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THE

POETICS OF AEISTOTLE

EDITED

AMTH CEITICAL NOTES AND A TKANSLATION

BY
S.

H.

BUTCHEE

PROFESSOR OF GREEK DJ THE UNIVERSITY OF EDINBURGH; FORMERLY FELLOW OF

TRINITY COLLEGE, CAMBRIDGE, AND OF CNIVEBSITY COLLEGE, OXFORD
HON. LL.D. GLASGOW ; HON. LITT.D. DUBLIN
;

SECOND EDITION REVISED

ILontion

MACMILLAN AND

CO., Limited

XEW YORK THE MACMILLAX COMPANY

:

1898

All rights reserved

NOV

6 19421

First Edition 1895

Second Edition 1893

PEEFACE
The

following Text and Translation of the Poetics

form part of

tlie

volume

entitled Aristotle s

Theory

of Poetry and Fine Art, second edition (Macmillan

and

In this edition the Critical Notes

Co., 1898).

are enlarged,

and the Translation has been

The improvements

fully revised.

care-

in the Translation

are largely due to the invaluable aid I have received

from

my

friend

and colleague. Professor W. R.

To him

Hardie.

would express

my

warmest

thanks,

and

also

Tyrrell,

who

has most kindly read through the

proof-sheets,

and

another

to

talked

friend.

over

and

Professor

elucidated

various questions of interpretation and criticism.

In making use of the mass of

which has appeared

Germany,
strict

have found

principle

critical material

in recent years, especially in

it

necessary to observe a

of selection,

my

aim

still

being

They
Apparatus

to keep the notes within limited compass.

are not intended to form a complete
Criticus,
I

trust,

still

less to

do duty

for a

commentary,

however, that no variant or conjectural

THE POETICS OF ARISTOTLE

VI

emendation of much importance has been overlooked.

In the

edition I admitted into the text

first

my own

conjectural emendations of

passages
4

xxv. 14

iii.

xix. 3

xxiii. 1

Of

xxv. 16.

in the following

xxiv. 10

these, one or

xxv.

two appear

to have carried general conviction (in particular,

xxiii.

two

1);

now withdrawn,

are

and

iii.

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

In the
a

first

edition, moreover, I bracketed, in

number

certain

of

passages,

words which

regarded as glosses that had crept into the text,

viz.

now

iii.

18

vi.

xvii.

xvii.

the bracketed words tmv

and in

xvii.

vi.

18
for

MSS.,

\6ycov of the

/xev

By water's

In

Xeyo/juevcov,

5.

give Gomperz's correction tmv

conjecture

rt? avTO'? for

[Ttya9 avTo<f\.

There remains a conjecture which

the

relegated

to

take

the

into

but

with

some

text

previously

which

notes,

now

confidence.

It

has had the good fortune to win the approval of

many
refer
ix.

5.

names

scholars, including the distinguished

of Professor Susemihl
to

ov

MSS.) ra Tv^ovTa

(^ovrco

1451

Arabic has

b 14
'

=b

13

Bekk.),

names not given

the copyist's error

cf.

Bekk.), where A" has

appears in

and Professor

the

'

ix.

'

and

in

where the

random.'

though

ovrco,

ovo/xaTa

1451 a 38

2.

apographa

at

Tyrrell.

For

= a 36

ov to rightly
for

a similar

PREFACE
omission of ov in A
Bekk.), ov

12.

cf. vi.

7roi7]crec

Vli

indispensable negative being added in

'

= a 30

epyov,

the

apogr.'

and

rpaywSia'i

r?}?

rjv

1450 a 32

The emendation not only

found in the Arabic.

gives a natural instead of a strained sense to the

words Ta rv^ovra

but also

ovofiara,

with the general context, as

some length
Fine Art

367-9

Another conjecture of
to

admit into the

passage,

vi.

<'TrdvT6<i>

of Poetry and

in Aristotle s Tlieory

(ed. 2) pp.

8.

eiTreiv

6i<i

(note).

my own
(

=a

ovk

for

have ventured

much

In the

text.

1450 a 14

in better

fits

have argued at

disputed

12 Bekk.),

read

avrwv w?

oXiyot

elirelv

of the MSS., following the guidance of Diels and

of the Arabic.

regard ovk okiyoi avrwv as a gloss

which displaced part of the original phrase

As

Crit. Notes).

Rhet.

i.

1354 a

1.

(see

a parallel case I have adduced

where

12,

ovhev

&)?

elirelv,

the

reading in the margin of A, ought, I think, to be

substituted in the text for the accepted reading

The word

6\iyov.

ovSev

&)?

elTvelv,

oXlyov

but

natural gloss

is

not

ovhev

SO

co?

elirelv

on
on

oXiyov.

the Rhetoric

In two other difficult passages

may

again be

1455 a 30
edition)

summoned

=a

to our aid.

27 Bekk.)

bracketed rov

have

Oearrjv,

the

supplied with ixdvdavev being, as

poet, not the

This

audience.

B
4-4-1

6%

In

xvii. 1.

(as in the first

object
I

take

to
it,

have now

l^e

the

illus-

vm

THE POETICS OF ARISTOTLE

trated

by another

in Rhet.

i.

where Xavddvovalv

8,

re \Tov<i

long been recognised as the true

uKpoarail has

suppressed

the

reading,

gloss of a precisely similar kind

1358 a

2.

not

being

object

the

audience but the rhetoricians.

Once more,

in

xxiv.

1460 a 26

9.

