THE \POETICS, OF ARISTOTLE EDITED WITH CRITICAL NOTES AND A TRANSLATION BY S. H. BUTCHER PROFESSOR OF GREEX 1N TILE USIVERSITY OF EDINBUKOR ; FORMERLY FELLOW OF TRINITY COLLEGR, CAMBRIDOE, AND OF UNIVERSITY COLLENE, OXVORD MON. LED. OLASCOW ; HON, LITT.D, DUBLIN THIRD EDITION REVISED Lonvon MACMILLAN AND CO, Linrep NRW YORK: TI MACMILLAN COMPANY 1902 AUl rights veercedGo 112-382,3,.2° v First Baition 16895 ‘Second Edition 1898 ‘Third Edition 1902PREFACE TO THE SECOND EDITION Tue following Text and ‘Translation of the Poetics form part of the volume entitled Aristotle's Theory of Poetry and Fine Art, second edition (Macmillan and Co., 1898). In this edition the Critical Notes are enlarged, and the ‘Translation has heen care- fully revised. The improvements in the Translation are largely due to the invaluable aid I have received from my fricnd and colleague, Professor W. R. Hardie. To him I would express my warmest thanks, and also to another friend, Professor Tyrrell, who has most kindly read through the proof- sheets, and talked over and clucidated various questions of interpretation and criticism. In making use of the mass of critical material which has appeared in recent years, especially in Germany, I have found it necessary to observe a strict principle of sclection, my aim still being to keep the notes within limited compass. They are not intended to form a complete Apparatus Criticus, still less to do duty for a commentary. I trust, however, that no variant or conjectural vvi THE POETICS OF ARISTOTLE emendation of much importance has been over- looked. In the first edition I admitted into the text conjectural emendations of my own in the following passages :—iii. 3: xix. 3: xxiii, 1: xxiv. 10: xxv. 4: xxv. 14: xxv. 16. Of these, one or two appear to have carried general conviction (in particular, xxiii. 1): two are now withdrawn,— iii, 8 and xxv. 14, the latter in favour of (Tucker). In the first edition, moreover, I bracketed, in a certain number of passages, words which I regarded as glosses that had crept into the text, viz. :—iii, 1: vi. 18: xvii. 1: xvii. 5. In vi 18 I now give Gomperz’s correction rav Xeyopévev, for the bracketed words tay pév yor of the MSS., and in xvii. 5 Bywater’s conjecture 61: atrés for [rods abrés]. There remains a conjecture which I previously relegated to the notes, but which I now take into the text with some confidence. It has had the good fortune to win the approval of many scholars, including the distinguished names of Professor Susemihl and Professor Tyrrell. I Tefer to od (otro MSS.) rd tuydvra éydpara in ix. 5. 1451 b 13, where the Arabic has ‘names not given at random.’ For the copyist’s error ef. ix. 2. 1451 a 36, where A° has ofrw, though ob 7d rightly appears in the ‘apographa’: and forPREFACE TO THE SECOND EDITION vii a similar omission of od in A° ef. vi, 12. 1450 a 29, ob roujces 8 Fv Tis Tpayydias Epyov, the indispensable negative being added in ‘apographa’ and found in the Arabic. The emendation not only gives a natural instead of a strained sense to the words 7a tuxévta évopara, but also fits in better with the general context, as I have argued in Aristotle's Theory of Poetry, ete. (ed. 3 pp. 375-8). Another conjecture of my own I have ventured to admit into the text. In the much disputed passage, vi. 8. 1450.a 12,1 read ds eimeiv for ove édétyor adrév ws eimeiv of the MSS., follow- ing the guidance of Diels and of the Arabic. I regard ov« ddéyor aitév as a gloss which displaced part of the original phrase (sce Critical Notes). As a parallel case I have adduced Rhet. i. 1. 1854 a 12, where odd ds eiweiv, the reading in the margin of A°, ought, I think, to be substituted in the text for the accepted reading édtyov. The word éAtyov is a natural gloss on oddév ds edmeiv, but not so od8é ws eireiy on 6rLyov. In two other difficult passages the Ihetoric may again be summoned to our aid. In xvii. 1. 1455 a 27 I have (as in the first edition) bracketed tov Gearyv, the object to be supplied with édrdvOavev being, as I take it, the poet, not the audience. This I have now illustrated by another gloss of a precisely similar kind in Rhet. i. 2. 1358 a 8, where AavOivoveiv re [rods dxpoatds] has long been vbviii THE POETICS OF ARISTOTLE recognised as the true reading, the suppressed object being not the audience but the rhetoricians. Once more, in xxiv. 9. 1460 a 23, where A° gives the meaningless ddou 84 I read (as in the first edition) 4x’ o¥8é, following the reviser of A‘. This reading, which was accepted long ago by Vettori, has been strangely set aside by the chief modern editors, who either adopt a variant dAdo 82 or resort to conjecture, with the result that mpoobeivac at the end of the sentence is forced into impossible meanings. A passage in the Rhetoric, i. 2, 1857 a 17 ff, appears to me to determine the question conclusively in favour of ddr’ ov8.. . dvdyen . . . mpocGeivar. The passage runs thus: dav yap J te rovrev yopiov, ob8 Bel Abe adrds yap robro mpoorlbnow 6 dxpoaris, olov brx Awpieds oregaviryy dyiva vevleneer, ixavdv elrety bre Odsuma yap verlencer, 73 8° Bre orepavirgs rd 'OMwmia, ob88 Sei mpocBeivar: yuyvionover yap wdvres. The general idea is closely parallel to our passage of the Poetics, and the expression of it similar even to the word od8¢ (where the bare od might have been expected) in the duplicated phrase ob Sei Aéyew, ob83 Set mpooGeivar, One difficulty still remains. The sub- ject to evar 4 yevéoOar is omitted. To supply it in thought is not, perhaps, impossible, but it is exceedingly harsh, and I have accordingly in this edition accepted Professor Tucker’s conjecture, dvdyen elvas 4 yeréoBas.PREFACE TO THE SECOND EDITION ix The two conjectures of my own above mentioned are based on or corroborated by the Arabic. I ought to add, that in the Text and Critical Notes generally I have made a freer use than before of the Arabic version (concerning which see p. 4). But it must be remembered that only detached passages, literally rendered into Latin in Professor Margoliouth’s Analecta Orientalia (D. Nutt 1887), are as yet accessible to those like myself who are not Arabic scholars; and that even if the whole were before us in a literal translation, it could not safely be used by any one unfamiliar with Syriac and Arabic, save with the utmost caution and subject to the advice of experts. Of the precise value of this version for the criticism of the text, no final estimate can yet be made. But it seems clear that in several passages it carries us back to a Greek original earlier than any of our existing MSS. Two striking instances may here be noted :— (1) i 6-7. 1447 a 29 ff, where the Arabic confirms Ueberweg’s excision of éomova and the insertion of dvdvuyos before rvyydvovea, accord- ing to the brilliant conjecture of Bernays (see Margoliouth, Analecta Orientalia, p. 47). (2) xxi. 1. 1457 a 36, where for peyakiwrav of the MSS. Diels has, by the aid of the Arabic, restored the word Maccadwréy, and added a most ingenious and convincing explanation of ‘Eppoxai-x THE POETICS OF ARISTOTLE nbfavOos (see Critical Notes). This emendation is introduced for the first time into the present edition. Professor Margoliouth tells me that Diels’ restoration of érevfdyevos in this passage is confirmed by the fact that the same word is employed in the Arabic of Aristotle’s Rhetoric to render edyecOar. Another result of great importance has been established. In some 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 ‘apographa,’ or conjectures made either at the time of the Renaissance or in a more recent period. It would be too long to enumerate the passages here; they will be found noted as they occur. In most of these examples the reading attested by the Arabic commands our undoubting assent. It is, therefore, no longer possible to concede to A* the unique authority claimed for it by Vahlen. I have consulted by the side of Professor Margoliouth’s book various criticisms of it, e.g. by Susemihl in Berl. Phil. Wochenschr. 1891, p. 1546, and by Diels in Sttzungsber. der Berl. Akad. 1888, p. 49. But I have also enjoyed the special benefit of private communication with Professor Margoliouth himself upon a number of difficulties not dealt with in his Analecta Orientalia. He has most generously put his learning at my disposal,PREFACE TO THE SECOND EDITION xi and furnished me, where it was possible to do so, with a literal translation. In some instances the Arabic is itself obscure, and throws no light on the difficulty ; frequently, however, I have been enabled to indicate in the notes whether the exist- ing text is supported by the Arabic or not. In the following passages I have in this edition adopted emendations which are suggested or con- firmed by the Arabic, but which did not find a place in the first edition :— ii, 3. 1448 a 15, domep of trois! vi. 7. 1450 017, <6 8% Bios>, omitting xat eiSapovias xal 4) ebdaipovia of the MSS. xi. 6. 1452 b 10, [rovruv & . . . edpnrar] xviii, 6. 1456 a 24,

cixds? xx. 5. 1456 b 35, dvev? xxi. 1. 1457 a 34, [cat dovjyou}. The literal trans- lation of the Arabic is ‘and of this some is compounded of significant and insignificant, only not in so far as it is significant in the noun’ xxi, 1. 1457 a 36, MarcaAwrdv (see above, p. ix.) xxv. 17, 1461 b 12, I hesitate to add to this list of corroborated conjectures that of Dacier, now admitted into the text of xxiii. 1. 1459 a 21, xal wi spolas icropias ras owbéces, for cad pi) suolas ioroplas Tas owes 1 In ed. 3 I simply give the MSS, reading in the text, domep tyast. 2 In ed. 3 the words here added are omitted in the text.xii THE POETICS OF ARISTOTLE of the MSS. “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 which resemble.’ This version appears to deviate both from our text and from Dacier’s conjecture. There is nothing here to correspond to cvvjGes of the MSS. ; on the other hand, though ow@éces may in some form have appeared in the Greek original, it is not easy to reconstruct the text which the translation implies, Another conjecture, communicated privately to me by Mr. T. M‘Vey, well deserves mention. It involves the simpler change of dpoias to ofas. The sense then is, ‘and must not be like the ordinary histories’; the demonstr. rovodrovs being sunk in oias, 80 that olas icropias ai ovvjGes becomes by attraction, olas icropias ras ouvjbes. I subjoin a few other notes derived from corre- spondence with Professor Margoliouth :— (a) Passages where the Arabic confirms the reading of the MSS. as against proposed emenda- tion :— iv. 14. 1449 a 27, &xBatvovres ris Aexruciis Sppovias : Arabic, ‘when we depart from dialectic com- position.’ (The meaning, however, is obviously misunderstood.) vi 18, 1450 b 13, ray piv Adyov: Arabic, ‘of the specch.’ The piv is not represented, but, owing to the Syriac form of that particle being identical with the Syriac for the preposition ‘of,’ it wasPREFACE TO THE SECOND EDITION xiii likely to be omitted here by the translator or copyist. xviii, 1. 1455 b 25. The Arabic agrees with the MSS. as to the position of moAAd«s, ‘as for things which are from without and certain things from within sometimes.’ 5.1456 a 19, xai &v rois dwrAois mpdypact: Arabic, ‘and in the simple matters.’ xix. 2. 1456 a 38, ra wd0y wapacnerd{ew: Arabic, “to prepare the sufferings.” More doubtful is xvii. 2. 1455 a 30, dd ris abris gvcews: Arabic, ‘in one and the same nature.’ The Arabic mode of translation is not decisive as between the MSS. reading and the conjecture dm’ abris ris dicews, but rather favours the former. (6) Passages where the conjectural omission of words is apparently supported by the Arabic :— ix. 9. 1451 b 31, ofa dv eixds yevérBar Kat Suvard yeve- Oa: Arabic, ‘there is nothing to prevent the condition of some things being therein like those which are supposed to be.’ But we can hardly say with certainty which of the two phrases the Arabic represents. xvi. 4. 1454 b 31, olov 'Opiorys & rH ‘Iduyerelg dveyvdpurey Ste 'Opéorns: Arabic, ‘as in that which is called Iphigenia, and that is whereby Iphigenia argued that it was Orestes.’ This seems to point to the omission of the first "Opiorns.t 1 Vahlen (Hermencutische Bemerkungen zu Aristoteles’ Poetik ii, 1898, pp. 3-4) maintains that the inference drawn from the Arabic is doubtful, and he adds strong objections on other grounds to Diels’ excision of the first 'Opéorys.xiv THE POETICS OF ARISTOTLE In neither of these passages, however, have I altered the MSS. reading. (c) Passages on which the Arabic throws no light :-— i, 9. 1447 b 22. The only point of interest that emerges is that in tho Arabic rendering (‘of all the metres we ought to call him poet’) there is no trace of xai, which is found alike in A° and the ‘apographa,’ x. 3. 1452 a 20, The words yiyverOa raira are simply omitted in the Arabic. xxv. 18. 1461 b 18, dere xal atrd3v MSS. The line containing these words is not represented in the Arabic. xxv. 19. 1461 b 19, Grav pi dvdyays obeys pnBly . . « The words in the Arabic are partly obliterated, partly corrupt. In conclusion, I desire to acknowledge my obligations to friends, such as Mr. B. Bosanquet (whose History of Aesthetic ought to be in the hands of all students of the subject), Dr. A. W. Verrall, Mr. W. J. Courthope, Mr. A. O. Prickard, and Rev. Dr. Lock, who have written me notes on particular points, and to many reviewers by whose criticism I have profited. In a special sense I am indebted to Professor Susemih! for his review of my first edition in the Berl. Phil. Wochenschr., 28th September 1895, as well as for the instruction derived from his numerous articles on the Poetics, extending over many years in Bursian’s Jahresbericht and else-PREFACE TO THE SECOND EDITION xv where. Among other reviewers to whom I feel grateful, I would mention Mr. Herbert Richards in the Classical Review, May 1895; Mr. R. P. Hardie in Mind, vol. iv. No. 15; and the authors of the unsigned articles in the Saturday Review, 2nd March 1895, and the Ozford Magazine, 12th June 1895. To Messrs. R. & R. Clark’s Reader I would once again express no merely formal thanks. Epinnurcn, November 1897.1», Google <PREFACE TO THE THIRD EDITION In the revision of the Text and the Critical Notes I have had the advantage of consulting two new editions, based on very different principles, those of Professor Bywater and Professor ‘Tucker, from both of which I have derived assistance. In Professor Bywater’s edition I have noted the following passages in which manuscript authority (Parisinus 2038) is cited for readings which hitherto have been given as conjectural :—i. 4. 1447 a 21; xi. 5. 145203 and 4; xv. 1. 1454 a 19; xviii, 1. 1455 b 32; xxii, 7, 1458 b 20 and 29; xxiv. 8. 1460 a 13; xxv. 4. 1460 h 19; xxv. 16. 1461 b 3 and 17, 1461 b 13; xxvi. 3. 1462 a 5; xxvi. 6. 1462 b 6. 