qualities,

with

each

a

character of his own.

The element of the wonderful The

admitted in Tragedy. 8

is

on which the wonderful depends

irrational,

for its

chief effects, has wider scope in Epic poetry, because there

the person

acting

not seen.

is

Hector would be ludicrous

if

still

them back.

passes

pleasing

as

:

be

telling a story, every

the

But

The

secret

of

lies

it

one thing

if

is

in

that,

likewise

or becomes.

But thing

a

in

telling

fallacy.

this is

second

is

is,

the

9

lies

For,

or becomes, a second

is

that, if the

first

Homer who

of

art

men imagine

is

fact

It is

it.

or becomes,

Hence, where the

the

one adds something startling of his

has chiefly taught other poets the

assuming that

poem

wonderful

the

from the

inferred

own, knowing that his hearers like

skilfully.

the pursuit, and

in

in the Epic

Now

unnoticed.

may

of

—

and not joining

Greeks standing Achilles waving

absurdity

Thus, the pursuit

placed upon the stage

is

first

a false inference.

untrue,

it

is

quite un-

necessary, provided the second be true, to add that the first

is

or

has

Eor the mind, knowing the

become.

second to be true, falsely infers the truth of the

There

is

an example of

this in

first.

the Bath Scene of the

Odyssey. Accordingly, possibilities to

the

poet

improbable

must not be composed

should

prefer

possibilities.

probable

The

of irrational parts.

im- 10

tragic plot

Everything

XXIV. lo— XXV.

96

fjudXiara

fMTjSku

fiev

aKo
e')(eLv

wairep OtStTrou? to

/jLvdev/xaro'i,

dWa

35 aireOavev,

tm

ev

[xrj

CK Teyea'i et? rrjv M.vaLav

dv

dvyprjTO

o

40 repwi,

1460 b

dveKrd

dv

SrjXov

vvv he

TTOirjaete'

Kol

ridrj

XXV

10

TO

N

JT

•

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7rot7}Trj<;

dcpavl^ei

7roir}Tr)
Tol
iv

Stavor]TCKOi<;'

fxijTe

Xap.irpd

ydp

icrTt

Td re

Xeft?

dv Oewpovcnv yevoiT dv

dpcdfiov

ev

Tt

cocnrepavel

TTotT^r^?

fMifjLr)T7](;

Ti9 dX\o
"^^^

iv r^v

he Trpo^Xrj/xdToyv Kal Xvaecov, iK ttoctwv re Ka\

irepl

r;

rd

Kol

&)?

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Sec

Xtav

7)

Bel

hLavoia
Td
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avrd

rj0iKol<;

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yap irdXiv

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on

ov

ovk dv

iirel

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he Xe^ei

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kol (^aivrirat evXoyco-

drj

el

6

yap

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dp
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yevoiTo,

TjSvvwv TO aTOTTOv.

5

irepl

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iv ^HXifcrpa

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rov

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14

elBivat ttw? o Adio<;

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rj

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8e

el

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rd Jlvdia dTrayyeWovre';,

ol

33—1460 b

1460 a

2.

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rj

old

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f,

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BoKel,

rj

ola

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<7]

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Kal iroXXd irdOrj

34.

<6>

1460 b apogr.

2. :

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40. :

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A".

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12.

Vahlen

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rbv

ola apogr.

Vahlen.

Kvpiq.>

:

lo— XXV.