= a 23

Bekk.), where A gives the meaningless aXXov

I

read (as in the

the

of

reviser

Se,

edition) aX?C ovSe, following

first

This

A.

was

which

reading,

accepted long ago by Vettori, has been strangely

by the

set aside

adopt a variant

chief

modern

dWo

Se

with the result that

sentence

forced

is

me

either

irpoaOelvat at the

end of the

2.

i.

1357 a 17

ff.,

appears

to determine the question conclusively in

favour of dXV ovhe

The passage runs thus

jMOV,

who

into impossible meanings.

passage in the Rhetoric,

to

editors,

or resort to conjecture,

ovSe

Xeyetv

Bel

avdyKT]

eav yap

rt

37

jap rovro

avTO<;

Trpoadelvai.

rovrrov 'yvdopi'jrpocrTLOrjcnv

dKpoaTr]<;, olov

on

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

Ixavov

ort

^OXvfXTria

elirelv

aTe(f)aviTrj<i

(TKova-i

jdp

rd ^OXvpurta, ov8e

yap

veviKriKev,

Sel

The general

iravre';.

to

TrpoaOelvai'

idea

is

S'

otl

yiyvai-

closely

our passage of the Poetics, and the

parallel to

expression of

it

similar

even to the word

ovSe

(where the bare ov might have been expected) in

the duplicated phrase ovSe
delvai.

to

elvai

One
i)

difficulty still

yeveaOat

is

Bel Xeyetv, ovBe Bel irpoa-

The subject
To supply it in

remains.

omitted.

PREFACE
thought

is

not,

perhaps,

ix

but

impossible,

it

is

exceedingly harsh, and I have accordingly in this

accepted

edition
avariKif)

<KaKeivo>

Tucker's

Professor
etvai,

rj

conjecture,

yeve(r6at.

The two conjectures of

my own

above mentioned

by the Arabic. I
the Text and Critical Notes

are based on or corroborated

ought to add, that in

generally I have

made

a freer use than before of

the Arabic version (concerning which

But

see

p.

4).

must be remembered that only detached

it

passages, literally rendered into Latin in Professor

Margoliouth's Analecta Orientalia (D. Nutt, 1887),

are as yet accessible to those like myself

not Arabic scholars

were before us
safely be used

and that even

who

are

the whole

if

in a literal translation, it could

not

by any one unfamiliar with Syriac

and Arabic, save with the utmost caution and

Of the

subject to the advice of experts.

value of this
text,

no

version

final estimate

seems clear that

for

be noted
(1)

i.

MSS.

criticism

can yet be made.

precise

of the

But

it

in several passages it carries us

back to a Greek original

existing

the

Two

earlier

than any of our

striking instances

may

here

6-7. 1447 a 29

where the Arabic

ff.,

confirms Ueberweg's excision of eVoTroa'a and the

insertion

ing

of

to the

avaivv^o<;

brilliant

before

rv^yavovaa^

conjecture

accord-

of Bernays

Margoliouth, Analecta Orientalia,

p.

47).

(see

THE POETICS OF ARISTOTLE

X
(2) xxi.

1457 a 41

1.

fiejakcwTcov of the

MSS.

= a 35 Bekk), where
by

Diels has,

for

the aid of

the Arabic, restored the word MaaaaXicorcov, and

added a most ingenious and convincing explanaemendation

introduced for the

is

me

that Diels' restoration of

passage

word

is

is

first

time into

MargoHouth

Professor

the present edition.

This

Notes).

Crit.

(see

tion of '^pfioKalKo^avOo^

tells

this

in

eVev^a/iez/o?

confirmed by the fact that the same

employed in the Arabic of

Aristotle's

Rhetoric to render evx^adai.

Another

great importance has been

result of

In some

established.

fifty

instances where

the

Arabic points to a Greek original diverging from

the text of

A*",

it

confirms the reading found in

one or other of the

made
a

'

apographa,' or conjectures

either at the time of the Renaissance, or in

more recent

period.

would be too long to

It

enumerate the passages here

they will be found

In most of these examples

noted as they occur.

the reading attested by the Arabic

undoubting

It

assent.

is,

possible to concede to A*' the

claimed for
I

it

have

commands our

therefore,

by Vahlen.
by the

consulted

no longer

unique authority

side

of

Margoliouth's book various criticisms of

Professor
it, e.g.

Susemihl in Berl. Phil. Wochenschr. 1891,

and by Diels
1888,

p. 49.

in

But

Sitzungsher.
I

have

also

p.

by

1546,

der Berl. Akad.

enjoyed the special

'

PREFACE

xi

communication with Professor

benefit of private

Margoliouth himself upon a number of

difficulties

not dealt with in his Analecta Orientalia.

He has

my

disposal,

most generously put

his learning at

and furnished me, where

it

with a

literal translation.

Arabic

is

possible to do so,

In some instances the

and throws no

itself obscure,

the difficulty

was

light on

frequently, however, I have been

enabled to indicate in the notes whether the existing text

supported by the Arabic or not.

is

In the following passages

have in

this edition

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

first

edition

1448 a 15,
1450 a 18

3.

vi. 7.

/cat

loanrep ot
(

Tovs

a 17 Bekk.), <6

evSaLiMovias koI

r]

8e /3tos>,

of the

ei'Sat/iOi/ta

omitting

MSS.

1452 bio, [tovtwv Se

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

xi. 6.

xviii. 6.

lation

of

the Arabic

compounded

of

significant

only not in so far as

xxi.

noun
1. 1457 a 41
above,

= a 36

hesitate to

add to

1.

is

and

this

trans-

some

is

insignificant,

significant

in

the

Bekk.), Mao-o-aAtwTwv (see

1459 a

icnas

this

a.8vvaT0V>

list

of corroborated

now admitted into the

24 ( = a 21 Bekk.), Kal firj

conjectures that of Dacier,

text of xxiii.

it

of

p. xv.)