1 am also indebted to Professor Bywater’s text for several improvements in punctuation. Most of his important emendations had appeared before the publication of my carlier editions, and had already found a place in the text or in the notes, I now append the chief passages in which the xviixviii THE POETICS OF ARISTOTLE text of this edition differs from that of the last :— vii. 6. 1451 a 9, Here I keep the reading of the MSS., dowep wor? xai GAdoré garw. Schmidt's correction «ié@acw for gacty seemed at first sight to be confirmed by the Arabic, but, as Vahlen argues (Hermeneutische Bemerkungen 7 Aristoteles Poetik, 1897), this is doubtful, and —a more fundamental objection—the question arises whether the correction can, after all, con- vey the sense intended. Can the words as emended refer to a known practice in present time, ‘as is the custom on certain other occasions also,’ i.e. in certain other contests, the dyGves of the law-courts being thus suggested! As to this I have always had misgivings. Further observation has convinced me that wor? xat ddAore can only mean ‘at some other time also,’ in an indefinite past or future. With gasiy (sc. dywvicar6a1) the reference must be to the past. This lands us in a serious difficulty, for the use of the «Aeyi8pa in regulating dramatic representations is otherwise unheard of. Still it is conceivable that a report of some such old local custom had reached the ears of Aristotle, and that he introduces it in a parenthesis with the gariy of mere hearsay. ix. 7, 1451 b 21. I accept Welcker’s ’Av@e? for dvOe. Professor Bywater is, I think, the first editor who has admitted this conjecture into the text. xvii, 5. 1455 b 22. I restore the MSS. reading dvayveploas rds, which bas been given up by almost all editors, even the most conservative. Hitherto a parallel was wanting for the requiredPREFACE TO THE THIRD EDITION xix meaning, ‘having made certain persons acquainted with him,’ ‘having caused them to recognise him.’ But Vahlen (Herm. Bemerk. 1898) has, if I am not mistaken, established beyond question this rare and idiomatic use of the verb by a reference to Diodorus Siculus iv. 59. 6, and by the corresponding use of yvupi{w in Plut. Vit. Thes, ch. xii. xix. 3. 1456 b 8. For 18éa of the MSS. I now read +} Sudvova. (Previously I had accepted Tyrwhitt’s correction 18) @ 8) This conjecture was first made by Spengel, and strong arguments in its favour have recently been urged by V. Wrdbel in a pamphlet in which this passage is discussed (Leopoli 1900). xxv. 6. 1458 b 12. For pérpov I now read pérpuv with Spengel. (So also Bywater.) Is it possible that in xxvi. 6. 1462 b 7 we should similarly read ry oS perplov (uérpov codd.) prjxet, ‘a fair standard of length’? In xiv. 8-9. 1454 a 2-4 a much vexed question is, I am disposed to think, cleared up by a simple alteration proposed by Neidhardt, who in a 2 reads xpariorov for Sevrepov, and in a 4 Sevrepov for xpdriatov. This change, however, I have not intro- duced into the text. The Arabic version once more throws interesting light on a disputed reading. In xvii. 2. éxorarixoi instead of éferactixoi is a conjecture supported by one manuscript. In confirmation of this reading, which has always seemed to me correct, I extract the following note by Professor Margoliouth (Class.xx THE POETICS OF ARISTOTLE Rev. 1901, vol’ xv. 54) :—‘ Professor Butcher . . . informed me that a continental scholar had asserted that the Arabic read éexotarixol for éeraorixod in this passage. I had been unable to satisfy myself about the Arabic word intended by the writer of the Paris MS., and therefore could not confirm this; but I must regret my want of perspicacity, for I have now no doubt that the word intended is ‘ajabiyyina, which is vulgar Arabic for “ buffoons,” literally “men of wonder.” The Syriac translated by this word will almost certainly have been mathh’rané, a literal translation of éxcratuxol, which the Syriac translator probably thought meant “men who produce ecstasies.” The verb éficracba. is not unfrequently rendered by the Syriac verb whence this word is derived.’ In a few other passages the Critical Notes or Translation contain new matter; eg. ix. 8. 1451 b 28; xvi. 7. 1455 a 14; xxiv. 10. 1460 b 1; xxvi. 6. 1462 b 7. I cannot in concluding omit a word of cordial thanks to Messrs, R. & R. Clark’s accomplished Reader. EpinsureH, October 1902.CONTENTS Epitioys, TRANSLATIONS, ETC. Avatysis or Anistorir’s Poetics . List OF ABBREVIATIONS TEXT anv TRANSLATION or tux Poetics . xxi + xxiii1», Google <EDITIONS, TRANSLATIONS, ETC. ‘Tue following is a list of the chief editions and translations of the Poetics, and of other writings relating to this treatise, arranged in chronological order :— Valla (G.), Latin translation. Venice, 1498. Aldine text, in Riclores Gracci. Venice, Aldus, 1508. Latin translation, with the summary of Averroes (ob. 1198). Venice, Arrivabene, 1515. Pazzi (A.) (Paccius], Aristotelis Poetica, per Alerunulrwn Paceium, putri- titan Florentinum, in Latinum conversa, Venice, Aldus, 1536. Trincaveli, Grook text. Venice, 1536. Robortelli (Fr.), Ji librum Arisiotelis de strle Poction explicativnes, Florence, 1648. Sogni (B.), Heltorica ¢ Poctiea @ Aristotele tradolte di Greco in lingua vulgare. Floronce, 1549. Maggi (V.) [Madius], Zn Aristolelis librum de Poctica explanationes, Venice, 1550. ottori (P.) [Victorius], Commentationes in primunt tibrum Aristolelis de Arte Poetarum, Florence, 1560. Castelvetro (L.), Poctica a Aristotcle vulgarizsata. Vionna, 1570; Basle, 1576. Piccolomini (A.), Annotationi nek Libro della Poctica d’ Aristotele, con ta traduttione del medesimo libro in lingua volgare. Venice, 1575. Casaubon (I.), edition of Aristotle, Leyden, 1590. Heinsius (D.) recensuit. Leyden, 1610. Goulston (T.), Latin translation. London, 1623, and Cambridge, 1696. Dacier, La Pottique traduite eu Frangais, avec des remarques critiques, Paris, 1692, Batteux, Les quatres Poétiques d'Aristote, d’Horace, de Vida, de Des- préaux, avec les traduetions ct des remarques par U Abbé Batteuz. Paris, 171. xxiiixxiv THE POETICS OF ARISTOTLE ‘Winstanley (T.), commentary on Poctics. Oxford, 1780. Reis, De Poetioa Liber, Leipzig, 1786, Motastasio (P.), Estratio del” Arte Poetica d’ Aristotele 6 considerasioni su Ja medesima, Paris, 1782. ‘Twining (T.), Aristotle's Treatise on Poetry, Translated : with notes on the Translation, and on the original ; and two Dissertations on Poetical and Musical Imitation, London, 1789. Pye (H. J.), A Commentary Wlustrating the Poetic of Aristotle by examples taken chiefly from the modern poets, To which is prefized a new and corrected edition of the translation of the Poetic. London, 1792. ‘Tyrwhitt (T.), De Poetica Liber. Tetum recensuit, versionem refinzit, et animadversionibus illustravit Thomas Tyrwhitt. Oxford, 1794. Buhle (J. T.), De Poetioa Liber. Gittingen, 1794, Hermann (Godfrey), Ars Poetica cum commentariis, Leipzig, 1802. Grifonham (E. A. W.), De Arte Poetica librum denuo recensuit, commen- tariis illustravit, etc, Leipzig, 1821. Raumer (Fr. v.), Ueber die Poctik des Aristotles und sein Verhdliniss cu den neuern Dramatikern, Berlin, 1829. Spengel (L.), Ueber Aristoteles’ Poetik in Adhandlungen der Minchener Akad, philos.-philol. Ct. IT, Munich, 1887. Ritter (Fr.), Ad codices antiquos recognitam, latine conversam, com: mentario ilustratam edidit Franciscus Ritter. Cologne, 1839. Egger (M. E.), Essai sur Uhistoire de la Critique chez les Grecs, suivi de la Pottique d'Aristote et d'extraits de ses Problimes, avec traduction francaise et commentaire. Paris, 1849. Bernays (Jacob), Grundstige der verlorenen Athandlung des Aristoteles ‘ber Wirkung der Tragidis, Breslau, 1857. Saint-Hilaire (J. B.), Podtique traduite en frangais et accompagnée de notes porpituelles, Paris, 1858. Stahr (Adolf), Aristoteles und die Wirkung der Tragidie. Berlin, 1859. ‘Stabr (Adolf), German translation, with Introduction and notes. Stutt- gart, 1860. Liopert (J.), Aristoteles aber den Zweck der Kunst. Passau, 1862. Susemibl (F.), Aristoteles Ueber die Dichtkunst, Griechisch und Deutsch und mit sackerklérenden Anmerkungen. Leiptig, 1865 and 1874. Valen (J.), Beitrdige 2u Aristoteles’ Poetik, Vienna, 1865. Spengel (L.), Aristotelische Studien IV. Munich, 1866, Vablen (J.) recensuit. Berlin, 1867. Teichmuller (G.), Aristotelische Forschungen, 1. Beitrige sur Erklérung der Poetike des Aristoteles. 1. Aristoteles' Philosophie der Kunst. Halle, 1869. Usborweg (F.), German translation and notes, Berlin, 1869,ANALYSIS OF CONTENTS 3 parts himself in order to enter into vivid sympathy with the dramatis personae. (2) To sketch the bare ontline of the action before proceed- ing to fill in the episodes. ‘The Episodes of Tragedy are here incidentally contrasted with those of Epic Poetry. XVIII. Further rales for the Tragic Poe (1) To be careful about the Complication (Séeus) and Dé- nowement (dios) of the Plot, especially the Dénouement. (2) To unite, if possible, varied forms of poctic excellence. (8) Not to overcharge a ‘Tragedy with details appropriste y- to Epic Poetry. (4) To mako the Choral Oiles—like the Dislogue—an organic part of the whole. XIX, Thought (84voa), or the Intellectual element, and Diction in ‘Tragedy. Thought is revealed in the dramatic speeches composed according to the rules of Rhetoric. Diction falls largely within the domain of the Art of Delivery, rather than of Poetry. XX, Diction, or Language in general. An analysis of the parts of speech, and other grammatical details. (Probably interpolated.) XXI. Poetic Diction. The words and modes of speech admissible in Poetry : including Metaphor, in particular. ‘A passage—probably interpolated—on the Gender of Nouns. XXII. (Poetic Diction continued.) How Poctry combines elevation of language with perspicuity. XXIII Epic Poetry. It agrees with Tragedy in Unity of Action : herein contrasted with History. XXIV. (Epic Poetry continued.) Further points of agreement with Tragedy. The points of difference are enumerated and illus- trated,—namely, (1) the length of the poem ; (2) the metre ; (3) the art of imparting a plausible air to incredible fiction. XX, Critical Objections 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 reality. XXVI. A general estimate of the comparative worth of Epic Poetry and ‘Tragedy. ‘Tho alleged defects of Tragedy are not essential to it. Ite positive merits entitle it to the higher rank of the two.7 ABBREVIATIONS IN THE CRITICAL NOTES Ata Arabs = Ald, = Vahlen = Vahlen coni. = Cie <>= e*e the Parisian manuscript (1741) of the 11th century: generally, but perhaps too con- fidently, supposed to be the archetype from which all other extant MSS. directly or in- directly are derived. one or more of the MSS. other than A‘. the Arabic version of the Poetics (Paris 882 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 o trans- lation of a Syriac version of the Postice by an unknown author, now lost. (The quotations in the critical notes are from the literal Latin translation of the Arabic, as given in Mar- goliouth’s Analecta Orientalia,) the Greek manuscript, far older than A‘ and no longer extant, which was used by the Syriac translator. (This symbol already employed by Susemihl I have taken for the sake of brevity.) It must be remembered, therefore, that the readings ascribed to E are those which Wwe infer to have existed in the Greck exemplar, from which the Syriac translation was made. the Aldine edition of Rhelores Graeci, published in 1508. Vahlen’s text of the Postics Ed. 3. 4 conjecture of Vahlen, not admitted by him into the text. words with manuscript authority (including A%, which should be deleted from the text. a conjectural supplement to the text. a lacuna in the text. words which are corrupt and have not been satis factorily restored. 4APIZTOTEAOTS NEP] NOIWTIKHSAPIZSTOTEAOYTS MEPI MOIHTIKH2 I Tep) rourunis aris re wad rav eldiv adrig fy Twa ware Bévapw kcacrov eer, nab wis Set cuvicracBas rods wibovs roel perder nardss Eew 1 molnows, gv 38 ee wécwv Kad rrolav eon) poplar, dpoiws 8 xal mepl rav EXAwv boa ris aings core peBd8ov, Meyouev dpEduevor xara piow mpi- tov dm rév mpérwv. émoroia 8) Kai 4 Tis tpaypdlas 2 mrolnots Eri 88 Koppdia nal 4 SiOvpapBoromtixh nat r§s is addqniaie # whelory cal eBaprorixis wicas ruyydvovew odeas pisces 7 otvoror, Biagépovar 88 EddPrev rpLaly, 3 A vap 16 & érkpos pupeioBas ) TH Erepa 4 Te bree pas xal ph tiv abrby tpdmov. domep yap xa) xpdpace 4 ral oysjpace Tord pipodvral ries dmendtovres (of piv 20B:d. réyons of 88 Sid cuvnbelas), repr 88 Sid THs Ports, obra nav tals elpnudvaus réyvas: Gracae wey rrovoivras iy planow ev pubes Kad rdyy Kal épyovia, rovrow 8 4 xwpls 4 wepeypévors: olov dppovia piv Kal puOup xpe- 12, Adyumer apogr.: Aéyouey AS: (habuit iam Z var. lect., ‘et dicamus ot dicimus’ Arabs) 17. & Forchhammer (‘imitatur rebus diversis’ Arabs): yéve A& 20. ris unis codd. (‘per sonos’ Arabs): rit géceus i: adris ris péoews Spengel 21. xdv Parisinus 2088: ral é apogr. alia: xal A®ARISTOTLE’S POETICS I I propose to treat of Poetry in itself and of its various ™@> \inds, noting the essential quality of each; to inquire [#* the.structure of the plot as requisite to a good poem ; into the number and nature of thé parts” of which poem is composed ; and similarly into whatever else falls within the same inquiry. Following, then, the order of nature, let us begin with the principles which come first. Epic poetry and Tragedy, Comedy also and Dithyrambic 2 poetry, and the music of the flute and of the lyre in ost of their forms, are all in their general conception modes of imitation. They differ, however, from ones another in three respects—the medium, the objects, the manner or mode of imitation, being in each case distinct. For as there are persons who, by conscious art or 4 mere habit, imitate and represent various objects through ‘the medium 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 ‘ harmony,” jeither singly or combined. 78 I. 4—9. 1447 8 24—1447 b 22 pevar pbvov fre addntinh nat 1 eiBaprotiny dy ef Tives 25 Srepas Tuyydvovew odca: Tovatras Thy Sivaysy, olov 4 Tov cuphyyav: aitg 88 7G prOu@ [wpodvrac] yupls dppovlas 5 4 rev dpynerév, al yap obra. bid rav oxnnaritoulver pvOydv pspodvrar wal On nal wdBn nal mpdges 4 826 [émomovta] pdvov rois Myas Yidois Tois wérpows Kad Tov wary ros etre pvyrica per’ GdDspdwv e8” Evi tun rydver xpwopery rév perpwv, Tuyydver oa peype rod viv: obSty 7 ro yap dy Exorpev svoudoat xowey Tods Ladppovos xat Hevdpyov phyous wat rods Lwxparixods Abyous, obBe ef ris Bed rpupd- pov} deyelwy ) rv Edw Twvdy rev roovTwv movotro Ty ppnow wry of dvOparot ye cuvdmrovres TH pérpp TO moet ddeyerorrovods, Tos 8¢ eromotods dvoudtovew, oby as 15 cata Thy plynawy wointas EdAd Kow Kara 7d pérpov mpoo- ayopetovres. kat yap dv latpixdy 4 puowey re bid Tavs pérpwv explpwow, obra xarelv eldbacw: oddity 38 rowdy eorw ‘Opdpp wad "Eumedode? mdjv 7d wérpov: 8d rdv wey mounriy Bixasov nadelv, Tov 88 puavoddyoy padrov 4 mroun- 20 rHv. “potas 88 wav ef mus Smavra ra pérpa pvyriew 9 movoiro Thy plunow Kabdrep Xaupfpwy émolnce Kéyrav- porfuueriy paypdiay & drdvrwv rav perpavi] xa) rodrov 25, rvyxdvovew apogr.: rvyxdywow AS rowatras add. apogr. (‘lise artes similes vi’ Arabs): om. A° 26. 