ARISTOTLE'S POETICS XXIV. irrational

should,

events,

should

it

be

possible,

if

lie

excluded

death)

Laius'

not within

;

drama,

the

Electra, the messenger's account of the or, as

once

it

first

manner

Pythian games;

is

irrational

Odysseus

is

left

incidents

is

the poet invests diction

veiled

As

should

be

elaborated

is

respect to critical

be drawn

artist,

objects,

—

may must

and their

of the sources from

solutions,

which they

be thus exhibited.

of

imitator,

like a

necessity

imitate

of expression

is

painter or any

one

of

three

as they ought to

language,

may be, rare words many modifications of

or, it

also

over brilliant.

things as they were or are, things as they are

The vehicle terms

is

diflficulties

said or thought to be, or things

are

in the pauses of 11

no expression of character

For, conversely, character and- thought are

The poet being an other

is,

it.

number and nature

may

it

by the poetic charm with which

merely obscured by a diction that

the

in-

might have been would be apparent

the action, where there or thought.

where

How

of Ithaca.

an inferior poet were to treat the subject.

the absurdity

With

But

be tolerated.

the Odyssey,

in

upon the shore

tolerable even these

XXV

to

Such a plot

ridiculous.

instance be constructed.

absurdity itself should

the

it,

Take the

The

in the

as

has been framed and an air of likelihood im-

parted to

1460 b if

—

The plea that otherwise the

would have been ruined,

should not in the

all

man who comes from Tegea

in the Mysians, the

JMysia without speaking. plot

at

or,

;

outside the action of the play (as,

in the Oedipus, the hero's ignorance as to the of

97

2

—

either

or metaphors.

language,

be.

current 2

There

which

we

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1

XXV. 3—6.

98

y

1

1

rj/xapTTjadai,

:

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37.

3—6

ARISTOTLE'S POETICS XXV.

Add

concede to the poets. correctness

more than

in poetry and

of poetry

itself there

which touch

to this, that the standard of 3

not the same in poetry and

is

essence,

its

any other

are

99

politics, any-

Within the

art.

two kinds of

faults,

—

art

those

and those which are accidental.

If a poet has proposed to himself to imitate something, 4

<;but has imitated

the error is

it

incorrectly > through

want

But

inherent in the poetry.

is

if

due to the thing he has proposed to do

of capacity,

the failure

—

if

he has

represented a horse as throwing out both his off legs at once, or introduced technical inaccuracies in medicine, for

example, or in any other art

we

—

the error

is

not essential to

These are the points of view from which

the poetry.

should consider and answer the objections raised by

the

critics.

First

we

will suppose the poet has represented things 5

impossible according to the laws of his

an error; but the error

may

be

own

justified, if

art.

It is

the end of

the art be thereby attained (the end being that already

mentioned), part

of

—

if,

that

poem

the

case in point

is

is,

the effect of this or any other

thus rendered more striking.

is

the pursuit of Hector.

end might have been as

If,

A

however, the

well, or better, attained without

violating the special rules of the poetic art, the error is

not justified

:

for every

kind of error should,

if possible,

be avoided. Again, does poetic art, or to

know

the

error

touch the essentials of the

some accident

of

it ?

that a hind has no horns

than to paint Further,

is

For example,

—

not

a less serious matter

it inartistically.

if it

be objected that the description

is

not 6

I

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6—9

ARISTOTLE'S POETICS XXV. true to

fact,

may

poet

the

perhaps reply,

objects are as they ought to be

drew men

that he

they

'

— But '

the

just as Sophocles said

:

as they ought to be

Euripides, as

;

may

In this way the objection

are.

101

be met.

If, 7

however, the representation be of neither kind, the poet

may

answer,

—

'

This

how men

is

say the thing

applies to tales about the gods.

may

It

This

is.'

well be that

these stories are not higher than fact nor yet true to 1461 a

fact

they

:

are,

very possibly, what Xenophanes says of

But anyhow,

them.

this

'

is

what

is

description

may

the fact

as in the passage about the

upon

;

'

it

now

among

is

' :

arms

still, it ' :

was

Upright

This was the

stood the spears.'

their butt-ends

custom then, as

Again, a

said.'

be no better than the fact

the lUyrians.