XXV. 17. 1461 b 14, <Kal

I

'and

is

:
:

THE POETICS OF ARISTOTLE

Xll

icrropia^

the

Ta<;

icrTopiai<;

ofioi.a<i

Ta<;

correction

for

crvv6e<Ti<i,

of the

(7vvr}6ei<i

note,

see

/cat

MSS.
p.

6fxoia<i

/u-r)

(In defence of

165

of Aristotle's

Theory of Poetry and Fine Art.) The Arabic, as

I learn from Professor Margoliouth, is literally
'

and

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

do not enter) into these compositions

stories

from our text and from Dacier's conjecture.

is

nothing here to correspond to

MSS.

on the other hand, though

some form have appeared

it

There
of the

a-wqOet'i

may

awdeo-ei^;

Greek

in the

in

original,

not easy to reconstruct the text which the

is

translation

Another

implies.

municated privately to

me by

conjecture,

deserves mention.

It involves the simpler

The sense then

6/ji,o[a<i

to om9.

not be like the ordinary histories

TocovTovi being

sunk

I subjoin a

in otaf, and,

becoming

Icrropiai at (7vvrj6ei<i

is,

'

change

and must

the demonstr.

'

by

attraction, olac

oJa? icrTopia<; ra? avvrjdL<i.

few other notes derived from corres-

pondence with Professor Margoliouth

{a) Passages

reading of the

com-

Mr. T. M'Vey, well

of

tion

which

This version appears to deviate both

resemble.'

where the Arabic confirms the

MSS.

as against proposed

emenda-

iv. 14.

1449 a 27, iK/JaiVovre? ttJs AeKxt/CTjs apfjbovbas

'when we depart from dialectic com-

Arabic,

position.'

(The meaning, however,

is

obviously

misunderstood.)
vi.

18.

1450 b 14

= b 12 Bekk), twv ph

Aoywi/

PREFACE

xiil

The

Arabic, 'of the speech.'

owing

sented, but,

/xev

to the Syriac

is

not repre-

form

of

that

particle being identical with the Syriac for the

preposition

of,' it

'

was

likely to be omitted here

by the translator or copyist.

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

'

crKvd^Lv

More doubtful
dirb

tt;?

same

Arabic,

is xvii. 2.

aur?}?

nature.'

<pv(T(o<;

to prepare the suflferings.'

'

1455 a 33
Arabic,

= a 30

in

'

Bekk.),

one and the

The Arabic mode of translation

is

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

conjecture

a7r' avTrj<;

Trj<i

(^ucrect)?,

but rather favours

the former.
(6) Passages

words

is

where the conjectural omission of

apparently supported by the Arabic

1451 b 34

ix. 9.

= b 31

Kal SwaTo. yevkcrOai

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

Arabic,

there

'

is

nothing to

prevent the condition of some things being therein like those

which are supposed to

But we

be.'

can hardly say ^vith certainty which of the two

phrases the Arabic represents.
XVi. 4.

1454 b 34

=b

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

l(jityevLa dveyviopLcrev

that which

is

on Opccm^s:

called Iphigeneia,

by Iphigeneia argued that

seems

to

'Opf(rTr]<;.

point

to

the

it

Arabic, 'as in

and that

was

is

where-

Orestes.'

This

omission

of

the

first

THE POETICS OF ARISTOTLE

XIV

In

neither

altered the

these

passages,

have

however,

reading.

Passages on which the Arabic throws no

(c)

light

of

MSS.

:
i.

9.

1447 b
emerges

The only point

22.

the metres

interest that

of

that in the Arabic rendering

('

we ought

there

is

no trace of

to call

which

Kal,

is

him poet

')

of all
is

found alike in A and

the 'apographa.'
X. 3.

1452 a 22

= a 20

The words

Bekk.).

yiyvea-dai

Tavra are simply omitted in the Arabic.

XXV. 18. 1461 b 20

MSS.

The

=b

17 Bekk),

line containing

avrhv

oxttc Kal

these words

is

not

represented in the Arabic.

XXV. 19. 1461 b 22
ovcrrj<;

fxriSkv

=b

(
.

19 Bekk.), orav

The words

fii]

dvdyKrj^

in the Arabic are

partly obliterated, partly corrupt.

In

conclusion,

desire

acknowledge

to

my

obligations to friends, such as Mr. B. Bosanquet

(whose History of Aesthetic ought to be in the hands

of

students of the subject), Dr. A.

all

Mr.

W.

W.

Lock,

points,

have

J.

who have

written

me

Verrall,

notes on particular

and to many reviewers by whose

profited.

In a special sense

Professor Susemihl for his review of

in

W.

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

am

criticism I

indebted to

my first

edition

the Berl. Phil. Wochenschr., 28 th September

1895, as well as for the instruction derived from his

numerous

many
where.

articles

on the Poetics, extending over

years in Bursian's Jahreshericht and else-

Among

other reviewers to

whom

feel

PREFACE
grateful, I

in the

XV

would mention Mr. Herbert Richards

Classical Review,

Hardie in Mind,

vol. iv.

May

No.

15

of the unsigned articles in the

1895; Mr. R. P.
;

and the authors

Saturday Review,

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

June 1895.

To

Messrs. R.

R. Clark's Reader I would once

again express no merely formal thanks.

Edinburgh, November 1897.