1G abrg 82 Zmale (Margoliouth) + pipoGrras del. Spengel (confirm. Arabs) 27. 4 apogr. (* ars instramenti saltationis’ Arabs): of A®: of Gomperz: ol Zaller épxnerpiy = male (Margoliouth) 29. éroroila secl. Usber- wog: om.Z —— yidols # volt] # rots yerott sive # ysdoie rote coni, Vablen 1447 b 9. dvdrypor add. Bernays (confirmante Arabe ‘ques sine nomine eat adbuc’) ruyydvn ofea Suckow: rvyxdvovea At 15. ard ‘rhe Guelferbytanus: rhy card Ae our AP 16. guouds Heinsins (‘10 physica’ Arabs: confirm. Averroes): yoveixéy codd. 22, puxriy om. Z Mxriy paygdiar del. Tyrwhitt kal roOrow apogr.: xal AS (om. 2): calros Rassow: ox 487 cal Ald, verbs 20-22 dpolus 3 + + « 7» wérpur post 12 rovoéruy transtulit Susemibl, commate post rooirur Posito, deletis 12 rowtro rhe ulunow ot 22 xal wordy: sic effcitur utARISTOTLE’S POETICS I. 4—9 9 Thus in the music of the flute and of the lyre, ‘harmony’ and rhythm alone are employed; also in other arts, such as that of the shepherd’s pipe, which are essentially similar to these. In dancing, rhythms alone is used without ‘harmony’; for even dancing imitates character, emotion, and action, by rhythmical. movement. There is another_art_which imitates by means of 6 language alone, and that either in prose or verse—which ier verse, again, may either combine different metres or con- sist of but one kind—but this has hitherto been without aname. For there is no common tétm we could apply to7 the mimes of Sophron and Xenarchus and the Socratic logues on the one hand; and, on the other, to poetic imitations in iambic, .elegiac, or any similar metre. People do, indeed, add the word ‘maker’ or ‘poet’ to the name of the metre, and speak of elegiac poets, or epic (that is, hexameter) poets, as if it were not the imitation that_makes the poet, but the verse that entitles them all indiscriminately to the name. Even 8 when a treatise on medicine or natural science is brought out in verse, the name of poet is by custom given to the author; and yet Homer and Empedocles have nothing in common but the metre, so that it would be right to call the one poet, the other physicist rather than poet. On the same principle, even if a writer in his poetic 9 imitation were to combine all metres, as Chaeremon did in his Centaur, which is a medley composed of metres10 I. g—IL 4. 1447 b 23—1448 a 15 mrouriy mpocayopevtéev. meph piv obv Tovrev Siwplobo rodrov tov tpémov: eiat Sé Ties al macs xpévras Tois eipn- 10 25 pevois, Myo 82 olov puOui nal pédrer Kab pérpy, Somep # te rév SOvpauRiedv molnow nal 4 Tov vopwv Kal % re tpaypdla cal 4 Koppdiar Siapépovor 88 Srv af pv ya wéow ai 88 ard pkpos. ravras ply obv Myw Tas Biapopds radv rexvdv, ev ols rovodvtas Thy wlynow. ml "Emel 88 pupoivrar of pepotpevor mpdrrovras, avdynn 88 MB* Vodrous 4} oroudaious 4 pavrdous elvar (rd yap On oxeddv dad rovrais duodoubel pévors, kaxig yap xad dperf ra 4m Suapkpovar Tavres), Frou Bedriovas 4 wall! huas % xelpovas $4 Kal rovodrous, domep of ypadels: Todtyvwros piv yap kpetrrous, Tavowy 8¢ xelpous, Avoviatos 88 dpolovs elxatev Bardov 88 Ste wal Tov reyBecdv éxdorn pywhoewv Efer2 ravras ras Siapopds xa) Zotar érépa tH érepa pupetoBau robrov rv tpomov. Kal yap év épyrjcer nal aidjoer wads 10 nBaplee tor yevécbar tatras ras dvoposrnras: wa [7d] mep) rods Adyous 8& Kal Thy Yiroperplav, olov “Opmpos wav Berrios, Kreopisv 88 potous, ‘Hyripwy 88 6 @dovos 6 ras rappdias roujeas mpérros eal Nixoydpys 6 rhv edu dBa xelpous: spotws 88 wad mep) rods S:OupduBous wal mep) 4 15 rods vopors, domep tyast Kuxdwmas Tipd0_os nah idd- ' vorbis guowAsyor uiddor 4 roonriy xpocayopeurée concludatur loous Z | 24. af Ald. 1636: ai Riccardianus 16: of AS 26. 2:0ypdufwr apogr. 28, raea apogr. ody apogr.: ob A’ 29, oft Vettori: als codd. (1448 a3. xaxig. . . dperj apogr. Z: xaxla . per AS 7. & Morel 8. 7G apogr.: rd AS 10. 7d om. Ald.: seol. Susemibl: rg Bywater 12 4 ante ras add. apogr. 18. rpaypdlas ut videtur Z (*q1 faciebat tragoediam' Arabs) ‘Acddda AS pr. m, (recte, ut in Tlindia parodia, Tyrrell : ef. Castelvetro) : Ayhidda apogr. A® corr. (9 supr. e m. rec.) 15, Goxep yar codd.: Gexep <'Apyas> Castelvetro: os Mépear F. Medici: Gexep yap coni. Vablen: Gexep ofrus fort. Z (‘sicut imitatur quis, sic Cyclopas ete.’ Arabs): deep of rods coni. Margoliouth ‘Kéehurras] xuehuras ASARISTOTLE’S POETICS I. 9—II. 4 WL of all kinds, we should bring him too under the general term poet. So much then for these distinctions. There are, again, some arts which employ all the 10 means above mentioned,—namely, rhythm, tune and metre. Such are-Dithyrambic and Nomic poetry, and —also Tragedy and Comedy; but between them the difference is, that in the first two cases these_means are all employed in combination, in the latter, now means is employed, now another. : Such, then, are the differences of the arts with respect to the medium of imitation. Il Since the objects of imitation-are-men in action, and 8 these men must be either of a higher or a lower type (for ioral character” mainly answers “to these—divisions; - goodness and badness being the distinguishing marks of moral differences), it follows that we must represent men either as better than in real life, or us worse, or as they are. It is the same in painting. Polygnotus depicted men as nobler than they are, Pauson as less noble, Dionysius drew them true to life. Now it is evident that each of the modes of imitation 2 above mentioned will exhibit these differences, and be- come a distinct kind in imitating objects that are thus distinct. Such diversities may be found even in dancing, s flute-playing, and lyre-playing. So again in language, whether prose or verse unaccompanied by music. Homer, for example, makes men better thau they are; Cleophon as they are; Hegemon the Thasian, the inventor of parodies, and Nicochares, the author of the Deiliad, worse than they are. The same thing holds good of Dithyrambs 4 * and Nomes; here too one may portray different types, as13 IL. 4—lll. 3. 1448 a 16—37 Fevos: [yepsjoarroedy vis:] ey rH adrp 82 ScadopG wal 4 paypdia mpis Thy xoppdiay Siéorneer: f ev yap xel- pous 4 88 Bedriovs pupeiobas Bovreras trav viv. Tl *Ers.88 rovrwv rpiry Siapopd 73 cos Exaora Tovrev paps} socairo dy ris. wad ydp ev Tois abrois wal ta abrd pu. peioBar Bor dré yey dmaryyédrdovra (4 Erepdy Te -yyvd- pevor, domep “Opnpos mori, 4 os Tov abrdv Kab pi) pera- BédXovra), 4 wdvras cs mpdrrovras nad évepyodvras [rods pepovpdvous]. ev rpiod 8) rabrars Sapopais 4 wlunals cor, 25 @s elropev nar’ dpyds, év ols re wal & nal ds. dore TH pay 8 abrds Av ln mrunrys ‘Oprpy Lodoxdfs, pipodvrar ap dupeo orovbalous, 7H 88 “Apiotopdves, wpdrrovras yap pipodvras Kat SpGvras dudw. 0ev wal Spduara xadei- abal tives adré dacw, bri papodvrar Spivras. 80d Kal 30 dytumowivras ths Te Tpaypdias Kal Tis kwppdias of Aw- pues (ris wdv yap xapwpSias of Meyapels of te évraiba ts én) ris wap’ adrots Bqyoxpatias yevopérns, nad of éx Zunedlas, exeibev yap jv "Emiyappos 6 moumrhs wong mporepos dv XuwviSov nal Méyvotos: wal ris tpayp8las 35 €or rev ev Tledorovyjcw) rrovovpevor Ta dvopata onpelov: abrol pdr yap xdyas ras mepiovxidas kadeiv acu, AQ) valous 828 Sipous, ds Kwppdods ode amd Tod Kwpdtew de- » 16. (wpsoairo dy ris) secludendum coni. Vahlen TH abr§ 8 Vettori (‘in eadem discrepantia’ Arabs): radrg 82 rj M. Casaubon : airj 82 rj codd. 18. rae vd» om. ut videtur Z 21, bre pd... yeyrbueror] <> ore par dxayyéXdorra <érd 8'> Urepty 74 ywyrbuevor Zeller, recte, ut opinor: eodem fere pervenit Arabem secutus Margoliouth 1+ secl. Zeller, Spengel 22, rie secl. Bywater 28, wévras] rdvra 1, Casaubon rods upov- uévovr seclusi (olim secl. Valen): tuetur Z: [rods] zimoduevor Friedrichs, Schmidt 25. al & ral Gt] doayealus ut videtur = kal & om. AC: add. spogr. (confirm. Arabs) 82, Smuoeparelar At 84, Xiurlbov Robortello (confirm, Arabs): xuvldov A® 85. fort. <8'> trv Bywater 36. abrol Spengel: ofr codd. ——*APyvalous edit. Oxon. 1760 et Spengel: dbqraio codd. (ef. 1460 b 85), tuetur WilamowitsARISTOTLE’S POETICS II. 4—III. 3 13 Timotheus and Philoxenus differed in representing their Cyclopes. The same distinction marks off Tragedy from Comedy; for Comedy aims at representing men as worse, Tragedy as better than in actual life. = Ill There is still a third difference—the manner in which each of these objects may be imitated. For the medium being the same, and the objects the same, the poet may imitate by narration—-in which case he can either take another perso: yy as Homer does, or speak in his own person, unchanged—or he may present all his characters as living aud moving before us. These, then, as we said at the beginning, are the2 three differences which distinguish artistic imitation,— the medium, the objects, and the manner. So that from one point of view, Sophocles is an imitator of the same kind as Homer—for both imitate higher types of character ; from another point of view, of the same kind as Aristophanes—for both imitate persons acting and doing. Hence, some say, the name of ‘drama’ is given 3 to such poems, as representing action. For the same reason the Dorians claim the invention both of Tragedy and Comedy. The claim to Comedy is put forward by the Megarians,—not only by those of Greece proper, who allege that it originated under their democracy, but also by the Megarians of Sicily, for the poet Epicharmus, who is much earlier than Chionides and Magnes, belonged to that country. Tragedy too is claimed by certain Dorians of the Peloponnese. In each case they appeal to the evidence of language. Villages, they say, are by them called kGpat, by the Athenians Sor: and they assume that Comedians were so named not from xwpdfeu, ‘tou“ TIL 3—IV. 6. 1448.2 38—1448 b 23 xOevras ddr TH katd Kopas wAdvn aripatouevors ex rod sv dorews. wal 7d roueiv abrol piv dpav, 'AOqvalovs 8 mpdrrew mpocayopetew. ep) pv odv rav diapopav4 ral wécas al tives Tis piproews elpijrbo taba. Iv ((Eoteace 88 erica pay Dros Thy mounrexiyy aitias Bio stwes nal abras puowwall 7b re yap pypeiobas obppurov trois dvOpdmous ex maidwr cori, nab rovry Siadépover ray Brow fev dre quapntucdraréy ears} eal tas pals}. cess moiras 81d peproews ras mpdras, eal rd yalpew rots piprfpact wdvtas. onpelov 8 rovrou 13 cupBaivor 3 10 émi ray epywv: & yap abrd Avmnpas SpSpev, ToUTeY Tas eixdvas Tas pdduora ixpiBeopevas yaipopev Oewpotvres, ofov Onplwv re pophas rav dripordrwy Kad vexpiv. atriov 824 rad rovrov, brs pavOdvew ob pdvov Tois pidoadpous HSicTov GANA ad rois EXAOW suolws, GAN’ ewl Apayd Kosvwvod- 13 ow abrod. Bid yap tobro yalpouss ras eixdvas Spavres, bre 5 cupBalver Cewpodvras pavOdvew Kal ovdroyitecbar rh kea- aor, olov bru otros exeivos: met edv why tixn mpoewpaxds, oy § plpnua rroujoes rip ASoviv ddrd Bid Thy dmep- yactay 4 tiv xpordy 4 Sid Toadrqy twd EdAnv airiay. 20 Kata duow 5} Svros tiv rod pipeicbar Kad ris dppovias 6 rad rod puOpod (rd yap wérpa ore pépia Tov puOwdy éore davepov) && dpyfs wepuedres Kal aird pddota xara pbuxpdv mpodyorres éyévnoay Thy moinaw ek rav abrooye- 1448 b 1. ual 7d woseiy . . . xpocayopedew om, Arabs 4. Brus om, ‘Arabs 5. abras Ald: abral AS 18, kal rocrov spogr. (confirm, Arabs): xal roire A®: [kai rovrov) Zeller: xa} (robrou] Spengel: xal rotrev Bonits 18. ody § Hermann, et 5, ut videtur: ody? codd. Thy HSorhy om. Arabs 20. 8) coni. Vahlen: 88 codd. 22. nal adra) pin atra Ald.: aird xat Gomperz: cai avd post udduera traiciendum see coni. Susemih!ARISTOTLE’S POETICS III. 3—IV. 6 ib revel,’ but because they wandered from village to village | (xara xeépas), being excluded contemptuously from the | 1a city, They add algo that the Dorian word for ‘doing’ is Spay, and the Athenian, mparrew. This may suffice as to the number and nature of the 4 various modes of imitation. Iv Poetry in general seems to have sprung from two causes, each of them lying deep in our nature. First, the 2 | inct of imitation is implanted in man from-childhood, one difference between him and other animals being that he is the most imitative of living creatures; and through imitation he learns his earliest lessons; and no less universal is the pléasure felt in things imitated. Wes have evidence of this in the facts of experience. Objects which in themselves we view with pain, we delight to contemplate when reproduced with minute, , fidelity: such as the forms of the most, ignoble anil Pity 4) and of dead bodies. The cause of this again is, that to4, learn gives the liveliest pleasure, not only to philosophers but to men in general; whose capacity, however, of learning is more limited. Thus the reason why mens _anjoy seeing a likeness is, that in contemplating it they find themselves learning or inferring, and saying perhaps, “Ah, that is he’ For if you happen not to have seen the original, the pleasure will be due not to the imitation ag such, but to the execution, the colouring, or some such other cause. ,) Imitation, then, is one instinct of our nature. Next, 6 there is the instinct_for ‘hafmony’ and rhythm, metres {| being manifestly sections of rhythm.~~Persens, therefore, starting with this natural gift developed by degrees their16 IV. 711. 1448 b 24—1449 27 Biacpdrov. BieorndaOn 88 xatd Td olxeta On 4 molnaus*? asol pay yap ceuvorepos Tas Karas eupoivro mpdgers wad ras rév rowbrev, of 88 ebrerdorepor rds Tov patruv, mpérrov ypoyous trovdvtes, Somep drepor Tpvous wal eyeedpusa. rev pay ofv mpd ‘Opsipov obderds Eyopev elmeiv rovbrov 8 srolnua, eixds 88 elvas woddovs, dad 88 ‘Opspou dptapevous go tori, olov éxelvov 6 Mapyirns xal ta toabra, ev ols xab 1) dppdrrov [JapBetov] #rBe pérpov, 8:3 wal lapBetov Ka- Aetras viv, Bru ev 7G werpy tory ldpBikov 2dAfrous. kalo Gyévovto Tay marauv of pav poumdv of 88 iduBwv mroun- ral, omep 88 nal ra cmovbaia péduora rounrhs “Opnpos 35 Fy (udvos yap oby bru eb GdA [Sri] xa) papsfoers Spapa- minds erolncer), ofrws kal 7d rie xeppdlas oysjuara mparos iméeter, ob Yoyov GAAd 7d yedolov Spaparo- moujoas: 6 yap Mapyirns dvddoyov exe, domep "Duds 1a kal 4} 'OSiecea mpds tas tpaypSlas, obrw Kad obros mpds ras xoppSias. apagavelons 88 TAs TpaypSias Kal xw-10 pedlas of eb? éxarkpay ri moinaw spyavres Kara rhy oleclay giow of piv dvr) rév idpBav xeoppSomool eyé- svovro, of 88 dvth ray émav tpaypdodiSdoxaror, Bid 7d peltova al évriporepa Ta cxrpara evar raira éxelvev. 7d pav obv émoxomeiv ei dp’ Eyer H8n } tpaypdla Trois 11 27, Erepor Spengel: repo vodd. 80. xat (post oft) Ald.: xard Ae 81, lauBlor (bis) A° ——ayfieiav ante #AGe ecl. Stahr «85. ‘ddA Bonits (confirm. Arabs): dN’ rt codd.: 4X’ fs Tuoker ——_apayarucds AP ot Z: Spauarixds apogr. 