Again, in examining whether what has been said or 8

done by some one

is

poetically right or not,

we must

not look merely to the particular act or saying, and ask

whether sider

it is

whose

poetically good or bad.

whom

by

it

is

interest, or for

We

said or done, to

what end

;

must

Other

difficulties

may

We may

note a rare word, as in

the sense of mules, but of sentinels. '

ill-favoured

meant that was ugly;

his

body was

denote a

mix

the drink

'

stronger

'

/xev

not in

Dolon

So, again, of

It is not

ill-shaped, but that his face

Cretans use the word euetSe?, 'well-

favoured,' to Kepaie,

ovpr}a
ovpfja^i

indeed he was to look upon.'

for the

it

evil.

be resolved by due regard to the 9

where the poet perhaps employs

irpoiTov,

in

whether, for instance,

be to secure a greater good, or avert a greater

diction.

also con-

whom, when,

fair

Again, ^coporepov Se

face.

livelier,*

does not

as for hard drinkers, but

'

mix

it

mean (i

'

mix

nicker.

it

'

:

1

XXV.

102

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'

—

ARISTOTLE'S POETICS XXV. 10—14 Sometimes an expression

men were

gods and

is

his gaze to the Trojan plain,

and

of flutes

for

'

many,'

verse,

—

pipes.'

All

'

'

:

metaphorical;

for the

10

while at

he marvelled at the sound

'

is

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alone she hath no part

'

—

all

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many.

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the same time the poet says

103

best

.

.

,'

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olrj,

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is

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the

accent

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KaraTTvOerac

Or

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solution

BlSo/juev (ScSofxev) Se ol,

and to

or 11

difficulties /xev

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ofi/Spo).

again, the question

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may

be solved by punctuation, 12

a sudden things became mortal

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mixed before mixed.' Or

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TrapM'^TjKev

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vv^,

vrXetw

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irXeco

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is

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0I1/09,

of '

language.

wine.'

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any mixed 14

Hence Ganymede

is

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1

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:

atidpT-qixa

ARISTOTLE'S POETICS XXV. 14—17 '

pour the wine

to

Zeus,'

to

105

though the gods do not

So too workers in iron are called

drink wine.

or workers in bronze.

')(ciKKea^,

may

also be taken

to involve

some incon-

This, however,

as a metaphor.

when a word seems

Again, sistency

senses

example should

:

bear

The

there.'

jump

particular

true

mode

For 16

passage.

how many ways we may

in

'

—we

take 'being

of interpretation is the

what Glaucus mentions.

precise opposite of says,

the

in

15

how many

consider

there was stayed the spear of bronze

'

ask

checked 1461 b

may

it

we should

meaning,

of

Critics,

at certain groundless conclusions

;

he

-

they pass

adverse judgment and then proceed to reason on

it

and,

;

assuming that the poet has said whatever they ^happen fault if a thing is inconsistent

to think, find

own

The question about

fancy.

in this fashion.

The

They think

monian.

machus should not

critics it

imagine he was a Lacedae-

strange,

h^ive

with their

Icarius has been treated

therefore,

that

Tele-

met him when he went

to

But the Cephallenian story may perhaps

Lacedaemon.

be the true one.

They

allege that

Odysseus took a wife

from among themselves, and that her father was Icadius not Icarius.

It

is

merely a mistake, then, that gives

plausibility to the objection.

In

general,

reference

to

the

impossible

artistic

must be

requirements,

or

to

justified

the

by 17

higher

XXV. 17— XXVI.

106

1

86^av Sel advyetv.

7rpo<; rrjv

7]

I.

dhvvaTov>

to-&)9

dWa

15 eypa(f>ev, e'^etv.

akoyov iaTtv

TTore ovK

rd

yiveaOai.

biairep ol ev toi<; \6yoi
20 avTO Kal Xeyec

^-j,^^^"^ '-^M^'

rj

dv

(f)p6vL/jio
f^^ aXoyia Kal

^U-.z '

'

'^p'qcrrjTai

dXoya

co?

rj

tov M.eve\dov.

^XajSepd

yap

rj

at

rj

jxev

nrapd

tw?

rj

Trj

ovv 20

dSvvaTa

o)?

virevavTia

&)?

rj

opOoTrjTa Trjv KUTa Te'^vrjv.