CONTENTS
PAGE

Editions, Translations, etc

xix

Analysis

List of Abbreviations

TEXT AND TRANSLATION

EDITIONS, TRANSLATIONS, ETC.

The

following

is

order

Valla

of the chief editions

list

and of other writings

and translations

of the Poetics,

relating to this treatise, arranged in chronological

(G.),

Latin translation.

Venice, 1498.

Aldine text, in Rhetores Graeci.

Latin translation, with the

Venice, Aldus, 1508.

summary

of Averroes

1198).

{ob.

Venice,

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

Alexandrum Paccium,

tium Florentinum, in Latinum convcrsa.

Trincaveli, Greek text.

Robortelli

Venice, 1536.

In librum

(Fr.),

]jatri-

Venice, Aldus, 1536.

Aristolelis

de Arte Poetica explicationes.

Florence, 1548.

Segni

(B.),

Rettorica e Poetica d' Aristotcle tradotte di Greco in lingua

vulgare.

Florence, 1549.

Maggi (V.) [Madius], In

librum de Poetica

Aristotelis

explaiiationes.

Venice, 1550.

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

Arte Poetarum.

Florence, 1560.

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

Vienna, 1570

Basle,

1576.

Piccolomiui (A.), Annotationi nel libro della Poetica

d' Aristotcle,

traduttione del medtsivio libro in lingua volgnrc.

Casaubon (L), edition of

Heinsius (D. ) recensuit.

Goulston
Dacicr,

(T.),

La

con la

Venice, 1575.

Le3Hlen, 1590.

Aristotle.

Leyden, 1610.

Latin translation.

London, 1623, and Cambridge, 1696.

Poitiqnc tradnitc en Franqais, avec des remarques critiques.

Paris, 1692.

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

priaux, avec
Paris, 1771.

les

traductions

et

des remarques

Vida, de Des-

par I'Abbi Batteux.

THE POETICS OF ARISTOTLE

XX
Winstanley
Reiz,

commentary on

(T.),

De Podica

Metastasio (P.

Liher.

Estratto dclV Arte Podica d' Aristotele e considerazimii su

),

la medcsima.

Twining

Paris, 1782.

Treatise on Poetry, translated with notes

(T.), Aristotle's

and on

translation

and
Pye (H.

original,

tJie

Commentary

and two

To which

is

corrected edition of the translation of the Poetic.

(T.

),

Be

Textum

Poetica Liber.

prefixed a neio and

London, 1792.

recensuit, versionem refinxit,

animadversionihios illustravit TJiomas Tyrwldtt.

Buhle

T.

(J.

Hermann

Grafenham

(E. A.

Ars Poetica cum commentariis.

Leipzig, 1821.

etc.

Ueher die Poetik des Aristoteles

(Fr. v.),

den ncuern Dramatikcrn.

Spengel

Ritter

und

Munich, 1837.

philos.-philol. CI. 11.

Ad

(Fr.),

antiquos

codices

rccognitam,

E.),

frangaise

et

et

com-

Cologne, 1839.

Essai sur Vhistoire de la Critique chez

la PoMiqiie d'Aristote

conversam,

latine

mentario illustratam edidit Franciscus Ritter.

Egger (M.

sein VcrMltniss zu

Berlin, 1829.

Ueher Aristoteles' Poetik in Abhandlungcn dcr Munchener

(L.),

Akad.

Leipzig, 1802.

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

tariis illustrai'it,

Raumer

et

Oxford, 1794.

Gottingen, 1794.

recensuit.

(Godfrey),

the

illustrating the Poetic oj Aristotle hy examples

taken chiefly from the modern poets.

Tyrwhitt

07i

dissertations on poetical

London, 1789.

imisical imitation.

J.),

Oxford, 1780.

Poetics.

Leipzig, 1786,

les Grecs,

sidvi de

d'extraits de ses Problemes, avcc traduction

commentaire.

Paris, 1849.

Bernays (Jacob), Gruiidziige der verlorenen Abhandlung des Aristoteles

Wirkung der

iiber

Saint-Hilaire

perpituclles.

Tragodie,

Breslau, 1857.

Podtique traduite en frangais

(J. B.),

et

accompagnde de notes

Paris, 1858.

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

Berlin, 1859.

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

Stutt-

gart, 1860.

Liepert

(J.), Aristoteles ilber

Susemihl
zig,

Vahlen
Spengel

Vahlen

(J.

(F.),

German

den Zweck der Kunst.

Passau, 1862.

translation, with Introduction

and

),

Beitragc zu Aristoteles' Poetik.

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

Studien IV.

Leip-

Vienna, 1865.

Munich, 1866.

Berlin, 1867.

Teichmiiller (G.), Aristotelische ForscMtngen.

der Poetik des Aristoteles.

II.

I.

Bcitrage zur Erkldrung

Aristoteles' Philosophic der

Halle, 1869.

Ueberweg

notes.

1865 and 1874.

(F.),

German

translation and notes,

Berlin, 1869.

Kunst.

EDITIONS, TRANSLATIONS, ETC.

Reiiikens

H. ), Aristoteles

(J.

Kunst,

iiber

besonders

XXI
Tragodie.

iiber

Vienna, 1870,

Doring

Die Kunstlehre des

(A.),

Ueberweg

(F.),

Ars

{Parisiensis 174i)-

Bywater

(I.),

Aristoteles.

Moore

(J.)

(E.),

Aristotelia in Journal of Philology, v. 117

iterum recensuit

and

xiv. 40

ff.

Berlin, 1874.

and 1893.

Leipzig, 1878

ilbcr die Aristotelische

Thcorie des

Berlin, 1880.