38. & apogr.: 7d Ae 1449 0.6. elfora apogr. : mito AS 7. et pa Exe: apogr. : wapéxe A: ap" exec ValenARISTOTLE’S POETICS IV. 6—11 7 special aptitudes, till their rude improvisations gave birth to Poetry. a“ Poetry now diverged in two directions, according to7 the individual character of the writers. The graver spirits imitated noble “actions, and the actions of good men. The more trivial sort imitated the actions of meaner persons, at first composing satifs, a8 the former did hymns to the gods and’ the praised of- famous men. A poem of the satirical~kind- cannot 8 indeed be put down to any author earlier than Homer; though many such writers probably there were. But from Homer onward, instances can be cited—his own Margites, for example, and other similar compositions. The appropriate metre was also here introduced; hence the measure is still called the iambic or lampooning measure, being that in which people lampooned one another. Thus the older poets were distinguished as 9 writers of heroic or of lampooning verse. As, in the serious style, Homer is pre-eminent among poets, for he alone combined dramatic form with excellence of imitation, so he too first laid down the main lines of Comedy, by dramatising the ludicrous instead of writing personal satire. His Margites bears 1492 the same relation to Comedy that the Iliad and Odyssey do to Tragedy. But when Tragedy and Comedy came 10 to light, the two classes of pvets still followed their natural bent: the lampooners became writers of Comedy, and the Epic poets were succeeded by ‘Tragedians, since the drama was a larger and higher form of art. Whether Tragedy has as yet perfected its proper 11 caa . a“ . 18 IV. 11-15. 1449 a 8—28 . eBeow ixavids 4, 08, abrs te nal! aird tepiveras 4 valt wal mpisa Oéarpa,ddros Myos. yevouévn <8'> obv dm dpyiis 12 roabroayeBiactixy, xal abr} nal 4 xapeSla, xa 4} pev amd rev eapysvrev ov S:iBbpapBov, 4 88 ard Tov 7d pad- ued & Ere wal viv &v mroddais Tov mwédewy Siapdver vo- pitbueva, xard puxpdy bE{0n mpoaysvrwn Soov eylyvero Gavepsy abris, wal odds petafodds peraBaroica 1 15 tpayySla ératearo, ered toxe tiv airis piow. nad tbs ~ re ray broxpirév mies &E évis eis Bio mpiros Aioys- dos Hyaye wal rd rob xopod FAdrrwce nad tiv déyov mpurayonariy mapecrebacer, Tpeis 88 Kad oxqvoypadlay Lopordijs. ers 88 7d phyeBos ex puxpav pido wad dM. 14 20 fews yedolas 8d 7d ee carupixod peraBadelv dyed dare- cepvindn. 16 re pkrpov ée rerpapérpov iapBeiov eyévero: 13 ply yap mparoy terpaperpy expivro Bud 73 carupuchy ral dpynoriewrépay elvas viv woinow, Mébeas 82 yevoudons air) 4 dbo 7d olkeiov pérpov eSper pédbiora yap rexrt- asedv ray pérpov 1d lapBeldv eorw> onpelov 88 rovrou" miora yop lapBeia dyouer ev rH Siadderp rh mpds EdAprous, eEduerpa 38 Sruydeis wal eeBalvovres ris e- setyciis dppovias. bru 88 ereooSlov wrsjOn wal rd Edd 15 8 xploera: val+ kal A®: val secl. Bursian : xpivera elvas xal apogr. : «pirat «al Forchhammer: fort. xplvera: elvac # xal: adrdé re xar” adrd evar apcirroy } xpbs Oérepa Z ut videtur (Margoliouth) 9. -yevoulyy 3° ody Bekker: yevouévn ofy apogr.: -yevouérys oly AS 10, adrooxediaeruch apogr. : adrorxeBiacruxfs AS 11, @addued apogr.: Paid AC: davducd vel gata Z 12, deapéver apogr.: daudrer AC 15, abrix Bekker: davrfs apogr.: arf AS 19. Mews) AéEess Z (‘orationes’ Arabs): <4 Mis éx> Aéfewr Christ, Omissum vocabulum collato Arabe id esse Mar- Boliouth suspicatur cuins vice Graeculi syrryopla usurpant ——20, sarupraxod AS 21 et 25. lopploy A& 27. eduerpa]) rerpduerpa Winstanley els Necruchy dpyorlay Wecklein (cf. Rhet. ili, 8 1408 b 82): codioum leet. tutatur Arabs verba 25 enueior—28 dpuorlas suadento Usener secl Susemib] 28, post A¥@y punctum del. Gomperz Aa ds apogr.: @Awr Ae: adda ofs HermannARISTOTLE’S POETICS IV. 11—14 19 types or not; and whether it is to be judged in itself, or in relation also to the audience,—this raises another question. Be that as it may, Tragedy—as.also_Comedy 12 —wag_at first_mere improvisation, The one originated with the leaders of the Dithyramb, the other with who of the phallic songs, which are still in use in many of our cities. Tragedy advanced by slow degrees; each new element that showed itself was in turn developed. Having passed through many changes, it found its natural form, and there it stopped. » Aeschylus first introduced a second actor ; he dimin- 18 eee c ished the the _im 1portance of the Chorus, nd | “assigned the. lending part to the dtatogue: - Sophocles raised the number of actors to three, and added scene-painting. Moreover, 14 it was not till late that the short plot was discarded for one of greater compass, and the grotesque diction of the earlier satyric form for the stately manner of Tragedy. The iambic measure then replaced the trochaic tetrameter, which was originally employed when the poetry was of the satyric order, and had greater affinities with dancing. Once dialogue had come in, Nature herself discovered the appropriate measure. For the iambic is, of all measures, the most colloquial: we see it in the fact that con- versational speech runs into iambic form more frequently * than into any other kind of verse; rarely into hexa- meters, and only when we drop the colloquial in- tonation. The additions to the number of ‘episodes’ or acts, and the other improvements of which tradition’ tells, must be taken as already described ; for to discuss~~ a 20 IV. 15—V. 4. 1449 8 29—1449 b 11 és Ecasta xoopnBiwan dyetas Zoro Hpiv elpnudva- ‘ro- yor yap dv tows epyov etn Siefiévar nal? Exacrov. Vi 'H88 xappdia cory domep etmopev uiynors pavrorépev péy, ob pévror nord wacav xaxiav, Gddd rod aloypod dort 1d yedoiov pépiov. 7d yap yedoidy éorw dudprn- pad 1 wal aloxos dvdSvvov nai ob pOaprixdy, olov ed- 35 O05 13 yedoiov mpdcwmov alcxpy Te Kai Siectpappévov Gvev S8trns. ai pev ob vis tpayySias peraBdoess nal? 8? dv eyévovto od AedjOacww, 7) 82 Koppdia Sid Td ph omovddtecBau && dpyiis Baber’ al yap xopiy xwppdéy wav dyé wore 6 dpywv euwxev, GdX’ Ledovrad oar. Hn BF oxiparé Twa abris exovons of Neysuevor abriig mroumrat pumpovetovras. ris 82 mpbowma dméSwnev 4 mpodsyous #3 aMj0n tmoxpirév nal dca rowaira, Hyvintas. 7d 88 pi sOous movelv [Emlyapyos nal Pipus] rd pav && dpyis de Linedlas Fre, rav Be "AGivnow Kpdrns mpéros tpkev adépevos Tis iapBuefs iSas xaBérov roceiv Mbyous Kal pwb8ous. % pdv obv ewomoiia 7H tpaypSle wéyps wav rod werd 4 pérpou [weydrou] piynors elvas crovdaiwv ixordovOycev: Th 1088. 73 pérpov dadodv Exew xa dmayyedav evar, rabry 29, wepl uly oly robruv rosatra add. Ald. ante ferw 82. ddN' § 108 alexpoo Friedreich : 4A 700 <2"> aloxpod Christ: ‘sed tautum res ridicula est de genere foodi quae est portio et ridicule’ Arabs, i.e. AXA pbvov 7d yedoiby dort rod alexpod 8 ubpiby dori xal 7d yedotor E, quod ex duabus lectionibus conflatum esse censet Susemihl (1) 4XAd pubpior ybvor 7d ‘yedotby dor 70h alexpod, (2) ddrd rot alexpod pbpby gor. kal 7d -yedolor 38. yroior (bis) AP 1449 b 8. ol Neybuevor] AAlyox wer of Castelvetro : Adyoe dr [ol] Unener 4. xpoAbyour AS: xpbdoyov Christ: Mbyour Her- mann 6. 'Etxapuos xal bépus secl. Susomihl: <ékeider yap formy> *Bekxapuor xal Ppuis post $Je Bywater, collato Themistio, Or. xxvii. p. 887 A, recte,utopinor 8, eldas AP 9-10. dpe pay roi werd wérpov Thurot (ef. Arab.) : wdxpe ndvov uérpov weyérov codd. : dye per rod ubrprp <é> ytee> neyédy coni. Susomibl : éxpe wey roo wérpy Tyrwhitt: weep pdoou nérpou weyddov Ucberweg 10. weyédov codd.: secl, Bursian: pera Aéyou Ald. et, ut videtur, = 7@ Ald.: rd Ac ‘11, radry AeARISTOTLE’S POETICS IV. 15—V. 4 21 them in detail would, doubtless, be a large under- 15 taking, C V Comedy is, as we have said, an imitation of characters word bad, the ugly. i ot example, the comic mask is 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 history, because it was not at first 1s » treated seriously. It was late before the Archon granted a comic chorus to a poet; the performers were till then voluntary. Comedy had already taken definite shape when comic poets, distinctively so called, are heard of. Who introduced masks, or prologues, or increased the 3 number of actors,—these and other similar details re- main unknown. As for the plot, it came originally from Sicily ; but of Athenian writers Crates was the first who, abandoning the ‘iambic’ or lampooning form, generalised his themes and plots. Epic poetry agrees with Tragedy in so far as it isang imitation in verse of characters of a higher type. ‘They differ, in that Epic poetry admits but one kind of metre, and is narrative in form. They differ, again,Le 22 V. 4—VIL. 4. 1449 b 12—34 Braptpovow: Ere 88 vg prfeer, 4 piv Se pdbiora meipairas bd wlav meploBov pdlov elvar 4 puxpdv éEadrdrresv, 488 emomoula dépiotos 7p xpsvy, nad Torry Brapéper- xalror 15 73 mpérov dpolws év sais tpaypSias Toiro érolouv Kad év rois Emeow. pépn 8 dori 7d pev tabrd, 7d Bo Wea ris s rpaypdias: Bidmep Saris mreph rpaypdias olSe owovdalas wal gairns, olde wal mep) erav: & piv yap éroroila Set, trdpyer th tpayydia, & 88 abtj, ob mdvra ev TH 20 émomoita. VI Theph par ody ris ev Eaperpous panties wad rep) xe pepdlas torepov epodper, rep) 88 tpayydias Myapev dva- aBdvres airis ee rév elpnudvwv Tov ywépevov Epov Tis cbolas. sorw ob tpaypSia plunors mpdtews orovdalas 2 25 wah redelas peyeBos exovons, Bvoperp rbyp ywpls éxd- orp trav eiSdv ev roils poplows, Spdvray wal od 81° dray- yerlas, 8° etov al giBov Tepaivovea rip trav roovrey rabnudrav xdBapow., Myo 8¢ ASvopevov piv déyov tov s Exovra puOysv wal Spyoviav nal péros, 7s 88 yupis Trois 30 elBeou 7d 81d wbrpwv Era pdvov mrepaivecBas nal mdduv Erepa Bid. phrous. eel 8¢ mpdrrovres rovobvras Thy plynow, mpirrov piv e& dvdyens dy ely re pdpiov spayySias 6 Tis Sypews xdopos, era pedorwoula wal réEis- év rovTous yap movoivras riy plunow. déyw 38 Ew pav abriy thy rev 12. Sagépes Hermann (confirm. Arabs) <¢wel> 4 wey Gomperz: 4 adv coni, Vablen: 4 uéy Tucker : 4 uéy yap apogr. rebre (trodre p.m.) A® Buagpdpowwwr Christ 16. Freew ot Avast var. lect Z Diels), ‘in omnibus epesi” Arabs _ raira apogr.: radra AS 1% 25, éxdery ‘Tyrwhitt: éxderov codd. 2 pabmdrn Ae 29, wal uédor] al uérpor Vettori: wecl, Tyrwhitt’ 30. jubror] wbpa Z(‘partes’ Arabs) 84, adriy] rabray Bywater 7ARISTOTLE'S POETICS V. 4—VI. 4 23 in their length: for Tragedy endeavours, as far as possible, to confine itself to a single revolution of the sun, or but slightly to exceed this limit; whereas the Epic action has no limits of time. This, then, is a second point of difference; though at first the same freedom was admitted in Tragedy as in Epic poetry. Of their constituent parts some are common to both, 5 some peculiar to Tragedy. Whoever, therefore, knows } what is good or bad Tragedy, knows also about Epic poetry: for all the elements of an Epic poem are found in Tragedy, but the elements of a Tragedy are not all found in the Epic poem. VI _ Of the poetry which imitates in hexameter verse, and of Comedy, we will speak hereafter. Let us now discuss Tragedy, resuming its formal definition, as resulting from what has been already said. Tragedy, then, is an_imitation of an action that ise serious, complete, and of a certain magnitude; in language| 2%: embellished each kind of artistit ornament, th several kinds being found in separate parts of the play in the form of action, not of narrative; through pity an fear effecting the proper purgation of these emotions, By's ‘language embellished, I mean language into which * rhythm, ‘harmony,’ and song enter. By ‘the several kinds in separate parts, I mean, that some parts are rendered through the medium of verse alone, others again with the aid of song. Now as tragic imitation implies persons acting, it neces- 4 ' sarily follows, in the first place, that Spectacular equip- ment will be a part of Tragedy. Next, Song and Diction, for these are the medium of imitation. By ‘Diction’24 VI. 4—9. 1449 b 35—1450 8 15 35 werpov otvbecw, pedomolay B& 8 Thy Sivas pavepdy dyer maw. ered 88 mpdgeds ore plunors, mpdrreras S25 ind wiv mpatrévrev, obs dvdyen routs Twas evar xard re 7d 400s kal rhv Sidvovav (81d yap TovTw Kal tds uioa mpdgers elval paper words tivas, mépunev 82 atria Sto raw mpdkewv evar, Sidvorav wal 400s, nal xara ravras Kal ruyydvover xa dmorvyydvovar mdvres), Zor 3) Tis pay 6 mpdgews 6 pi0os 4 plunors: Aéyw yap pdGov todrov, riy sotvbecw trav mpaypdtav, ta 88 On, eal” 8 moods Twas elvat paper rods mpdrrovras, Sidvovav 84, ev Bros Xeyov- res dmoBexviacly re 4 ai dmopalvovras ywapny. dvdryen 7 oty wdons tpaypdias pépn elvar &, nal’ & woud Tus early 4 tpaypSia: tadra 8 dort pi00s nab On wat rébis Kal 10 Bidvora. wal Byus nat pedomoria. ols pv yap pepodvras, Boo pépn doriv, Os 88 pupodvras, &, & 88 prpodvrat, tpia, real mapa raira obey. rovros wav obv [ove ddbyor 8 abrév)ds elmeiv xéypnvras rots eldeow: eal ydpdypers yer wav tad 005 Kab poor nal réEw ead uéros Kal Sidvoray doav- 15 70s, péyorov 88 rovrwy early %) Tov mpayydrav oboTacis: 9 35. wérpwr) dvoudrw» Hermann, collato 1450 b 15 36. wiow Maggi: risay cod. 38, Bd 82 Zeller Ba yep otro... wdvres in parenthesi Thurot 1450. a1. wépuxer & apogr.: wépucer AC atria codd.: airlas Christ 3. 8) Eucken: 8@ codd. 4, rotror) rotro Maggi: secl. Christ (cf. Arab.) 5. «a Ac: xa’ & apogr. & ab! & woud apogr.: xadorola AC 12, obx BALyou adray x elev cod. : AMyou abrov ds elweiv coni. Bywater : obk 8Noyo airy