Tr]v

Ta

eK

he XvaeL
tmv

elprjixevwv dptOfMcov aKeiTTeai, elalv he hcoheKa.

XXVI

TTOTepov he ^eXTLoov

30 hiairoprjcreiev dv TotavTrj

14. (

'

fortasse

Vahlen. (coni.

8'

77

icrws

TTjOO?

modum

d8vvaTov>

Gomperz,

contrarii

'

:

22.

aXoylg.

codd., serv. Christ,

del.

apogr.

apogr.

:

fj

TTj

piXriov A*.

beCKiav codd.

. '

orov

)

:

Kal

TpayiKrj,

codd.

16.

Twining,

5'

iam

coni.

add. Ueberweg

Arab,

of.

Arabe

collato

ddvi^aTov

el

'quae

dicta

ws inrevavrla Heinsius vnevavrla wj codd. ware /cat Xvr^ov M. Schmidt ovtws re Kal d :

:

:

21.

23. Tip

Aiye'i

rj

Margolioutli,

sec. .

.

:

vTrevavrius

18.

Kad' aiiTov coni. Christ.

A".

fiL/jir]aL
rJTTOv (popTLKrj ^eXTiwv,

77

^eXTLOV
20, &arTe Kal avrdv codd.

rec.

yap

enim impossibile est o'iovs Aid., Bekker

Vahlen).

sunt in

eTVOTrouKr)

77

el

tl<;.

Kal

(pp6vi/j.os

i)

:

Fort.

(margo) S'

:

akoyla Kal juox^ijp/a Vahlen <7rp6s> fnjdev Gomperz.

fioxO-qpiq.

Spengel.

31.

apogr.

:

rcD

apogr.

:

alyeirjTri 07;

A"^.

29.

A<=.

det,

\iav

19

firjOev

ova-ri
dXoyai, cocrTrep ^vpt7riS7]
Tea

TTOvijpia, MCTTrep ev ^OpeaTrj

&)9

avTO<;

iTriTi/jirjai^

S"

dvdyK7]
fjit]

d

irpo^

rj

opdrj

VTToOrJTai.

OTav

et/co?

aKOiretv, 18

ovtoj

rb avrb koI Trpo? to

Kal XvTeov

25 imTCiMrj/jiaTa eK irevTe elStov (f3epov<Tiv,

^

virep-

Set

ovrco re koX ort

elprj/jbeva

eKey')(pi, el

fiO'^Orjpla,

ZeO^t?

otov<;

yap Kal Trapd to

etKo^

wo-re

Q)cravTCt)
o

raXoya'

virevavrlw';

S'

elvai,

TrapdSeijfxa

(pacnv,

rrjv irolrjaLV

diridavov Kol Bvvarov.

r)

TOLOvrovi

^eXrtov to <8'> d

irpo'i

jap

re

'jrpoq

aipercorepov iriOavov dSvvarov

12— 31

461 b

^eXrlwv

Vahlen

:

9

;

ARISTOTLE'S POETICS XXV. or

reality,

received

to

requirements of

art,

17— XXVI. With

opinion.

respect

a probable impossibility

may

'Yes,'

the higher thing

To

reality.'

commonly that the just as

'

say,

as is

must surpass the

we appeal

justify the irrational,

to

what

is

In addition to which, we urge

sometimes does not violate reason

irrational

probable that a thing

is

be

Again,

men such

for the ideal type

;

said to be.

it

we

the

to

'but the impossible

be impossible that there should be

Zeuxis painted.

to

is

preferred to a thing improbable and yet possible. it

107

i

may happen

contrary

to probability.'

Things that sound contradictory should be examined 18

by the same

rules as in dialectical refutation

the same thing

same

We

sense.

tacitly

should therefore solve the question by

what the poet says

reference to

assumed by a person of

The element

—whether

meant, in the same relation, and in the

is

what

himself, or to

is

intelligence.

of the irrational, and, similarly, depravity

of character, are justly censured

when

necessity for introducing them.