Brandscheid (F.), Text, German translation,

mentary. Wiesbaden, 1882.

(D.),

notes and cm-

critical

with English translation.

(E. R.), Vahlen's text

Margoliouth

ff.

Oxford, 1875.

Bernays (Jacob), Zwei Ahhandlungen

Drama.

A'

1885.

adnotatione critica auxit.

et

Vahlen's text witli notes.

Christ (W.) recensuit.

Wharton

codicis antiquissvmi

Berlin, 1870.

London and Cambridge, 1873 and

Vahlen

Jena, 1870.

ad fdem potissimum

Poetica

Oxford, 1883.

Analecta Oricntalia ad Poeticam Aristoteleam.

Lon-

don, 1887.

Benard (C), L'EstMtique

Gomperz

(T.),

Zu

d'Aristote.

Aristoteles' Poctik,

Paris, 1887.
I.

(c. i.-vi.).

Vienna, 1888.

Heidenhain (F.), Averrois Paraphrasis in librum Pocticae Aristotelis Jacob

Mantino interprete. Leipzig, 1889.
Prickard (A. O.), Aristotle on the Art of Poetry.
Appendices.
London, 1891.

La

Lecture with two

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

Nationale.

MM.
Carroll

Preface de

Lumiere.

M. Henri Omont.

Photolithographic de

Paris, 1891.

(M.), Aristotle's

Poetics

in the Light of the Homeric Scholia.

Baltimore, 1895.

Gomperz

(T.), Aristoteles' Poetik.

Uebcrsetzt

tnul

eingcleitet.

1895.

Gomperz

(T.),

Zu

Aristoteles' Poetik, II., III.

Vienna, 1896.

Leipzig,

ARISTOTLE'S POETICS

ANALYSIS OF CONTENTS
I.

'

Imitation

{iJ.ifj.Tiais)

'

the

common

principle of the Arts of Poetry,

Music, Dancing, Painting, and Sculpture.

Medium

tinguished according to the

These Arts

dis-

or material Vehicle, the

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

Objects,

Imitation

'

'

taken singly or combined.

II.

The Objects

of Imitation.

Higher or lower
Arts.

the Imitative

tj'pes are represented in all

In Poetry this

is

the basis of the distinction between

Tragedy and Comedy.

III.

The Manner

of Imitation.

Poetry
narrative

may

be in form either dramatic narrative, pure

(including

poetry),

Ijric

digression follows on

the

name and

pure

or

original

drama.

home

of the

Drama.
IV.

The Origin and Development

Psychologically, Poetry
instinct

of

Imitation,

of Poetry.

may

and the

be traced to two causes, the

instinct

of

Harmony and

Rhythm.
Historically viewed. Poetry diverged early in two directions

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

form.

The

successive steps in the history of

Tragedy are enumer-

ated.

V. Definition of the Ludicrous (rd yeXoiov), and a brief sketch of the

Points of comparison between Epic Poetry
rise of Comedy.

and Tragedy.

(The chapter

is

fragmentary.

ARISTOTLE'S POETICS

Six elements in Tragedy

VI. Definition of Tragedy.

namely,

Scenic Presentment

Song

Lyrical

namely, Plot

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

(6

Diction

Character

ttjs

6^ws

(X^^s)

{rjdos),

three external,

Kdcrfios

or

oi/'is).

three internal,

and Thought {dLavoLa).

is of primary import-

Plot, or the representation of the action,

ance

Character and Thought come next in order,

VII. The Plot must be a Whole, complete in

itself,

and of adequate

magnitude.
VIII. The Plot must be a Unity.

Unity of Plot consists not in Unity

Unity of Action.

of Hero, but in

The

must be organically connected.

parts

IX. (Plot continued.) Dramatic Unity can be attained only by the

observance of Poetic as distinct from Historic Truth
for
;

Poetry

an expression of the Universal, History of the Par-

is

The

ticular.

rule of probable or necessary sequence as applied

Certain plots condemned for want of Unity.

to the incidents.

The

best Tragic effects depend on the combination of the

Inevitable and the Unexpected.

X. (Plot continued.)

of Simple {air\ol)

Definitions

and Complex

{ireirXeyfiivoi) Plots.

Sudden Reversal

XI. (Plot continued.)

n-^reia),

Incident
XII.

The

Recognition

'quantitative parts'

fined

Prologue,

or Recoil of the Action {irepi-

and Tragic
and explained.

(dvayvdipLo-Ls),

(Trddos) defined

{/J.ipT]

Episode,

or disastrous

Kara t6 irocbv) of Tragedy de-

etc.

(Probably an interpolation.)

AVhat constitutes Tragic Action.

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

XIII. (Plot

continued.)

'

XIV.

'

The

(Plot continued. )

tragic emotions of pity

and

fear should

To produce them by Scenery

spring out of the Plot

itself.

Spectacular effect

entirely against the spirit of Tragedy.

Examples
emotional

XV. The element

of

is

Tragic

Incidents

designed

to

or

heighten the

effect.

of Character (as the manifestation of moral purpose)

in Tragedy.

Requisites of ethical portraiture.

The

rule of

necessity or probability applicable to Character as to Plot.

The

'

Deus ex Machina

Character

XVI.

is

'

(a

passage out of place here).

How

idealised.

(Plot continued.)

Recognition

its

various kinds, with examples.

ANALYSIS OF CONTENTS
XVII. Practical

rules for the Tragic Poet

To

(1)

place the scene before his eyes,

parts himself in order to enter into vivid

and to
sympathy

act the
A\ith

the

dramatis personae.