ds elveiy Bursian : obx SNyo airay om. E, sed wdrrus (t= wdvres) add. (vid. Margoliouth). Secluso igitur tanquam glossemate obx éXlyo. airdy, soripsi Os lei; of. Rhet. i, 1, 1354 0 12, ddbyor cod. : ob8er iis elwety A marg., ubi dNiyor glosseme esse suspicor, veram lect. ot ds eixeiy: Dom, or. xxviii, 6 wévrev ry wAelorur is eleeiv, ubi ray whelorur secluserim. Viam monstravit Diels, qui tamen wdyres quoque omisso, Toros wér of iss elweiy acripsit: obk SAlyo adrdy Gomperz: odx éMyo airdy Zeller: Susemibl 18, Byes vel Byw apogr.: Sys AC ray iure suspexerisARISTOTLE'S POETICS VI. 4—9 25 I mean the mere metrical arrangement of the words: as for ‘Song, it is a term whose sense every one under- stands. Again, Tragedy is-the-imitation of an_action ; and an action implies personal agents, who necessarily possess ve qualities both of character and thonght; wos for it is by these that we qualify actions themselves, and these—thought and_charac causes fom which actions spring, and_on actions again all. success or failure depends, Hence, the Plot is oof tural imiitation of the action :—for by plot, I heré mean the he_ineidents. By Character I mean arrangement of -— that in virtue of which we ascribe certain qualities to the agents. Thought is required wherever—a-stetement is proved, or, it may be, a general truth enunciated. Eve dy, therefore, must have six parts, which 7 arts determine its quality—namely, Plot, Character, Dietion, Thought, Spectacle, Song. ‘Two of the parte oon- Se ae ae the objects of imitation. And these complete the list. These elements have been employed, we may say, by the 8 poets to a man; in fact, every play contains Spectacular elements as well as Character, Plot, Diction, Sony, and Thought. But most important of all is the structure of the 926 ts VI. g—14. 1450 a 16—37 Hap tpaypdia plunols eorw obn dvOpdmav add mpd- fews wal Blo: <6 88 Bios> ev mpdter éorly nad rd rédos apatls ris éorlv, ob roiérns: elalv 88 kard wav 7d On mrovol raves, xavd.88 ras mpdgeus ebBaipoves #} Tobvavriov. obkow 20 bras Td On pwapowvras mpdrrovaw, Edd Ta Oy ovp- mrapadapBdvovaw Sid tas mpdges: bare rd mpdynara wal 5 580s rédos rhs tpaypSias, 73 88 rédos phyarov dardvray. br dvev pay mpdgews ode dv yévorro rpayySia, dvev 38 Ody yevorr’ dv. al yap rav véev Tov mrelorer dries 25 tpayydlas etal wad Shas rontal wodAo} Tovoirot, olov wai rv ypapker Zedtis rpis TWodsywrov érovbev* 6 pev yap Tlortyaros dyabbs HBoypddos, 1 8¢ Zevkios ypad ovSev Eyer Hos. eri ddv rus ehebis OF pres Otwds nad Eber wal Biavola eb memompdvas, ob roujoe & fw Tis Tpayy- yo Blas Epyov, EXAA Todd pAdrov 4 waradecorépory rovrows nexpnuéen tpayy8ia, fyovea 88 piOov nal otoracw mpa- drev, mpds 86 tobros Ta péyiota ols uyaywyel 7 zpaypSia, rod pibov pspn éoriv, all re mepurérerat wad dva- ywoploess. Ere onpeiov ir wal of éyyeipoivres mroveiv mmps- 35 Tepov Bivavras rH réer Kad rois HOcow dxpiBoov 4 Ta mpéypara cwloracbas, olov Kad of pirror rounral oxeSsv Gmavres. dpyh wiv obv nad olov uy) 6 wO80s vis tpa- 16. a\Ad xpdkews at Blov xal ebSaiporlas aal % xaxoBaiporla dy wpdte codd., ted alio spectat Arabs (‘sed in operibua et vita, Et eat in opere’); unde Margoliouth ddd xpdtews xal Blov, <é 8 Blor> é wpdte, quod pro- dant Diels, Zeller, Susemihl. Codicum lectionem ita supplet Vahlen, nat eblaorlas cal 4 caxoBaiporla 20, xpdrrovew] xpdrrerras rooiew coni. Valen oypwapadapfbrove. Guelferbytanns pr. m., Spengel: evnrepdaupdrovew AC 26 ot 27. Tlodtyrworor et Wodtyrworos AS 28. Aéfe nal dcavolg Vablen (confirm. Arabs): Ager cal Siayolas codd. «29. of add. apogr. (‘nequaquam” Arabs): om. A®: fort, ol8auis Margoliouth 80. Hapogr.: HA® 36. ewleraabas cod, : evnerdvas Thurot 10 un 12ARISTOTLE’S POETICS VI. 9—14 27 incidents, “For Tragedy is an imitation, not of men, but» of an action and of life, and life consists in action, and ‘ its end is a mode of action, not a quality. Now 10 character determines men’s qualities, but it is by their, ) actions that they are happy or the reverse. Dramatic action, therefore, is not with a view to the representation \ of character: character comes in as subsidiary to the | actions. Hence the incidents and the plot are the end of / a tragedy; and the end is the chief thing of all. ~ Again, 11 without action there cannot be a tragedy; there may be without character. The tragedies of most of our modern + poets fail in the rendering of character; and of poets in general this is often true. It is the same in painting: and here lies the difference between Zeuxis and Polygnotus. Polygnotus delineates character well: the style of Zeuxis is devoid of .ethical quality> Again, 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 o play which, however deficient in these respects, | yet has a plot and artisticall Besides which, the most powerful elements of emotional 13° _constructed_ incidents. ' interest in Tragedy —Peripeteia or Reversal of Intention, and Recognition scenes—are parts of the plot. A further 14 proof is, that novices in the art attain to finish of diction » and precision of portraiture before they can construct the plot. It is the same with almost all the carly poets. The Plot, then, is the first principle, and, as it were,28 VI. 15—19. 1450. 38—1450 b 19 ypSias, Sebrepov $8 7d 40° mapamdsjovov ydp éorw Kai 16 wor én) ris ypaducts: eb ydp tus evarelypere roils xaddorous gappdnors xv8qv, ode dv spolws ebppdverev wal reveo- ypadijoas eixévar Zorw te piunows mpdkews wad Sd ravryy ” pémora tav mparrévrev. tplrov 88 x) Bidvow- robro B¢ 16 séorw 7b réyew SivacBas 12 évévra nal 7d dppérrovra, dmep éri trav Abyov Tis TodTIKAs Kal pyropLEfs Epyov torlv: of pav yap dpyator modrixds érolow Myovras, of 82 vow pyropuxtis. Lori 88 Bos piv rd rouoirov 8 By doi Thy 17 mpoalpeaw éroid rus [mpolaipeiras 4 dedyer Submep ode 10 Zxousw Hos rav Myo &v ols ob« kore Sirov H & ols pn" Bros Eon & 7s [mpolaipeiras 4 gebyer 6 Mywv" Bedvora 8é, ev ols dmrodexvioval ru cs Eorw 4 tos ode Lor 4 xabdrov 7 dropalvovrar. réraprov 88 ray Neyoudvwn 4 18 Nékiss Ady 86, owep mpdrepor elpnras, AEw elvar thy 158c¢ rig évopacias épunvelar, & nal em) rév euperpov Kad em) rev Abyow exer Thy abrhy Bivayw. Tov 88 rovwev 19 [révre] 4 pedomouia péyoroy trav ivopdrov, 88 Byus spoxaywyindy per, dreyvdrarov 82 xab fesora olxetov ris woin- mucis: as yap ris tpaypdias Bivayis eal dvev dydvos 38, wapardfoiv ... elxéva supra post xpayudruv v. 31 collocavit Castel- vetro. 1450 D1. ba relyee AP, recodd.: yap Hermann 6 dnl rav débyur secl. M. Schmidt 9-11, owoid ms... Gedya 6 Adyuw Gomperz, alios socutus: droid ris (6 wala rls) ey ols odk tort Sper poaspeiras 4 gedyer Bibxep ob Exovew flor rar Nbyuw ev ols un8! Brus Cory 5 mus (8 7 apogr.) wpoaipeirar 4 Gebyer 6 Xéyuw AS: éwola rs: Bibwep odK Exovew .. . pebyer 6 NMyuw (vorbis ey ols ob Lori Sidov 4 xpoaipetrac A gecye. omissis cum Arabe) Margoliouth. ‘Suspicatur Susemibl é oft odx for... . gebyer ot év ols und’ Brus gory . . . 9} Gebye duplicem lectionem foie 11, 71 apogr.: 7s A® 13. Aeyoudruy Gomperz: wer Abyur codd.: & Abyy Bywater 17. lyre At: secl. Spengel (confirm. Arabs) rluxrov apogr. 18. dwexvdbraroy Ac 19, tows Meiser: ds AS: 4 apogr. : Sur GomperzARISTOTLE’S POETICS VI. 14—19 29 the soul of a tragedy: Character holds the second place. uso A similar fact is seen in painting. The most beautiful 15 colours, laid on confusedly, will not give as much pleasure as the chalk outline of a portrait. Thus Tragedy is the imitation of an action, and of the agents, mainly with a view to the action. Third in order is Thought,—that is, the faculty of 16 saying what is possible and pertinent in given circum- : stances. In the case of oratory, this is the function of the political art and of the art of rhetoric: aud so indeed the older poets make their characters speak the language of civic life; the poets of our time, the language of the 7 thetoricians, Character is that which reveals moral i7 purpose, showing what kind of things a man chooses or avoids. Speeches, therefore, which do not make this “nanifest, or in which the speaker does not choose or } avoid anything whatever, are not expressive of character. Thought, on the other hand, is found where something is proved to be or not to be, or a general maxim is — enunciated. Fourth among the elements enumerated comes 1s Diction; by which I mean, as has been already said, the expression of. the meaning in words; and its essence is the same both in verse and prose. Of the remaining elements Song holds the chief place 19 * among the embellishments. ‘The Spectacle has, indeed, an emotional attraction of | x its own, but, of all the parts, it is the least artistic, and connected least with the art of poetry. For the power of Tragedy, we may be sure, is felt even apart from representation and actors, Besides, the production of|30 VI. 19—VIL. 5. 1450 b 20—1451 25 20 kal troxpurov Eorw, ere 82 xupustépa mep) tiv dmepyaciav réov Bpewy 4 Tob oxevorovd réyun ris Tév moupréey dori. VII Auwpiopdvov 88 rovrov, Mywpev perd radta mroiay tw bet thy cborasw elvar tav mpaypérav, red) Todro kal mpérov nab weyorov ris tpaypdias deriv. xetrar By 2 25 juiv viv tpaypdiay redeiay nal rns mpdgews elvar l- prow exobons Te weyeBos- ore yap Sdov eal pndéy Eyov péyeBos. Sdov BE dori 7d Exov dpyyv Kad péoov ab Te-3 evry. apy BE dorw 8 abrd pay ph EE dvdyens per? dro doriv, yer’ exeivo 8 Erepov wépurev elvas 4 yiverBar- jo teheurh) 88 robvartiov b abd per’ Ero mégunev elvar eE dudyens 4 cs émd 13 word, ped 88 rob70 Edo obdév- péoov 88 8 wal abrd per EXdo wal per’ éxeivo Erepov. Bet dpa rods cweorirras ed wibovs pO Srdbev Exvyev epxerbar pi Srov eruye tedevrav, GNAA Kexpijebas Tals 35 eipnuévas iSéais. ere 8 rel 7d Kaddv wal Spov Kad dmav 4 aparyua 8 ovvéorneer éx twa ob povov Taira Teraypiva Bet Eyew GrrAd nal péyeBos tmdpyew ph 1d Tydv- 7d yap radov év peyéBer nat rages doriv, 81d obre méppexpov ay me ylvorro addy SPov (cuyyetrac yap 4 Ccwpia eyyis 40 705 dvaveOrrov xpévou ywouérn), obre mappeyebes (ob yap usta Gua % Oewpia vyiverar GdX’ olyeras trois Oewpodor 7d by nal 13 ddov ex rhs Bewpias), olov et pupiav craSlwv ety Spov- dove bet xabdmep eri tov cwpdrwv nab em rev 5 Spev zyew psy péyeBos, todro 82 edowvorroy elvat, ofrw 24, Bh Bywater: 3° A° 28, eh e& dvdynns codd.: e& dodyens mi) Pazzi 35, i8éaus apogr.: elBlais AC 88. wdyuixpor Riceardianus 16: ray wuxpdy AS: wdov wixpby Laurentianus Ix. 16 40, xpévov secl. Bonitz: tutatur Arabs raypéyedes Riccardianus 16: wav plyedor AC: wéov uéya Lauren- tianus lx.16 1481 a 3. cupdrwr) overnudruv BywaterVIL i / ARISTOTLE’S POETICS VI. 19—VII. 5 31 spectacular effects depends more on the art of the stage machinist than on that of the poet. These principles being established, let us now discuss the proper structure of the Plo$, since this is the first and most important part of Tragedy. Now, w, according to our definition, _Tragedy is anz imitation of an-ectionthat—ts-complate, an and whole, ai of a certain magnitude; for there may be a whole that iS wanting in magnitude. A whole is that which has 3 a beginning, a middle, and an end. A. beginning is that which does not itself follow anything by causal necessity, but after which something naturally is or comes to be. Tollows some other thing, either by necessity, or as a rule, but has nothing following it. A middle is that which follows something as some other thing follows it. A 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 ote a living organism or any whole composed of parts, cai not only have an orderly arrangement. of parts, but must | _ also be of a certain magnitude; for beauty depends on | magnitude a and order. Hence an exceedingly small picture cannot be beautiful; for the view of it is con- fused, the object being seen in an almost imperceptible moment of time. Nor, again, can one of vast size be sia beautiful; for as the eye cannot take it all in at once, the unity and sense of the whole is lost for the spectator ; as for instance if there were a picture a thousand miles long. As, therefore, in the case of animate bodies and 5 pictures a certain magnitude is necessary, and a magni-32 VIL. 5—VIII. 3. 1451 8 5—26 seal dri rév piOpy Exew pay pinos, tobro 88 edpympdver- tov elvas. Tod pu}wous Spos pav apis Tods dydvas nal 6 Thy aloOnow ob tis tégans eoriv: el yap eee éxardy rpaypdlas dywviterbat, mpds wrepudpas av Hyavitovto, Gomep word xal Errore facw. 6 8 xar’ abry ry piow7 10 709 mpdyparos Spos, ded wav 6 peltwr péype tod ovv- Sydos elvas xadrdMwv éotl ward 7d péyeBos ds 88 a- mrés Scopicavtas eimetv, ev bop peyéber Kata 7d cixds 4 7d dvayxaiov épekis wyvopévev cupBalver els edrvyiav 14ée SvoTuylas 4 e€ edruylas els bveruylay peraBddrew, VIII ixavis Spos dotlv tod peyéBovs. MiOos 8 carly els oy Bomep twvis olovras dav mepl sya H+ woddd yap xal dmeipa $6 vt cupBaiver, e& dv [évtor] obde eorw &: obtws 58 nal mpdes évds moddai elow, é& dv pla obSepla yiverar mpakis. 8:3 wdvres dolxacw dpap-2 2oTdvew Sco tav romtav “Hpaxdnida OnoniSa cat ta roaira roujpara menoujnacw: olovras vyép, émel els ty 6 ‘Hpaxdjjs, &va wal tov piOov elvar mpoojnev. 6 8 “O-8 pnpos Somep al td ddra Siadéper nal roir’ Zouev xa- Aas ieiv froe Bud réyvqv f Sid dow: ‘Odtcceav yap 25 movay obk éroinoey dmavta boa abt@ ouvéfn, olov my- ryivas pav év 76 Mapvacg, parivas 88 mpooroujoacdas ev 6. 8 add. Bursian nay wpbs AS: xpbs uly apogr. 8. Kheyddpar spogr. 9, AAAere gacly codd.: Ador’ eiddacw M. Schmidt ; quod olim recepi, sed sor? xal dddore vix aliud sigrificare potest quam ‘olim aliquando.’ Quao in Arabe leguntur (‘sicut s lemus dicere etiam aliquo tempore et aliquando'), alterutri leotioni subs dio ease possunt W. 4A Guelferbytanna: yéve: AC (cf. 1447 a 17): 7G y Gol Vettori doluw secl. Spengel 18, al ante woAAal add. apogr.VIIL ARISTOTLE’S POETICS VII. 5—VIIL 3 33 tude which may be easily embraced in one view; 80 in the plot, a certain length is necessary, and a length which can be easily embraced by the memory. The 6 limit of length in relation to dramatic competition and sensuous presentment, is no part of artistic theory. For had it been the rule for a hundred tragedies to compete together, the performance would have been regulated by the water-clock,—as indeed we are told was formerly done. But the limit as fixed by the nature of the7 drama itself is this:—the greater the length, the | more beautiful will the piece be by reason of its size, provided that the whole be perspicuous, And to define the matter roughly, we may say that the proper magnitude is comprised within such 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.'¢! .” Unity of plot does not, as some persons think, consist in the unity of the hero. For infinitely various are the incidents in one man’s life, which caunot be reduced to unity ; and so, too, there are many actions of one man out of which we cannot make one action. Hence the2 error, as it appears, of all poets who have composed a Heracleid, a Theseid, or other poems of the kind. They imagine that as Heracles was one man, the story of Heracles must also be a unity. But Homer, as in alls else he is of surpassing merit, here too—whether from art or natural genius—seems to have happily discerned the truth. In composing the Odyssey he did not include \ all the adventures of Odysseus—such as his wound on Parnassus, or his feigned madness at the mustering of D“34 VIII. 3—1X. 5.1451 2 271451 b 12 1G dyepug, Sy ob8tv Barépov yevouévov dvayeaiov jv 7 elxds Odrepov vyevéoBas, Gddd mwepl wlav mpatw olav Ayouer viv 'OSicceav cvvécracer, spolws 82 Kad Thy 30 Thedda. yp} obv nabdmep nal ev rais EdAas pepnrixais 7 pla 4 pbynors évis dorw otro nad rov pi0ov, dre mpatews plynots dort, pedis Te elves wal tabrys Ans Kat 7d pépy cvvectd- vat tév mpaypdrav obras dare perarWepévov twos pépovs 4 ddarpovpévor diapepecBas wal eiveicBas Td Sdov 8 yap 35 mpoody % pi mpocdy pndiv sored ewtdqrov, ovStv poptov Tod drov éorly, ' IX @avepov 8 ee rav eipnudvov kat drs ob Td Ta yevipeva Aéyeww, ToiTo mounrod Epyov eariv, 6dr’ ola dy qyevoito kal rd Sard xara To eixds } 7d dvaynaiov. 6 yap? wi» leropixds eal 6 roinrhs ob TH 4 Eupetpa réyew 1) Epetpa Siadépovew (etn ydp av 7a ‘HpoSérou els pérpa rebivar, wad obSev frrrov dv etn ioropia ris werd wérpou 4) Sve perpwv)* Dra toirp Siadéper, rH Tov ply Ta yevdpeva éyewv, srbv 8 ola dv ylvorro. 