Such

there is

1

no inner

is

the irrational

element in the Aegeus of Euripides, and the badness of

Meuelaus in the Thus,

Orestes.

there

are

are

drawn.

objections

five

sources

from

which

critical

Things are censured either as

impossible, or irrational, or morally hurtful, or dictory, or contrary to artistic correctness.

contra-

The answers

should be sought under the twelve heads above mentioned.

XXVI

The question may be Tragic

mode

of imitation

raised is

whether the Epic or

the higher.

If

the more

the higher, and the more refined in every

refined art

is

case is that

which appeals

to the better sort of audience,

20

:

XXVI. 1—4.

108

on

airavra

rj

av

{jbivcov

(poprcKiy

fic/jiovfievij

avTO^

fXT]

32—1462

1461 b

a 17

yap ovk alaOavo-

&>?

ttoWtjv KLvrjaiv Ktvovvrai,

irpocrOfj,

olov ol <^avkoL avkrjTaX KvKioixevoi, av Blctkov Berj

^KvWav

35 a6at, Kal e\Kovr6aiov av T)

ovv TpaycpSta Toiavrrj earlv, w? Kal ol irporepov 2

fiev

varepovi avrwv movto

rov
virep^dWovra 1462 a

eKoXec,

TriOrjKov

Toiavrrj

e^ovai

ovrot

viroKpird';'

ovv

rrjv fxev

Krjv Trpo? cf)av\,ov<;'

7rpb<;

dXka

el

v7roKpiTLKrj
rrj<;

BiaSovra,

oTrep

Oearca

vvv

t?}?

eirel

7roc7jTCKrj
earc

rj

CO?

iariv

el

rj

apogr.

A".

5.

avTTJs

apogr.

:

avrijs

ra Gomperz

apogr.

:

^ari

:

9.

A^. 8',

tw

/X77S'

elro.

op'^rjai'i,

Kal

eTrertfiaro

ert

fjLi/nov/xevcov.

to avri]^, Mcyirep

fierpo)

?;

A^.

6.

Usener

avrrj :

ovk eyet,

e^ecrrc '^pijaOat,,

2.

^x^i"^' 4.

ot

apogr.

:

5'

add. Vettori

odv add. Bywater, Ussing.

di^dovra apogr.: 16.

Uri

eVel rd irdvT

S'

avro^^ codd.

:

17

Kpeirrcov, tovto ye

1462 a

A"^.

Hermann

ei

ecrri

Kal yap

earl secliis. Speugel.

iirel

dWa

Kivoui'Ta

:

avTovs

^Trd Christ. 8.

J^aWiTrTrlBr}

virdp'^eiv.

eTroiroila,

KLvovvTat

33.

e'xoi'crt

rot?

'OTTovi/rto?.

6

KiV7]aeco
ovv iarc rd y

dvayKalov avrrj oaa'TTep

KarrjyopLa

Sid yap rod dvayivuxTKetv (f)avepd oiroia rl^

eTTOTroda' 15

Kal

oirep

r/

^(sxriarparo^, Kal

\_ea-TX\

ovk ekev6epa<; yvvalKa<;

rpaycpBla Kal dvev

S'

ttjv

frepiepyd^eadai

M.vaal6eo<;

iTrolec

(f)av\a)v,

rj

dX\,OL<;

co?

iineiKei'i (f)aaiv

10 ovSe Kivijcnii diraaa dTroSoKifiacrrea, elirep

a}OC

•

7rpo9

a'^rjixaTwv, rrjv 8e rpayi-

Kal pa^lrtpSovvra, onrep

ar]ixeloi
riv

tS'^vt}

ovv (popriKrj, -^eipcov SrjXov otc av 3

ov

irpSiTov ixev

€L7].

o\r]

rj

ovSev Seovrat tmv

elvai

TlivSdpov

irepl

avrov<;,

Xtav yap

d><;

tov K.aWc7r7rLSr]v

ISJivvvlaKO^

6

So^a Kal

8e Trpo^

e^ec

e'TTOTTodav

5

/xi/xel-

avXtoatv

apogr.