To sketch the bare

(2)

ing to

>vith those of

XVIII. Further rules

of Tragedy are here incidentally contrasted

Epic Poetry.

for the Tragic

To be

(1)

outline of the action before proceed-

in the episodes.

fill

The Episodes

Poet

careful about the Complication {Uais)

nov^ement (Mens) of the Plot

and D^-

especially the Dinouement.

To imite, if possible, varied forms of poetic excellence.

Not to overcharge a Tragedy with details appropriate

(2)
(3)

to Epic Poetry.

To make the Choral Odes

(4)

like the Dialogue an organic

part of the whole.

XIX. Thought

and Diction

or the Intellectual element,

(Stdj'ota),

in

Tragedy.

Thought may be expressed either by the dramatic speeches

composed according to the rules of Rhetoric or through the
dramatic incidents, which speak for themselves.
Diction falls largely within the domain of the Art of De-

clamation, rather than of Poetiy.

XX.

Language in general. An analysis of the parts of

and other grammatical details. (Probably interpolated.

Diction, or
speech,

XXI. Poetic

The words and modes

Diction.

in Poetry

of speech

admissible

including Metaphor, in particular.

A passage probably interpolated on the Gender of Nouns.

How Poetry combines elevation of

XXII. (Poetic Diction continued.)

language with perspicuity.

XXIII. Epic Poetry.

It agrees

with Tragedy in Unity of Action

herein

contrasted with History,

XXIV.

(Epic Poetry continued.)

Tragedy.
trated,

The

Further points of agreement with

points of difference are enumerated

namely,

(1)

the length of the

poem

(2)

and

illus-

the metre

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

XXV.

brought against Poetry, and the principles on

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

Critical Objections

reality.

XXVI. A

general estimate of the comparative worth of Epic Poetry and

Tragedy.

The

alleged defects of Tragedy are not essential to

Its positive merits entitle it to the higher

rank of the two.

it.

ABBEEVIATIONS IN THE CEITICAL NOTES

A<=:

the

Parisian

century
fidently,

which

manuscript (1741) of

the

11th

but

too

con-

generally,

perhaps

supposed to be the archetype from

all

other extant

MSS.

directly or in-

directly are derived.

Apogr.

one or more of the MSS. other than

Arabs

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

A*^.

of the middle of the 10th century, a version

independent of our extant MSS.

It is not

directly taken from the Greek, but

is

a trans-

lation of a Syriac version of the Poetics

unknown

now

author,

by an

(The quotations

lost.

in the critical notes are from the literal Latin

Mar-

translation of the Arabic, as given in

goliouth's A7ialecta Orientalia.)

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

longer extant, which was used by the Syriac

(This

translator.

by Susemihl
brevity.)

It

symbol already employed

have taken for the sake

must be remembered,

that the readings ascribed to

we

infer to

of

therefore,

are those

which

have existed in the Greek exemplar,

from which the Syriac translation was made.

the Aldine edition^of Bhetores Graeci, published

Aid.

in 1508.

Vahlen's text of the Poetics Ed.

Valilen

Vahlen

3.

by him

into

words with manuscript authority (including

A*^),

a conjecture of Vahlen, not admitted

coni.

the text.

which should be deleted from the

< > =

text.

a conjectural supplement to the text.

* *

a lacuna in the text,

words which are corrupt and have not been

factorily restored.

satis-

API2TOTEAOY2
nEPI nOIHTIKHS

API2TOTEAOT2 nEPI nOIHTIKH2

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he Kco/xtphia Kal

t?}?

et

'imitatur rebus diversis' Arabs

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koL A
kKv Aid.
:

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apogr.

dicimus' Arabs.

5t'

rcDi yevei.

XP^'
Xiyofiev
17. to!

A.'^.

avrrts r^s ^i^crews

20.

Spengel.

;;

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

number and nature

the

into

poem

is

composed

us

let

begin

poem

parts of which a

and similarly into whatever

within the same inquiry.

nature,

of the

else falls

Following, then, the order of

with the principles which come

first.

Epic poetry and Tragedy, Comedy also and dithyrambic 2

poetry,

and the music

most of

modes

of

the flute and of the lyre in

their forms, are all in their general conception

They

imitation.

of

another in three respects,

manner

or

mode

of

differ,

however, from one 3

the medium, the objects, the

imitation,

being

each

in

case

distinct.

For as there are persons who, by conscious

mere
the

habit, imitate

medium

art

or 4

and represent various objects through

of colour

and form, or again by the voice

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

imitation

is

produced by rhythm, language, or

either singly or combined.

'

harmony,'

49.

I.

fiovov

jjbevai

25 erepat

re avKrjriKrj koi

rf

Tvyydvovatv

jap ovTOi

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payvvaa

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rv'y')(^dvovaa

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fierpcov,

rcve'i
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rj

22

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tw

avpLyycov, avTa> Se
77

241447 b

1447 a

kol

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T(p p^irpo)
I c

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^ovaiv, ov'^ 0)9

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Tov
20 ^

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op.olw'i Be

TTOLOiTO Trjv

pov

p^dWov

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p^ev TTOLijTrjv

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pLLp,7](Ttv

pbiKTrjv pa-drcpBlav

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et

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Kei^raw-

d'TvdvTCOv tCov p,eTpa)v, Kat

e'f

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tovtov

habuit

26. ti$ avT($

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

ol

Gomperz

<xa.pi-icTepoi>

male (Margoliouth).

iivoTvoda

29.

6pxv<^TpQiv

Ueberweg,

seclus.

'

<xapt^j'Tes> Zeller.

ol

cm. iam S.