813 xal gurovopdrepoy xab3 oxovdasrepov woinats ioroplas éoriv: 4 pay yap molnows Badrov 7d Kabérov, 4 8° ivropia Ta Kab” ExacTov réyel. Zorw 8% eabddov per, 78 Toi Td mola dra cupBaiver 4 Aéyery H mpdrrew xara rd eleds f 7d° évaywaiov, ob oto ro xdkeras 1} woinows svopara ereriBepévy: 13 82 Kal’ Sxa- arov, re "Adu Bidbns Expater 4 rh Erabev. emt pev ody Tis 5 xapedias Sn toiro Bidov yéyovev: cvoricavres yap Tov 27. A add. apogr. 29, Myouey apogr.: Aéyorwer AC: Ay Néyouser Valen 82, cal radrqs] radrqs xal Susemihl 34, Sagdpecda] SapbelpecBar ‘Twining (‘corrumpatur et confundatur’ Arabs): habuit fort. utramque lect. Z (Margoliouth): fort. SiagopeioOa: (cf. de Div. 2. 464 b 13) 35. wrouei, éxléhov ws apogr. 37. ob 78 apogr. (confirm. Arabs): ofrw Ac 38, -yerduera Riccardianus 16: yorbpera cott. $9. ral rd dvvard secl. Maggi 1451 b 4, robry 1 robro... 7 Ae: roo... 73 Spengel 10. +9 apogr.ARISTOTLE’S POETICS VIII. 3—IX. 5 35 the host—incidents between which there was no necessary ) or probable connexion: but he made the Odyssey, and) likewise the Iliad, to centre round an action that i in fone | sense of the word is one. As therefore, in the other 4 Atiitative arts; the imitation is one when the object imitated is one, so_the plot, being an imitation of an action, must imitate one action and that a whole, the structural union | of the parts being such that, if any one of them is! displaced or removed, the whole will be disjointed and! disturbed. For a thing whose presence or absence makes no visible difference, is not an organic part of the, whole. 2 Ix It is, moreover, evident from what has been said, ) ¥4 that it is not the function of the to relate what according _to-the trw—of-probability ornecessity. The 2 us1 > poet and the historian differ not by writing in verse or in prose. The work of Herodotus might be put into verse, and it would still be a species of history, with metre no less than without it. The true difference is that one relates what _has happened, the_other what may happen, Poetry, therefore, is a more philosophical and a higher thing than history: for poetry tends to express the universal, history the particular, By the universal 4! I mean how a person of a certain type will on occasion speak or act, according to the law of probability or necessity; and it is this universality at which poelry aims in the names she attaches to the personages. ‘The particular is—for example—what Alcibiades did or suffered. In Comedy this is already apparent: for here 5 the poet first constructs the plot on the lines of prob-36 IX s—ro. 1451 b 13-33 pOGov Bid Tad eixdrov ob 7d Tuxévra dvdpata ton Glaoww, xab oby Samep of fayBorowl mepl tov Kab? BeacTov 15 rowodow. emi 88 nis Tpaywdias Tov yevopeven svopdrar 6 dyréxovrat. atriov 8° re miBavév éore 73 Svvarév, ra pay ob ph yevipeva obra morevopev elvar Sard, rd 88 ye- véyeva gavepiv S71 Suvard, ob yap dv eyévero, i ty aSv- vara. ob piv ddAd Kal ev Tals tpaypdlars eviaus wav v7 204 860 rév yupipwr éoriv dyoudrev, ra 88 Edda memoin- bya, ev evlass 88 ob8° &y, olov ev 7 "AydBwvos ’AvBel- Spots wap &v votre é re mpdyyara Kal rd évépara memolyrat, ead ob8ey rrov edppaiver. dor’ ob mdvtws elvar Syraréor Tay 8 mapadeSopéver piBor, mept obs ai tpaywSiar clair, dvr. as beoBas. wal yap yedoiov roiro Syreiy, eel xab rd vb- pina drbyows yvdpid dorw EX’ Spe edppaiver mdvras. BArov ody ee roUrav Bre rv wounTiy wAddov Tov wbBew 9 clvas Set romriv 4 trav pérpwr, bop montis Kate Thy pb- pnolv dovw, pypetras 88 ras mpdkes. dv dpa cupph yerd- 30 peva mrovelv, obey Hrrov wounris éoru Tov yap yevoudvav dna obdiy xwdber Toabra evar ola dv eixds yevéoBas nab Buvard yevéobar, xab! 8 exeivos abrav mors eon. rév 88 EdAwv pbBov Kal mpdkewv ai emevooSudBeus 10 18, ob scripsi (‘nequaquam’ Arabs): ofrw oodd. (cf. 1451 8 87) én niGlam: apogr. 14. rd AS: rir apogr. 16. weiBarby AC 19, dr i. 12) 21, ob8' &] ‘quemadmodum ai quia unum ease isse videtur é 1d d-yadr os ay 6 006" by AS: obey apogr. bonum statuit* Arabs; mle Syrus I (Margoliouth) "AvOet Welcker: &v@ea codd. 23. Ser’ of] de roi Ac of wévrus elves, ai sana sunt, arcte cohaerent (cf. oly éxdw elvas, xara Sbvauir elvas, xard toro elvas, similia): elras socl. Spengel 24, al rparyySlas coni. Vahlen 31. xal dard yerteGar socl. Vorlinder: om. Arabs 83. raw 32 &XAuw Tyrwhitt : rGv 82 dxrdde cod. : de\ds 88 rar CastelvetroARISTOTLE’S POETICS IX. 5—10 37 ability, and then inserts characteristic names ;—unlike the lampooners who write about particular individuals. But tragedians still keep to real names, the reason being 6 that what is possible is credible: what has not happened we do not at once feel sure to be possible: but what has happened is manifestly possible: otherwise it would not have happened. Still there are some tragedies in which 7 there are only one or two well known names, the rest being fictitious. In others, none are well known,—as in Agathon’s Antheus, where incidents and names alike are fictitious, and yet they give none the less pleasure. We must not, therefore, at all costs keep to the received 8 legends, which are the usual subjects of Tragedy. Indeed, it would be absurd to attempt it; for even subjects that are known are known only to a few, and yet give pleasure _ to all. It clearly follows that the poet or ‘maker’ 9 should be the maker of plots rather than_of verses ; since he is a poet because he imitates, and what he imitates are actions. And even if he chances to take an historical subject, he is none the less a poet; for there is no reason why some events that have actually happened should not conform to the law of the probable and possible, and in virtue of that quality in them he is their poet or maker. Of all plots and actions the epeisodic are the worst. 1038 IX. 10—X. 3.1451 b 34—1452 2 19 elaty xelpirrai> déyeo 8 éwesodusby pidor dv g ta éreva- 35 68a er’ ddAgra ott’ cleds ott’ dobyen elves. Toairar 82 wrovoivras ind piv tev patdev wowntév 3: abrous, td 82 rev dyaBv Sid Tods twoepitds- Gyerlepata yap movbvres nal mapa Thy Bivaysv wapareivovres pobov Tod- ware rduis Sracrpiew dvayedtovras rd epetis. éwet 88 ob 11 Hévov redelas dori wpdtews 7 wiunows GAAA Kal poBepey wad decay, Taira 8 yiveras [eal] pduora Stay yevytae apa Tiy Sdkav, kat pEddov 80° EdAgA|- 7d yep Bav- 12 spacrav otras eer paddov 4 ef dwd Tod abropdrov kal Tis Togs, érel nal ray awd Tins Taira Oavpacustara Bonet Sea dowep ewlrndes gaiveras yeyovivas, olov ds 6 dv8pids 6 rod Mirvos ev “Apyes dwcerewer tov altwov rod Oavdrov 743 Mirus, Ocwpoivrs eumectsv- Zome yap ta toaira 10 oe cixG yevéoOai Bore dvdynn rods ToovTous elvas Kad- Movs pibous. X —_Elod 88 raw piOwv of wav dmdoi of 88 werdeypevor, rad yap ai mpdtas dv pyproes of pi0oi ciow imdpyou- ow eb8ds obcat roatrar. eyo 88 drip pev mpakw hee is pwoperns Gowep Spurras owvexois xal pads dvev wepere- elas 4 dvayvupicpod 4 peréBacts yivetas, mewdeypivy 8 dorly 4s perd dvayvepiopod 4 weprmereias 4 dppoiv 7 perdBacis dorw. raira 8¢ Sei ylvecBas ef airiis Tis ov- ordeews Tod utOov, bore ce tev mpoyeyernpéven cup Batvew 87. droxperds A© (cf. Rhet. iii. 11.1403 b 33): apiras apogr. 88. raparel- vores apogr.: raparelvarres AS 1453 a 2. 4 secl. Gomperz 3. al secl. Susemihl 4. nal uAov post cal wddiera cod. : post Sétar Reiz (cf. Rhet. iii, 9. 1410 a 21): cal xdX\or Tucker: xal padAov sive xai hduora eecl. Spengel: xal waddor ante cal uddwre Richards tray add, Beiz 9. hr AS 17. 8 dovrln te Susomibl : 88 Métis AP: 3 4e Biccardianus 16: 28 xpagis apogr.: 3é covir & Hr (h. e. 26 “A” cfs) VahlonARISTOTLE'S POETICS IX. 10—X. 3 39 T call a plot‘ epeisodic’ in which the episodes or acts suc- | ceed one another without probable or necessary sequence. \ Bad poets compose such pieces by their own fault, good poets, to please the players; for, as they write show pieces for competition, they stretch the plot beyond its wz capacity, and are often forced to break the natural con- tinuity. | 7But again, Tragedy is an imitation not al: completa action, Sit_at events TaTTle a and pitiful. Sich ) an effect is best produced when the events come on us {f /’ by surprise; and the effect is heightened when, at the | same time, they follow as cause and effect. The tragic 12 wonder will then be greater than if they happened of , themselves or by accident ; for even coincidences gre most striking when they have an air of fee may instance the statue of Mitys at Argos, which fell upon his murderer while he was a spectator at a festival, and killed him. Such events seem not to be due to mere chance. Plots, therefore, constructed on these principles are necessarily the best. . x. Plots are either Simple or Complex, for the actions in real life, of which the plots are an imitation, obviously show a similar distinction, An action which is one and 2 continuous in the sense above defined, I call Simple, when the change of fortune takes place without Reversihof | Intention and without Recognition. A Complex action is one in which the change is | accompanied by such Reversal, or_by Recognition. or { by both. These last should arise from the internal s structure of the plot, so that what follows should be the &. . paebeleads = me feet so Mant fi - Gene e. mak peeTicn Cty Ge ov pi lle DOA e se l40 X. g—XL 4. 1452 2 20—1452 b 2 204 eE dvdyens % xatd 7d eixds yoyvecOar taira: Biapéper wp word 1d ylyvecOar rade Sid rade f perd réBe. XI “Eors 88 meprréreva piv 4 els 7 evavrlov ray mpatro- pévov peraBors, [xabdrep elpyrat,] nal roiro 88 domep Abyopen ard 7d eleds 4) dvayeaiov: Homep ev rH OlSimod. 25 Ody oe ebdpaviy Tov OiStrovy nal dwadddkwv roi wpos tiv pyrépa poBou, Snddcas bs Hv, Todvavriov érolncev: rad dv 1G Avyeet 6 pv dydpevos cs dmoBavotpevos, 5 88 Aavads dxodouBiy ds dmoxrevév, tiv wav cuvéBy ee rav mempaypévov dmobavetv, Tov 8 what, dvayvoprors 2 30.8¢, Bomep Kai roivoya onualver, & dyvolas eis woow peraBory # eis qudiay 4 els ExOpav trav mpas ebruylav 4 Svoruylay dpiopévwv: eaddéorn 8 dvayvdpiors, Srav dpa mepumérevar ylvovras, olov exer 4 ev 7H Oidtrodi. elolv wavs ody nal GdAat évayvopicers: kal yap mpds dypuya nad Te a5 Tuydvra korw cs mep elpnta cvpBaiver, wad et mé- mpayé Tus 4 wh mémpayev zorw dvayvepioa, add’ 7 pd- Mora To piBov Kad 4 pdducta Ths mpdkews 4 eipnpdrn eoriv: 4 yap tovabry avaryvdpucrs wad repuméreva % Edeov 4 usa Efex} Go Bov, ofov mpdtewv % tpaypdia plynors imrdnerrac- &re 88 wal 5 dtuyeiv kad 7d ebruyeiv emt rév TowotrTev 20. raira] rdvarria Bonitz : rd Serepa Gomperz 23. xaOdwep elpyras secl. Zeller: <> nad" & xpoypyras (doleto commate post uerafod#) Essen 81. Post &xOpay add. 4 @do v1 Gomperz 82. dua wepererelg Gomperz 3 33, ybrorra: At olay Bywater Gs Seep Spengel : Gowep AP: 86 <8>xep Gompert cufalre AS: cunfalrer apogr. 36. 4 apogr.: ef AS 38, xal wepiwéreia secl, Susemihl kal repirtrea } Preow coni. Vablen 1482 b 1. olur apogr.: oly Ac 2 tr 88] éxeidh Susemihl (commate post dxéxecras posito)ARISTOTLE’S POETICS X. 3—XI. 4 41 necessary or probable result of the preceding action. It makes all the difference whether any given event is a case of propter hoc or post hoc. XI Reversal of Intention is a change by which the action veers_round to its opposite, subject_always to our ile of probability or necessity. Thus in the Oedipus, the messenger comes to cheer Oedipus and free him from his alarms about his mother, but by revealing who he is, he produces the opposite effect. Again in the Lynceus, Lynceus is being led away to his death, and Danaus goes with him, meaning to slay him: but the outcome of the action is, that Danaus is killed and Lynceus saved. - Recognition, as the name indicates, is a change frome ignorance to knowledge, producing love or hate between) 7 oe. fit the persons destined by the poet for good or bad fortune|od-a.ae%era The best form of recognition is coincident with a Revel of Intention, as in the Oedipns, ‘There are indeed other 3 forms. Even inanimate things of the most trivial kind may sometimes be objects of recognition. Again, we may recognise or discover whether a person has done a thing or not. But the recognition which is most intimately ansonngetgs with the plot and action is, as we have said, |»). “the recognition of persons. This recognition, combined 4\ -. Ue. e use» with Reversal, will produce cither pity or fear; and actions © @¢" ~*~ prodneing these effects are those which, by our definition, ‘Tragedy represents. Moreover, it is upon such situations that the issues of good or bad fortune will depend.42 XI. 5—XII. 3. 1452 b 3—25 aupBioeras eek 8h %) dvayvopiars Tivdy dor avaywopiats, § ai piv Bartpou mpas Tov Erepov pévor, Srav 7 Sijos arepos gris eonw, dré 88 dpporépous Bef avayvepioas, olov % pav "Ipuyéveca tH ‘Opéorn dveyvoplabn ce ris wénypews Tis emeoroniis, éxeivou 82 mpas Thy “Ipuyéveay GdAnS Ber avayvepicews. Avo pav odv rob wiBov pépy rep) rair’ dori, mepuméresa 6 10 nal dvayvepiars, rptrov 88 wdBos. [rovrav 8¢ repuméreva pav ral dvayviopiors eipras,] dBos 8¢ core mpakis pOaprixiy 4 SSuvnpd, olov of re ev rH gavepp Odvaror wai ai meps- wSuvias nal tpdces eal dca Toira. XIL —- [Mépn 88 rpaypdias ols wév as eiSeou de? ypiioba 1g mpérepoy elmouev, ward 88 7d moody kal els & Siaspetras nexwpiopéva rade eoriv, mpdoyos erevaddiov éoSos xo- pixdv, kal robrou 73 pv mépodos 7d 88 otdaipov: Kowa pav dmdvrav radra, 11a 88 ra dd Tis cxnvis Kad Koppor. dorw 8é mpédoyos wav pépos Sdov tpaypdias 7d mpd xopod 2 20 mapobou, éretdSiov 88 pépos Edov tpayySias Td perati Srwv xopimdv pedév, eobos 8¢ pépos Brov tpaypdias web? 8 ob Ears yopod péros- yopieod 88 mdpodos wav 4 amporn rébis BAy xopod, atdaipov 88 péros xopod 7d dvev dvanalarov nal tpoxatov, xéppos 88 Opfvos xowds xopod wat as dmd cxnviis. pépn 88 rpaypdias ols pay ds efBecr Bei 3 3. ével 8h Parisinus 2088: éreidh codd. cett. 4. Exepo0] traipor Z, ut videtur Grepos Parisinus 2038: tepos codd. cott. 7. dcelvov Bywater : éxelrw A®: éxelvy apogr. 9, weptsecl. Maggi: om., ut videtur, Zs ratr’} raid Twining 10, rotruv 8. . . elpnras sect. Susemihl : om, Arabs 12, of re apogr.: tre AC 14, totum hoe cap. secl. Ritter, recte, ut opinor 17, xowad pay . . . xbuuo del. Susemihl 19.” wpoxwpot Ae 23. 