:

S£a56i'Ta avrrj A".

^Tretra Siotl codd.

13.

A<=.

ian

5'

4

—

ARISTOTLE'S POETICS XXVI. 1—4 the

which

art

and

anything

imitates

The audience

manifestly most unrefined.

109

everything

be too dull to comprehend unless something of their

own

thrown in by the performers, who therefore indulge

is

Bad

in restless movements. if

is

supposed to

is

they have to represent

is

flute-players twist

the

'

compare the

opinion that the older actors entertained of

Mynniscus used

cessors.

twirl,

Tragedy, 2

Scylla.'

We may

has this same defect.

said,

and

the quoit-throw,' or hustle the

when they perform

coryphaeus it

'

to

their suc-

Callippides

call

'

ape

on

'

account of the extravagance of his action, and the same 1462

a

view was held

Tragic

of Pindarus.

art,

then, as a whole,

stands to Epic in the same relation as the younger to

So we are told that Epic poetry

the elder actors.

addressed gesture

to

audience,

cultivated

an

Tragedy, to

;

unrefined,

Now,

a

inferior

is

who do not need

public.

Being then 3

evidently the lower of the two.

it is

in the first place, this censure attaches not to

but to the histrionic art

for gesticulation

the

poetic

may

be equally overdone in epic recitation, as by Sosi-

stratus, or in lyrical

Next,

Opuntian.

any more than formers. in

also

all

all

poetry produces

of

our

elements

superior

—

it

fault

is,

may even

found in Callippides, as

day,

who

are censured for

Again, Tragedy like Epic

even without action

reading.

it

not to be condemned

but only that of bad per-

women.

superior, this fault,

And

is

—

own

its effect

power by mere

it is

action

dancing

representing degraded

its

competition, as by Mnasitheus the

Such was the others

;

we

If,

;

it

say, is not inherent in

because use

reveals

then, in all other respects

it

has

all

the epic metre

it.

the

—with

epic 4

the

:

en

Kal

a?

ov (xiKpov

ert

kol iv

iv 5

S'

e'TTecriv

TrXeiou? Troiwaiv,

6croi.<;

olov iav 10 IXta?

i)

'lXta9.

rj

TOO

ylvovTat'

"^oWo. ToiavTa

ft)9

7rpd^ea><; /xlfn]cn
eVi T(3 T779

el

dXKa

rj

ovv T0VT0i
yap ov

ovv Tpay(pSLa<;

Kai TOV ev

/Mrj

r]

ttjv 6\(/lv

/cat

:

*

3. 7.

-^Bovrjv

inroTTOLla'^.

T7]
iiroTTOiLa';,

Kal avTMV 8 Stacjiepec,

collocavit post ivafyyiffTara. Gomperz, qui

Aid., Bekker.

Sell] del-q

5C

Maggi 1462 b 2.

TO Winstanley, Gomperz.

Gomperz.

Tv^ovcrav

(pavepov otl KpeiTTCOV

*

*

20. dvayvcbaei

iidovT] A''.

yata9

Traatv Kal 7

TtVe9 atTiat, Kat Trepl iiriTifJitjaecov Kal

18. Kat rds S^eis seclus. Spengel

^s codd.

rj

Trotrj/jLaTa

Kal iroaa Kal tL

fxepcov,

20 Xvaecov, elprjaOco TOcravTa.

^y legit:

Kal

fj

ccxrirep

to,

8ca(f)epec

ttjv

A=.

fxeiovpov

4.

Alt.

:

17

cis

tjSiov

rj

Vahlen: 21. ry

vel ats coni.

dvayvwpiaei

A'=.

Maggi

om. Aid.

Gomperz praeeunte Tyrwhitt,

:

5.

:

ijdelov

rj

apogr.

/Mfxria- ews

fort, recte.

seclus. 8.