1447 b 9.
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dviivvfioi add. Bernays, confirmante Arabe 'quae sine nomine est adbuc.'
\pCko2s

15.

^ Tols

Karh,

physica

'

/jL^rpois

apogr,

ttjv

Arabs.

codd.

22.

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ttjv

Idem

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om.

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16.

A=.

praestat

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Heinsius

(Margoliouth)

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re

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pafqiSiav delere voluit Tyrwhitt.

Vahlen Kal om. S KalroL Rassow, Gomperz.

Loci difficultatem transpositione verborum tollere vult Susemihl 20-22
Kal TOVTOV apogr.

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ARISTOTLE'S POETICS

Thus

music of the

in the

similar to

without

harmony

'

another

1447 b

alone,

and
again,

consist

of

for

'harmony'

also in other arts, such

which are essentially

pipe,

alone

is

used 5

even dancing imitates character,

by rhythmical movement.

action,

art

verse,

'

lyre,

In dancing, rhythm

these.

emotion, and
is

shepherd's

the

that of

49

and the

flute

and rhythm alone are employed

as

I.

There

which imitates by means of language

that

may

but

prose

either

in

either

combine

kind

one

verse

or

which

metres

different

or

but this has hitherto been

without a name.

For there
the

mimes

dialogues
poetic

poet

on

People
to the

'

in

entitles

when

them

all

author

common

On

could apply to 7

on

the

the

other,

any

or

elegiac,

word

'

hexameter) poets, as

makes the

maker

'

or

if

it

of poet

were not

poet, but the verse that

indiscriminately to

name

to

similar

the metre, and speak of elegiac

is

Even

the name.

a treatise on medicine or natural science

out in verse, the

call

of

is,

that

and,

iambic,

indeed, add

do,

name

poets, or epic (that

the imitation

hand

one

the

imitations

metre.
*

common term we

no

is

of Sophron and Xenarchus and the Socratic

brought

is

by custom given

to the

and yet Homer and Empedocles have nothing in

but the metre, so that

it

would be

right to

the one poet, the other physicist rather than poet.

the same principle, even

if

a writer

imitation were to combine all metres, as

in his Centaur,

which

is

in

his

poetic 9

Chaeremon did

a medley composed of metres

10

I.

II.

1447 b 23

4.

Trpocrayopevreov.

TToiTjTTjp

25

rwv

re

ovv tovtcov

Bi(opL(r6co
Tot<; elprj-

fjLev

10

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fjbevot<;,
ri

Tiv6<;

a 15

at iraai, '^pSivrai

irepl

TovTOv TOP rpoirov elal Be

1448

Bcdvpafju^cKcov

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a/xa iraaiv al Be

rwv

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Kara

Kal

7roLr)crc<;

ravra^

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oh

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77

on

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1)

rj

al fxev

ovv Xejco ra?

fiev

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puijjb'qcnv.

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

II

TOVTOvi

rj

cTTTOvBalovi

Bia^epovcn

(f)av\ov<; elvat

rj

del Tovroi^ dKoXovdel

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

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5 rj

Kpelrrov;, Uavcrcov Be

on

BrjXov Be

Kal

{rd yap

a'^eBbv

r]6r)

KaKca yap Kal dperfj rd

fjL0V0i,<;,

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rj

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e'lKa^ev

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

rwv Xe-^detawv

ridrj

'^eipova'i

r}fjbd<i rj

jjLiixrja-eoiv

e^ei 2

ravra<i rd<i Bia<f)opd'i Kal ecrrat erepa to3 erepa fMifielcrOai

Kal ydp ev

rovrov rov rporrov.

ean yeveaOaL ravra^

10 KiOaplaei

Xoyov; Be Kal

irepl rov<i

Kal avKrjaei Kal 3

op'X^rjcrei

rd<; 7rap(pBLa<i Troitja-a'i irpwro'^

15

')(eipov<;'

rov^

v6/jL0v<i, oiCTTrep

ovK
'

(pvaioXoyov

ijdr]

Aid.,

Kal

T<f

dper^ apogr., 2:

apogr.

to

A<=.

iroLy]rT}v

29.

KaKia
12.

Gryph.

efficitur

sic

apogr.

at

diOvpafx^wy apogr.

oh Vettori
.

ttoltjttjv

^4X0-

dperr] A^.

ol

A<=

28. wacrai apogr.

1448 a

a?s A<=.
7.

St]

ante rds add. apogr.

3.

Kadq.

Morel.

13.

8.

rpayipSlas ut

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

'

oi toi>s

ibcrirep

codd.

Vahlen.

ilxTirep

Margoliouth
'Apyas Castelvetro

coni.

iocnrep ovrcos

ut

TrpocrayopevTeov concludatur locus

24. at

26.

'

ov A^.

et 22 Kal

fj.i/j.7i(nv

/xdWou ^
Bekker.

homines qui Arabs.

odv apogr.

Kal irepl 4

rov'i Bi6vpdfj,/3ov^

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

posito, deleto 13 ttoloito tt^v

verbis

Op,rjpo<i

%dcno<i o
rrjv ArjXo-

Kal l^iKO'^dpr)^

Kal irepl

ojjloiw^ Be

'

rrjv y^ikoiierpiav, olov

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

dBa

Kal [ro]

rd<; dvo/xoLorrjra'i'

ut videtur

ws Il^po-as Vettori

Hxrirep

A<=

15.

&(nrep ya.%

yap

coni.