8hy Westphal: Srov Ac 25. raw add. Christ praceunte Ritter ‘hr elBeat add. apogr.ARISTOTLE’S POETICS XI. 5—XII. 3 43 Recognition, then, being between persons, it may happen 5 that one person only is recognised by the other—when the latter is already known—or it may be necessary that the recognition should be on both sides. Thus Iphigenia is revealed to Orestes by the sending of the letter; but another act of recognition is required to make Orestes known to Iphigenia. Two parts, then, of the Plot—Reversal of Intention 6 ~ and Recognition—turn upon surprises. A third part is the Tragic Incident. The Tragic Incident is a destructive or painful action, such as death on the stage, bodily agony, ! wounds and the like. - XII ,." [The parts of Tragedy which must be treated as 2. oe . elements of the whole, have been already mentioned, , 2“ ~~ ‘We now come to the quantitative parts—the separate parts into which Tragedy is divided—namely, Prologue, Episode, Exodos, Choric song; this last being divided into Parodos and Stasimon. These are common to all plays: peculiar to some are the songs of actors from the stage and the Commoi. The Prologos is that entire part of a tragedy which 2 precedes the Parodos of the Chorus. The Episode is that entire part of a tragedy which is between complete choric songs. The Exodos is that entire part of a tragedy which has no choric song after it. Of the Choric part the Parodos is the first undivided utterance of the Chorus: the Stasimon is a Choric ode without anapaests ~~ ~ or trochaic tetrameters: the Commos is a joint lamenta- tion of Chorus and actors. The parts of Tragedy which 3 must be treated as elements of the whole have been i“4 XIL. 3—XIIL. 3.1452 b 26—1453 a 10 xpiio8a. mpbrepoh etmaper, xara 88 73 moody Kal els & Biaspetrar xeywpiopéva trait’ eoriv.] XIE ‘Oy 88 Bel oroydterbas nad & Sef edraReioBar ovv- tordyras rods pious wal mdbev Zoras 7d THs tpaypSias Ep- 30 yor, epebiis dv ely Neeréov rois viv eipnudvors. érreidi) obv 2 Bet rhy otvBeow elvas ris KaddNorns tpaypdias pi) dmdjv EAA wemreypeqy Kal ravrny GoBepiv Kai eeeway elvar mapnricty (rodro yap Biov ris roadras puuricews eoriv), mparov ev dirov Sr. obre Tobs emceineis Evdpas Sel pera- 35 BddAovras paivecOar e ebruyias els Svorvylav, ob yap GoBepdy ob88 erecivdv robro GAA puapsy éorw* obre rods moxOnpods eE drvylas els ebruyiav, drpayySérarov yap roir’ dort rdvrav, od8ev yap exer dv Sei, obre yap girdvOpe- Mss a rov obre deewby obre poBepsv eorw* ob8" ab Tov obé8pa movnpsy ef ebruyias els Svetvylay peramlmrew: 7d pdv yap gardvOpwmov Eyor dv % rovadrn oboracis EX’ obre 2deov obre poBov, 6 pe yap epi tov dvdgidy dorw Svervxoivra, 5.6.88 mep) rv 3uovor, Ereos pév meph rv dvdgiov, psBos BE mrepl tiv Spoor, bare obre ddeewiv obre Gofepiv Zora rd cvpBaivov. 6 weratd dpa rovrwv dovmds. tors 82 ro.obros 8 5 pore dperi Siapépwv nad Sixarootvp, prhre Bid xaxlav wal poxOnplav peraBdrrov els tiv Bvoruylay ddrd By rodpaprlay rd, tov ev peydrn SdEn Svtwv Kab ebroyle, 28, Sy apogr.: Gr A 1453.81. ab viv apogr.: aird Ac 5, hear aay... rdv Suocor secl. Ritter (non confirm. Arabs)‘ te BY : { ys y ARISTOTLE’S POETICS XII. 3—XIIL 3 45 Deady mentioned. The quantitative parts—the separate ¥ parts into which it is divided—are here enumerated.] aq. (die 4 A a 8S Nw Ma "if no — As the sequel to what has already been said, we must proceed to consider what the poet should aim at, and what he should avoid, in constructing his plots; and by what means the specific effect of Tragedy will be produced. . A perfect tragedy should, as we have scen, be arranged 2 not on the simple but on the complex plan. “It should, moreover, imitate actions which excite pity and fear, this being the distinctive mark of tragic imitation. It follows > .~ plainly, in the first place, that the change of fortune presented must not be the spectacle of a virtuous man brought from prosperity to adversity: for this moves neither pity nor fear; it merely shocks us. Nor, again, that of a bad man passing from advei ity to prosperity : s possesses no single tragic quality; it neither satisfies the moral sense, nor calls forth pity or fear. Nor, again, should the downfall of the utter villain be ex- hibited. A plot of this kind would, doubtless, satisfy the moyal sense, but it would inspire neither pity not! fear; for_pity is aroused by unmerited misfortune, feat! by the misfortune of a man like ourselves. Such an event, therefore, will be neither pitiful nor terrible. xe! § s S for nothing can be more alien to the spirit of Tragedy; it & There remains, then, the character between these twos, ° t-4— - — 7 extremes,—that of aman who is not eminently good and peek _just, yet whose mist or depravity, but by some er be one who is “re46 XII. 3—8. 1453 a 1135 oloy OiSbrovs nab @uéorns Kal of ek T&v Toray yerdv eripavels AvSpes. dvdyen dpa Tov xadds Exovra pidov4 dmdobv elvas padrov 4 Sumdodv, domep twks pact, wal pera Bérrew ode els ebrvylav ex Sveruylas ddXd robvavtloy 1seE ebruylas els Svotuylay, wh Bid poyOnplav array duaprlay peyédqv 4 olov elpyrar 4 Bedtlovos padrov 4 xelpovos. anpelov 88 xal 7 yuyvsuevov- mpirov pv yap 5 of outa) rods Tuxsvtas wiOous danpiOyovy, viv 82 -repl Bdbyas olelas al KéMuotae tpaypdias ovvribevras, olov 20 ep Arxpéova, xa) OiSirovy nab 'Opéorqy Kal Medéaypor wal @vécrny Kal THrepov kal dois Erdos oupAEBneer 4 wabeiv Sed 4 worfjoa. 4 pv ob ard chy réyuqy kaddiorn tpaypdia ee rabrns Tis everdceds dort. Bid Kad 6 of Evpuriby éyxadodvres toi7’ abrd duaprdvovew, 81. robro 25 8p@ ev tals tpaypSias xal roddal abrod els Svoruylay redevribow. Tobro yp éorw damep elpytar sp65v* onpetov 88 pbyiorov: él yap Tov cxmav Kal Tov dydver TpayL- kérarat ai toabras paivovrar, dv KatopBwhdow, wal 6 | BipeniBqs ef eal 1a da ph ed olcovoped adda par go yindrarés ye tev moinrév galverat. Seutépa 8° 4 mprnT Aeyoudyy id twov eorw [odoraats] 4 SumMiv te Thy obora~ aw txovea, abémep 4 OBiccea, Kal redevrdca ef évav- rlas ois Bedrlocr Kad xelpoaw. Boxed 88 elvar mpirrn Bid thy ray Bedrpwv doBéveav: dxodovBoder yap of mromrad 3sxar’ ebyhy mrovdvres trois Gearais. gorw 88 oby airs LL, OlBtwovr apogr.: Siro AS 18. Bedrlover AS 19. KddNoTOL ecol. Christ: om. Arabs 20, "AXcuduwa Bywater (cf. Meisterhans Gramm, Att, Inachr. p. 85): "AAxualuva codd, 24. oir’ aird Thurot: rd abrd codd. : aird Bywater: aivot Reiz: sccl. Margolionth collate Arabe 25. wodAal Knobel: fort. rohdal Tyrrell 81. cberacis secl. Twining 4]. 9 AS 88. Bedriur AS 84, Bedrpuw AP et S, ut videtur (cf. 1449 & 9, Herod, vi, 21 és Séxpua Exese 7d énrpor, Aristoph, Eq. 288 7d yap Slarpor Befubr): GearGr Riccardianus 16ARISTOTLE’S POETICS XIII. 3—8 47 personage like Oedipus, Thyestes, or other iNustrious | men of such families. A well constructed plot should, therefore, be single (TTS +g in_its issue, rather than double as some maintain. Tajweraebt change of fortune should be not from bad to good, but, <,reversely, from good to bad. It should come about as the result not of vice, but of some great_error or frailty, in a character either such as we have described, or better rather than worse. The practice of the stage bears out 5 our view. At first the poets recounted any legend that came in their way. Now, the est-tragediosare founded on the story of a few houses,—on the fortunes of Alemaeon, Oedipus, Orestes, Meleager, Thyestes, Telephus, and those others who have doue or suffered something terrible A ~~>7 tragedy, then, to be perfect according to the rules of art should be of this construction. Hence they are in error 6 who censure Euripides just because he follows this principle in his plays, many of which a | snd unhappily. It is, as we have said, the right ending. “ The best. proof is that on the stage and in dramatic competition, such plays, if well worked out, are the most tragic in effect ; and Euripides, faulty though he may be in the general management of his subject, yet is felt to be the most tragic of the poets. : “Tn 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; for the poet is guided in what he writes by the wishes of his audience. Thes pleasure, however, thence derived is not the true tragic TH deny of prt48 XIII. 8—XIV. 4. 1453 a 36—1453 b 19 dad rpaypSihs Bor} GAAS padXov THs xoppBias oleela- excl yap of dy ExPioros Sow ev 7p n58y, olov Optorns kal Alyr6os, pido: yevbueros em) redeuriig éEbpyovras kal drobvpones obBeis tm’ obBevbs. XIV “Eorw pv oby 7b poBepiv xa ereewwby de ris Bpews yi- MB veoGas, Lori 88 eal éE abris Tis cverdcews Tov mpayparay, dep dork mpérepov xah wointod dueivovos. Bet yap nab dvev red épav ofrw ovveorévas roy ube, Sore ry dxodorra ra 5 mpdypara yuxsueve xal pptrresy nab édeciv ex rv cvpPasvsr- ra: Emep av wé80s vis decoder rbv rob OiBlarov poor. 7) 88 Bid rie Bpews robro wapackeudtew dreyys-2 repov ead yopnylas Bebuerdv dor. of BE wh 7 hofe- piv 8d ris Speus GAAd rd repardbes wbvov wapaccevd- to orres oiBiv cpayyBle xowwvoiew ob php wicay Bel fnrete 4Boviv drs cpayydias GAAS viv olkelav. wel 823 rip amd lov zat $5Bov bd pipfcews bet Gordy wapa- onevdfe tiv wourv, pavepiy Gs reire dv ols wpdyya- ow euroinréoy, rola ov Bawa 4 rola olerpd daiveras 15 tay ovprerrivrav, NéBeoper. dvdyen Bh 4 Pddrov elvas mpds dddsdous ras roatras mpdges 4 éyOpav 4 pnbe- répwv. dy-pév obv eyOpis éxOpév, obStv ereewdy obre mroiv obre peddov, mw nat’ abrd 7b wdBos: ob8 av pnBerbpus Eyovres: Srav 3 ev tale gudiais dyyéonras ra 36. <4> coni, Vahlen 37, ot dy Bonitz: ay of codd. : «Ay of Spengel 1453 b 4. ovvecravar AC 7. drexvbrepor apogr. : drexrirepr AS 18, BSpengel: 8 codd. 17. post ¢x8pdv add. dwroxrelyy Pazzi << goBepdy > 008" dhecurdy UsborwogARISTOTLE'’S POETICS XIII. 8—XIV. 4 49 pleasure. It is proper rather to Comedy, where those who, in the piece, are the deadliest enemies—like Orestes | and Aegisthus—quit the stage as friends at the close, — and no one slays or is slain. XIV Fear and pity may be aroused by spectacular means ; ™5° but they may also result from the inner structure of the piece, which is the better way, and indicates a superior poet. For the plot ought to be so constructed that, even without the aid of the eye, he who hears the tale told will thrill with horror and melt to pity at what takes place. ‘This is the impression we should receive from hearing the story of the Oedipus. But to produce this 2 effect by the mere spectacle is a less artistic method, and dependent on extraneous aids. ‘Those who employ \, spectacular means to create a sense not of the ti but only of the monstrous, are strangers to the purpose |! of Tragedy; for we must not demand of Tragedy any and every kind of pleasure, but only that which is proper to it. And since the pleasure which the poet should% afford is that which comes from pity and fear through imitation, it is evident that this quality must be impressed VA upon the incidents. Let us then determine what are the circumstances which strike us us 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 is pitiful. So again with indifferent persons. But when the tragic | incident occurs between those who are near or dear to ' E50 XIV. 4—8. 1453 b 20—1454 a 2 20 34Bn, olov ci dbedpis ddArpiv } vids warépa # psfrnp vidy # vids untépa awoxteives 4 pédde 9 Te GAXO ToLoUTOY 8p, taira Eqratéov. rods piv ody waperdnpperovs pidovs 5 Adew odn Eorev, Neyo 58 oloy rv Krvraipjorpay awoba- vodoay id rob Opéorou nal Ti» "Epipiday imo rod "Adxpe- 25 wvos, abroy 3¢ ebpioxery Sei wad trois wapadeSopcvors xpij- cBas xadis. 7d 82 nadies Ti AEyoper, elweper capéarepor. fore piv yap obte yiveoOas ri =pakw, Sowep of wadasol eolowy eiSéras xal yuyrdcxovtas, xabéwep wat Evpenlins groincey éwoxteivoveay Tos waidas Ti» MijSetay~ Eorwy 82 yo patas piv, dyroodvras 82 wpafas 7d Beviv, Mf Sorepov dvaryvepicas tip gidiay, Somep 6 Sopordéous OiBisous* 705- 10 piv obv tw rod Spduaros, év 8 airi 7h tpaypdia olov 6 "Arepdaw 6 "AoreSdpavros 4 8 Tydgyovos 5 éy 7g zpav- para "OSvocel. és 82 rplrov wapé rabra « » 7d pdddov-7 35 7a woiedy 7s ray dymctorew 8: dyroiay dvayvupicas xp ovat, Kal mapa Taira obx totw dddos. 1 yap mpatas dvdyen 4} ph xai eiBéras 4 pip eiBéras. rovrey 88 7b ply qwdoxovra peddfjoas nal pw mpitas xelproror: 16 Te yap paps» Eyer, xai ob tpayixdyy arabes ydp. Biémep odbels Mita wotel Spolws, ef pi) Ouydess, olov év "Avruyivg Tov Kplovra + 6 Alpov. 73 88 pitas Sevrepov. B&rriov 8 7b dyvoobvra & 20. olor et Bylburg : olor 4 codd. 22, Sp apogr.: Spay Ac 23, Edvrauetorpar 2: Kavrayurtorpay codd. 24, "AAxpaluwos codd. 26, elrwper apogr.: elrouer AS 83. "ANeualur 3 Gryphius : "AXxalawes codd. 34. rapa raire, coni. Vahlen 78 Bonitz: riv cod. 1484 @ 2. Sebrepor) pdrisrew Neid- hardt, recte, ut opinorARISTOTLE’S POETICS XIV. 4—8 51 one another—if, for example, a brother kills, or intends to kill, a brother, a son his father, a mother her son, a son his mother, or any other deed of the kind is done—these are the situations to be looked for by the poet. * He may not indeed destroy the framework of the received legends—the 5 fact, for instance, that Clytemnestra was slain by Orestes andEriphyle by Alemaeon—but he ought to showinvention of his own,and skilfully handle the traditional material. Let us explain more clearly what is meant by skilful handling. *_,, The_action may be done consciously and with know-#~ ledge of. the-persons, in the manner of the older pdets, It is thus too that Euripides makes Medea slay he children. Or, again, the deed of horror may be done, but done in ignorance, and the tie of kinship or frien ship be discovered afterwards. The Oedipus of Sophocl is an example. Here, indeed, the the drama proper; but cases occur where it falls within the action of the play: one may cite the Alcmaeon ‘of xc Astydamas,or Telegonus in the Wounded Odysseus. Again,7? 11-*' ! there is a third case,— x to be about to act with knowledge A. 5 Ks e perc act. The fourth case is> Pow when some one is about to do an irreparable deed through ¢ ignorance, and makes the discovery before it is done. The: are the only possible ways. For the deed must either be done or not done,—and that wittingly or unwittingly. But of all these ways, to be about to act knowing the |! persons, and then not to act, is the worst. It is shocking . without being tragic, for no disaster follows. _It is, there-€44ane 04 fore, never, or very rarely, found in poetry. One instance, Co ag a however, is in the Antigone, where Haemon threatens to ¢& 404 kill Creon, The next and better way is that the deed s ga52 XIV. 8—XV. 3. 1454.8 3—24 wav pata, mpdtavra 8% dvayvepioas- 15 Te yap puapsy ob mpbceariv nal 4 dvayvarpiors demdnerixy. xpdrurrov 89 57d tedevraiov, Meyw 8¢ olov ev 7g Kpeopévey 4 Mepémn pwedrer tov vidv dmowrelvew, daoxrelver 88 ob, adr’ dy- eyvdpuce, wal ev rH "Iduyeveia 4 aBeApH Tov aBeApsr, xal & rH ENAg 6 vids Ty pnrépa eeBidévar pedro dveyvs- pisev. 8:4 yap Todro, Sep madat elpytas, od rep) Todd 10 yévrn ai tpayySlas eloiv. qroivres yap ode amd réyvns GAN’ dd rhyns ebpov 7d rowdrov wapacrevdtew ev Toit pbBos- dvayedtovrar oby émt rabras tas olelas émavray Boas 7a ro.aira oupBeBnne wéby. ep) pav ody ris Tay mpayydrev ovetdéccws nal rolous twas elvat Set Tods 15 w0O0us elpytas ixavis. xv Tlept 82 ra “Qy rérrapé dor dv Sei oroydtecBau, dv pav Kai mpdrov &..0s xpnord f. ees 82 Hos wey day Gomep eréyOn wou pavepdv 6 dbyos 4 4 wpakis mpoatpeaty twa, xpnorov 88 dav xpnoniy. torw Be ey éxdorp soyévers kal yap yur dorw xpnoth wal Boidos, xalrou ye tows rotrav rd pdv yeipov, Td 88 Brus paidév dorw. Sevrepov 8¢ 7d Sppdrrovra: Eotw yap dvBpeiov 2 ev m4 980s, XN oby dpudrrov ywaiel 7d dvBpelay 4 Sewiy clvat. tpirov 88 rd Buowov. robro yap Erepov Toi 8 4. xpérurror] detrepow Neidhardt, recte, ut opinor 8. “EMg) 'Arribry Valckenaer 18, gaveply Ald., Bekker 19. rwa Parisinus 2088: rd j AS: wa § coni. Vablon (! cf. Arab.): rva <8>4 Bywater: roa # Diintzer: rwa <€yovra, érola ris ay> 5 Gomperz: rwa, paihov uly édy daddy § apogr. 