Bernays tov fiirpov codd. Post vdap^, < iav 8i irXeioi/s > Aid., Bekker < X^7a> 5^ olo;' * * &v 8^ fx-ri, ov jxla ij fiifiricns > supplendum coni. Vahlen Teiclimtiller <&W(>is ok iroi.KiKov> Gomperz. 10. & add. apogr. 11. Kairoi TaCra to. Aid. Kal rotaOr' firra A= et plerique codd. 19. ^ apogr. el A^. cvfifxirfXi)

:

:

:

:

6

OSvcraeta a Kal

TavTa

KaLTOi

r/

* \iyw he

*

avyKeifxevri,

Kat

ttjv elpr]fxev7]v),

Kal TCOV elScov Kal tcov

(^atveaOai,

vhaprj.

fiaWov tov TeXov^ Tvy^dvovaa fxev

/uLL/jbTjo-Lf;

[fiifj,7]crea)
dpcaTa Kal otl [xdXiaTa

epya> {Sei

Te')(vr}
15 TTOielv avTa
5t'

'^povw'

eva /Mvdov

jxev

fivovpov

fj

[leprj

fi€ye6o<;'

ivhe')(eTaL

iav

co(TTe

fxtjKei

av/jifjiiTpa)

eavTa e%et

/xm

[rj]

iK yap oTrotaaovv

iK TrXeiovcov Trpd^ecov

^X^''

Trepl

tw

KCKpafxevov

ert tjttov

ySpa^eea? BeiKVVfievov

rj

avv€aT7]K€V

5t'

iroWw

arj/jieiov Si'

Tpaycphlai

uKoXovOovvTa

etrj

to

olov el Tt9 rov OISlttovv Oelr} top %0(poK\eov
TCOV eTTOTTOicov

av

hC

Kal

elra

iv iXaTTovi fiijKec to reXo? T779 fjnixrjcrew^ elvac 5

Tft)

Kad^

Ta<; 6-^eL'i,

avayvcoaei Kal eVt tcov epyav.

rfj

TO yap aOpooiTepov rjhiov A,e7(i)

Koi

rrjv fxovcnKrjv

fiepo
avviaTavrai ivapyearara.

al rjhovaX

20 ivapye<; e^et 1462 b

1462 a 18—1462 b 20

XXVI. 4—8.

110

:

:

t

4—8

ARISTOTLE'S POETICS XXVI. music and scenic

111

as important accessories

effects

these produce the most vivid of pleasures.

and

;

Further,

it

has vividness of impression in reading as well as in

Moreover, the art attains

representation. 1462 b

narrower limits

concentrated

the

for

;

pleasurable than one which

and so

What,

diluted.

as long as the

has less unity

;

Iliad

if

it

would be the

—

worked into a unity,

Now

appear truncated of length,

it

or, if it

;

the

if

will, if concisely told,

it

conform to the Epic canon

seem weak and watery.

will

6

poem

that any Epic

will furnish subjects for several tragedies.

story be

effect

were cast into a form

Once more, the Epic imitation

?

shown by this,

as is

5

more

is

spread over a long time

is

for example,

of the Oedipus of Sophocles,

end within

its

effect

^

^

^

What I mean by a story composed of several actions may be illustrated from the Iliad and Odyssey, which have many parts, each with a certain magnitude of its Yet these poems are

own.

structure

each

;

is,

possible

in

in the highest degree attainable,

an

perfect

as

as

imitation of a single action. then. Tragedy

If,

is

superior to Epic poetry in all these 7

respects, and, moreover, fulfils its specific function better

as

an art

—

for each art

ought to produce, not any chance

pleasure, but the pleasure proper to

—

it

plainly follows that Tragedy

attaining

its

end more

Thus much may poetry in general the that

number

of

;

it,

as already stated

the higher

suffice

as

concerning Tragic and Epic 8

their several kinds

and

each and their differences

and the answers

art,

perfectly.

make a poem good

critics

is

or

bad

;

parts,

with

the causes

;

the objections of the

to these objections.

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