22, 1rd Vablen (od. 1): racodd, 28, 1 Gor Hermann: rd Hor cold, rd apogr.: © « rie As: ofrus Vahlen collato Pol. ii 4. 1977 b 20. Desunt in Arabe verba 76 dvdpelay . . . elzas, quoram vicom supplet baec clausula, ‘ne ut spparaat quidem in ea omnino’ (Margoliouth); unde Diels 7 d»fpelar . glossems ease arbitratus quod veram lectionem eiecerit, scribendum esse coni.ARISTOTLE’S POETICS XIV. 8—XV. 3 53 should be perpetrated. Still better, that it should be perpetrated in ignorance, and the discovery made after- wards. There is then nothing to shock us, while the! discovery produces a startling effect. The last case is the f best, as when in the Cresphontes Merope is about to slay’ pened J her son, but, recognising who he is, spares his life. Sol - nee ee in the Iphigenia, the sister recognises the brother just in 2... pe he time. Again in the Helle, the son recognises the mother 38 when on the point of giving her up. This, then, is why a few families only, as has been already observed, furnish N Ze the subjects of tragedy. It was not art, but happy chance, that led poets to look for such situations and so impress the tragic quality upon their plots, They are compelled, therefore, to have recourse to those houses _— whose history contains moving incidents like these. Enough has now been said concerning the structure of the incidents, and the proper constitution of the plot. XV. In respect. of Character there are four things to be; aimed at, First, and most important, it must be good. ,v Now any speech or action that manifests mo of any kind will be expressive of chatacter: the characte will be good if the purpose is goody This rule is relative to each class, Even a woman_ma ood, and also a * slave; though the woman may be said to be an inferior being, and the slave quite worthless, The second thing 2 to aim at is proprie There is a type of manly valour ; . but valour in a woman, or unscrupulous cleverness, is in- appropriate. Thirdly, characte? must be true to-life: for 354 XV. 3-7. 1454.8 25—1454b 5 asxpnordv 7d es Kat dppsrrov morjoa domep elpyrat. réraptov 38 7d duardsv. xdv yap dvdpadds Tis 3 6 Thy 4 plunow wapéywv Kal rowbrov 00s troribels, Suws dua- Dads dvcparov Set elvar. eorwv 8 mapddevypa mrovnpias wev 5 Hous jh dvayeatov olov 6 Mevérans 6 &v 7H ‘Opéor, rod 30 82 dmpemois xa wi) Sppdrrovros 8 re Opivos ‘Oducctws ev mh Eedrp nad 4 ris Meravérmns pfiors, Tod 88 dvepdrov Fey ABE: "Ipvyévera* od8ty yap Eouev 1} ixerevovea TH borkpg. ph 8 nal ev rois HOeow damep wal ev rf rave mpayudrwv avardcer ded tyreiv 7 dvayxaien # 7d elxés, 35 bore rév rovwbrov 7a Tovaira Aéyew H mpdrrew § dvayeaiov 4 elds, wal robr0 pera robr0 yiveaBas H dvaryeatov 4 eixds. davepdv ody dre nab Ts Mioes tav pHOwr e abrod Bet 1057 164» w600v crpBalve, wal wi) Somep ev rH Madelg dad pn- xaviis wat &v rH TudSs 7d meph tiv dmrémdouv: ddd pn- yori xpnoréov émi rd Ew 06 Spdparos, 4 Soa mpd rod ybyovey & ody oldv re EvOpwmov eiBévar, 4 dca dorepor, & s Seiras mpoayopebcews wal dyyeMas: émavta yap dmo8s- Gore unbd galrecbar xaStrov: ‘The manly character is indeed sometimes found even in a woman (forw yup dvSpeioy wer 7d 400s), 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, Gore un8? galrectar év abri dx éxlar, vel ds dxlear elreir : ‘There is indeed a character (7: Gor) of manly conrage, but it is not appropriate to a woman, and as a rule is not found in her at all’ 25. Iacunam ante Gowep statuit Spengel Gowep elpyra: fort. soclud dum: rep elpyra: Hermann —-29. -dvayealov Marcianus 215, Bywate dvayraioy AP: dvayealas Thurot clo secl. E. Miller 80. <é> ‘Obweotus Tucker: ‘Odvectus Bywater 31, Zxdddy rf Gadarrlg %, ut videtur Post few exemplum 00 dvouolav intercidisse cont. Vettori 35 ot (86. § Hermann: 4 codd, 36, Kal roiro Bywater, fort. recto 87. rv pi on) ror Wor %, ut videtur 1454 b 2 dxérdow Riccardianus 16: dvéAow Parisinus 2088, Z, ut videtur : drnoir AS 8. érl rd apogr.: Exara AS 4, olby re apogr.: elbrras Ae commate post Gerepor distinguit W. R. Hardie, qui dyyedias ‘ad S00 xp) rob refert, xpoayopebecus ad Sea BoreporARISTOTLE’S POETICS XV. 3—7 55 this is a distinct thing from goodness and propriety, as here described, The fourth point is comsisteney : for though « the subject of the imitation, who suggested the type, | be inconsistent, still he must be consistently inconsistent. Asan example of motiveless degradation of character, we 6 have Menelaus in the Orestes: of character indecorous and inappropriate, the lament of Odysseus in the Scylla, and the speech of Melanippe: of inconsistency, the Iphigenia at Aulis—for Iphigenia the suppliant in no way resembles her later self. As in the structure of the plot, so too in the por- 6 traiture of character, the poct should always aim either‘ at the necessary or the probable. Thus a person’ of a given character should speak or act in a given way, by the” rate-eithar abil this event should follow that by necessary or probable sequence. It is therefore evident that the unravelling 7; of the plot, no less than the complication, must arise out | uuu of the plot itself, it must uot be brought about by the |-* Deus ex Machina—as in the Medea, or in the Return of the Greeks in the Iliad. The Deus ex Machina should be employed only for events external to the drama, — } for antecedent or subsequent events, which lie beyond! the range of human knowledge, and which require to be56 XV. 7—-XVI. 3. 1454b 6—27 Bopey rois esis épav. ddoyov 82 wnBiy elvas év rois mpd- qwacw, et 82 ph, Ew vas tpaypdias, oly 1d & 7h OtBiaro8. 7G Lodoedkous. erred 88 wlynats dove % Tpayy- 8 Bia Bedribvav ipas, Bet papeiobar rods dyabors 10 edxovoypddous: Kad yap exeivor émobiSévres ri [Slav wopdiy 5 XVI 20 25 épolous rowodvres xaddous ypdpovew* oBra ead rdv mouriy ppotpevov Kad dpyidous Kal pabspous eal r2AXa 7d ToaiTa Exyovras él tov HOdv, rowobrous vray emieteels mrosely [mapdderypa oxdmpérntos], olov Tov "Ayidéa "AydBav ad “Onnpos. tabra 8) Biargpelv xai mpis rovrows ras 9 mapa Ta e dvdyens éxodovBotaas alaOhaes Th mountiKg * ral yap nav adrds torw dpaprdvew wodddess* elpytas 82 epi abrév ev tots exBeBouévors rbyous ixavis. "Avayvipiaws 88 i wey eorw, elpntae mpdrepor* eff 88 dvayvapicens, mpdrn pav 4 dreyvordrn nal f wrelorn xpavras 8: éroplay, 4 81d rev onpelwv. Tovrwy Be ra pav 2 obppura, olov “Adyynv hv opotar Pyyeveis” 4) dorépas olous &v 7p Ouéery Kapeivos, rd 82 émixrqra, xal rovrev 1d pév ev 7§ adpars, olov obdai, Ta 38 eerés, Te mepi- Bépara wa) olov ev rH Tupol 8d rijs oxddns. zor 82 nad rotrous xpirbas % Barriov 4 xeipor, olov ‘OBvoceds 8:08 nis obdje Ewe dveyrvaplabn ind ris Tpopod nal EXAws 7. rOAS (1 rw pr. AC): 7d vel 7 apogr.: rd Ald. 9, 4 xaé’ add. Stabr (confirm. Arabe) 14. wapdderyua oxdypbraror secl. Bywater: olor ante rapdderyua ponit Tucker drydur apogr.: dyalGr AS 15, &hdet Ald. : bh Ae: Bet apogr. ras apd rd vel rd raph ras apogr.: ras wapd rds AS 20. f wAelorpapogr.: hxrelory AS 21. Hapogr: HAS 2. dordper Richards 24, -eprBépaia apogr, panca: repiBlppea AP 25. clay apogr.: of AC oxdgns) ond6ns Z, ut videtur, ‘ensis’ Arabs: (R. Ellis) 26, ‘Odvseeds Bywater ’ARISTOTLE'S POETICS XV. 7—XVI. 3 87 reported or foretold ; for to the gods we ascribe the power of seeing all things. Within the _sction there must bey nothing irrational. If the irrational cannot be excluded, should be outside the scope uf-the tragedy-—Such-is fs irrational element in the Dédipus-of Sophoctes. : Again, since Tragedy is an imitation of persons whos are above the common level, the example of good portrait- painters should be followed. ‘hey, while reproducing the distinctive form of the original, make a likeness which is true to life and yet more beautiful. So too the poet, in representing men who are irascible or indolent, or have other defects of character, should preserve the type and yet epnoble it, In this way Achilles is portrayed by Agathon and Homer. These then are rules the poct should observe. Nor 9 should_he neglect those appeals ta-the_sense,-which, | though ot among the essentials, are the concomitants of | “poetry ; for here too there is much room for error. But of this enough has been said in the published treatises. XVI «| What Recognition is has been already explainedx!™ ‘We will now enumerate its kinds. First, the least artistic form, which, from poverty of wit, is most commonly employed—recognition by signs. = Of these some are congenital,—such as ‘the spear which 2 the earth-born race bear on their bodies, or the stars introduced by Carcinus in his Thyestes. Others are acquired after birth; and of these some are bodily marks, as scars; some external tokens, as necklaces, or the little ark in the Tyro by which the discovery is effected. Even 3 these admit of more or less skilful treatment. Thus in the recognition of Odysseus by his scar, the discovery is58 XVL 3-6. 1454 b 28—rass arr ted ray avBoréve ead yap al wiv mlavens evexa dreyvo- repat, kab ai rovabra: wear, al 88 de mepumerelas, do- sp wep § & role Nirrpois, Bedrlovs. Sebrepas 82 al weroin- 4 pbrar bd rob mountod, 813 dreyivor. olov ‘Optoras ev TH "“Iguyevela éveyvsipicer Bre Opsatrns: exetvn wav yap Bid. ris emvarongs, éxeivos 82 abrds dyer & Bovderas 6 mounts GAN’ 35 oby 6 pos 81d eyyus te Tis eipnuévns dpaprias éoriv, éFfy dp dv ka nal eveyeetr. Kab ev 7G Sopoedéous Tope? 4 ris wepul8os govt. Tpiry Bid pwruns, 7H aloOkaOar 5 15a 71 Sdvta, domep 4 ev Kumpiows rots Aixatoyévous, iSdv yap tiv ypaiy Eedavaer, xa 4 dv “Adulvov dmodbyp, dxobav wap 708 kiapier0d wad prnabels eBdxpuaer, BOev dveyro- picOnoav. retdprn 88 # éx cvddoyicpod, olov ev Xonpédpors, ° 5 bre Suords rus edsjvbev, Sporos 88 obels GAN’ 7} 6 'Opéorns, obros dpa edjrvbev. ab 4 HodviSou rod copuarod rep) Tis "Iguyevelas eixds yap Tov ‘Opéoray avrroylcacbar bre 7 BAP} erdOy nai aitG cpBalve Ovecbar. wal év 7o @codéerov Tubei, Str EBdv ds eipiowy vidv abris dadn- ro Avrat, Kal fev rois biveBais. (BSoieas yap tov Témov awy- oyleavro Thy eivappérny Sr év toUTy elyapto droBaveiy 81. ol» Bywater "Opéerms prius secl. Diels (confirmante fort. Arabe) 82. dveyruplody Spengel 84, 8d eyyis rs Vablon: &' én éyyis AS: 86 11 eyyds Bywater 36. alia = legisse videtar, ‘haec sunt in ¢0 quod dixit Sophocles se audiisse vocem radii contempti’ (Arabs) ; unde W. R. Hardie coni. rauairy 8 # dv 7G [Zopordéourt] Tapei “rs dvasou,” anol, “xepeidos guviy wriw” 87. 4 rplry Spengel : frou rm AS: relma apogr. aleGeral Ac 1486 a 1. rois apogr.: rijs A® 2. droddyy apogr.: dwd Adywr Ac 4. Xondépas Vettori: xAonpspas AS 6. Tlodvidev Tyrwhitt : rodveldov spogr.: woAvel5ous A® 10. Sueldas Reiz: gurlbaus codd.ARISTOTLE’S POETICS XVI. 3—6 59 made in one way by the nurse, in another by the herds- men. The use of tokens for the express purpose of proof —and, indeed, any formal proof with or without tokens —is a less artistic mode of recognition. A better kind is that which comes about by a turn of incident, as in the Bath Scene in the Odyssey. Next come the recoguitions invented af will by the CHE poet, and on that account wanting in art. For example, Orestes in the Iphigenia reveals the fact that he is Orestes, She, indeed, makes herself known by the letter; but he, by speaking himself, and saying what the poet, J aw Oreste not what the plot requires. This, therefore, is nearly ~ allied to the fault above mentioned :—for Orestes might as well have brought tokens with him. Another similar instance is the ‘voice of the shuttle’ in the Tereus of Sophocles. usa The third kind unory when the sight of 5 some object awakens a feeling: as in the Cyprians of IT Dicaeogenes, where the hero breaks into tears on seeing the picture; or again in the ‘Lay of Aleinous’ where Odysseus, hearing the minstrel play the lyre, recalls the past and weeps: and hence the recognition, The fourth kind is by process of reasoning. Thus in | the Choéphori:—‘Some one resembling me has come: no one resembles me but Orestes: therefore Orestes has come.’ Such too is the discovery made by Iphigenia in the play of Polyidus the Sophist. It was a natural reflexion for Orestes to make, ‘So I too must die at the altar like my sister. So, again, in the Tydeus of Theodectes, the father says, ‘I came to find my son, and I lose my own life.’ So too in the Phineidae: the60 XVI 6—XVIL 2. 1455 a 12—30 atrais, cal yap e€eréOncay évraiba, zotw 8é Tu Kal cuv-7 Gets ée mapadoyapod Tod Batépov, olov ev 79 OSvaoei 7 spedayydry: 6 wav yap 7d réEor En 2 2 & yriccobar d 15 oby éwpdnet, rd 82 ts By éxeivov dvayveproivtes 81d. rovrou moujoas, maparoyiopss. Tacdy 88 Bedriorn dvaywoprars 4 EF 8 airéy ray mpayydrov ris eemiitews yuyvopeens 8: eixd- rev, olov [6] év 1 Lopordous OiBiod. nai ri "Ipvyevela- eleds yp Bovrecbar emiBeivas ypdupata. ai yap toairas 20 pévar dvev tév weoimpévov onuelwv wal Sepaiwv. Bev- tepa 82 ai ee avdroyopod. XVII Met 88 rods piOouvs cunordvar xal rH réER cuvaT- epydtecbas Bre pdduora mpd sppdraw riBipevov otro yap ay evapyéatara [6] épav domep wap’ abrois ywyvspevos Tois 25 mparropévois evploxor 7d mpérov Kad Heiora dv ravOdvor 7a bmevavria. onyelov 8% rovrou 8 émeriparo Kapxivy: 8 yap "Appudpaos && iepod avjer, 8 pw dpdvra [rdv Gearip] eddvOavev, eri 88 ris cunvis ekewecev Svaxepa- vdyrwv tobto tév Beatév. Sea 8é Suvatdv Kal rois oxy- 30 paow oviamepyatipevov. mBavdtatos yap cmd tis abris 2 13. Gardpov Barsian, praeeunte Hermann: Gedrpov cold. 14-16, 6 war ‘vip . . . wapaXoyeuts) multo plura hic legisse videtur Arabs (Margoliouth) ; ost fm lacunam indicavi; vide quae supra in versione addidi, Arabem qnoad potui secutus 14, & par apogr.: 7d wey Ac rd ante rétor om. apogr. 15, 8) Tyrwhitt: &¢ codd. 16, ovjoas codd.: ewolnee Ald.” wapadoyeuds Vablen (confirm. Arabs): rapahoyoubr cod, 17, Gawd deus apogr.: wAdgews AS ris derdifews . . . eixérwr om, Arabs ixbyrwy BE 18, 6 secl. Vahlen: 7d Bywater: 8 Tucker: # apogr. pauca «19-20. al yp rowira: . . . wepiBepalur secl. Gompers 20. Bepalur apogr. corr.: Bépewr A®: wepsdepaluw apogr. pauce empl al Bepaliy secl. Tucker, fort. recte 24. évapydorara apogr. : érepylerara AY 6 om. Ald. 26, 7 ante ra add. AS: om, apogr. exeryiro marg, Riccardiani 16: ércriua rae AC (cf. 1462810) 27. doer Guelferby- tanus: & ely AC dpivra codd.: épivr’ av Vahlen 27-28. rdv Geary seclusi (simili errore Rhet. i, 2, 1358 a 8 rode dxpoards in textum irrepsit): rar sonrhy Dacier ch pvr’ driv [earhy] Gomperz, emondationis meae, eredo, inscius 30, rd ris aire codd. (confirmare videtur Arabs): dx’ abris rhs TyrwhittARISTOTLE'S POETICS XVI. 6—XVII. 2 61 women, on seeing the place, inferred their fate —' Here we are doomed to die, for here we were cast forth.’ Again, there is a composite kind of recognition involving 7 false inference on the part of one of the characters, as in the Odysseus Disguised as a Messenger. A said
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