9 II.

ARISTOTLE'S POETICS I
of all kinds,

term poet.
There

we should bring him too under the

So much then for these distinctions.
some

again,

are,

arts

means above mentioned,

which employ

namely,

general

all

tune

rhythm,

the 10

and

Such are dithyrambic and nomic poetry, and

metre.

and

Tragedy

also

difference

that

is,

Comedy
in

the

but

first

them the

between

two cases these means

now one

are all employed in combination, in the latter,

means

employed,

is

now

another.

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

to the

II
^^^ *

medium

of imitation.

Since the objects of imitation are

these

men must

in action,

and

moral character mainly answers to these divisions,

(for

goodness and
of

men

be either of a higher or a lower type

moral

men

badness being the distinguishing marks

differences),

follows that

it

either as better than in real

as they are.

It is

men

depicted

as

noble, Dionysius

Now

we must

the same in painting.

than they

nobler

drew them true

to

represent

or as worse, or

life,

are,

Polygnotus

Pauson

as

less

life.

evident that each of the modes of imitation 2

it is

above mentioned will exhibit these differences, and be-

come

a distinct kind in imitating objects that are thus

Sucli diversities

distinct.

may

be found even in dancing, 3

and lyre-playing.

flute-playing,

So again in language,

whether prose or verse unaccompanied by music.

for example,

as

they are

parodies,

than they

makes men
;

better than they are

Hegemon

the

Thasian,

the

Homer,
Cleophon

inventor

of

and Nicochares, the author of the Deliad, worse

are.

and nomes

The same thing holds good

here too one

may

of

dithyrambs 4

portray dilfereut types, as

12

4111.

II.

av

^vo<i[, fjLifi7](TaLT0

TpajfoSla
/30V9

20

he tovtcov

rpLrrj

eariv ore

/jit/j.ei(T6ai

Bt,a(f)opa

koI yap iv

Ta.

civ

fJajJuy'icraiTO

fxev

iv Tpial

fit/Jbov/jbivovi].

6 avTO<i

TT] fiev

eo?

rj

KOT

av

hrj

TLve<;

avrd

ptet? (tj}9 ixev

eVt

Tr;?

oh

Bia(f>opat<;

rwv

avTol

c^acnv,

on

yap

Trap"

16.

fiera-

/xi/jirjai'i

r)

yap

K(i)/jLa<;

ol

KWfi(phia<i ol Ata-

rrj<;

Meyapet'i

^Ei7rL'^ap/uL0<i

dv

tis]

secl.

re ivravOa

o'i

Kal ol iK

TrotT/r?)?

coni.

rrj^;

ttoWS

Tpay(phla<i

ra ovopLara

TTotovfxevoL

Td<i irepiOiKiha^.

hijfxov^, (09 Kcoix(phov<;

[pLifirjaairo

yap

hto Kal

hpa)vra<i.

/XL/Jbovvrac

Bi]/jbOKpaTia<i yevo/u,evr)(;,

rjv

cnj/jbeLov

KaXelv ^aaiv, ^Adrj-

ouk dirb tov Kcofid^etv \e-

Vahlen.

aiV^ 5^ Vettori

rrj

'in

Tavrrj d^ rrj M. Casaubon

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

eadem discrepantia Arabs:

'

18. TWJ' w;'

Margoliouth.

tl

seclus.

Zeller,

Spengel.

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

23.

36.

aiirol et 'Adijvalovs

iam editio Oxoniensis 1760

Wilamowitz, Gomperz.

odroi et

Spengel

(cf.

iravras

tovs

Bywater.

ware

c5<?.

66ev Kal hpa/iara KaXec- 3

Kcofiq)hLa<i

avToh

iv UeXoTTovvijcra))

fiev

vaiov; he

n yiyvofir)

So^o/c\?}?, jJupbOvvTaL

7rp6repo<i cov ^Lcovlhov Kal M.dyvrjro'i, Kal

35 evioc

kol ra avra

erepov

re kol a koI

ecr) fiLfxrjrr}^ '0/jirjpfp

iKeWev yap

%iKe\la<i,

(?)

rov avrov kol

30 dvTLiroiovvTaL t^? re rpaywhla^ Kal

ft)9

eKaara rovrcov

g)?

ravraci

dpya<i, iv

fiLfiovvrac Kal hp(t)VTa<i dficpco.

aOal

to

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

dfi(f>co

rj

p^^et-

7rdvra<i to? irpdrTOvra^ koX ivepyovvrai; [tou9

i]

25 icTTLV, &)? eiTTOfiev

yap

fiev '^/ap

rj

roi<i avTol<;

aTrayyeWovra

fievov, cocTTrep "Ofi7jpo<; iroiel,

^aXXovTo),

SieaTrjKev,

^ovkerat tmv vvv.

8e ySeA-Tiou? /jLLfxeladat

?;

en

Ill

iv rrj avrfj he 8iac})opa kul

Tt?]'

rrjv Kco/MOiSlav

7r/3o<?

1637

1448 a

3-

25.

Pro Kal

&.

dd-qvaloi codd.

'

xal

<o'>

35.

1460 b 38)

fort,

/xLixov/xevov^

aij,

^vioi

'Adrivaiovs

Adijvawi tuentur


ARISTOTLE'S POETICS

4111.

II.

13

Timotheus and Philoxenus differed in representing the

The same

Cyclopes.

Comedy
Tragedy
Ill

There

may

Tragedy from

men

as worse,

life.

a third difference

is still

each of these objects

off

at representing

than in actual

as better

marks

distinction

Comedy aims

for

manner

the

in

which

For the medium

be imitated.

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

which
Homer
unchanged
may
by narration

another personality as
person,

does, or speak in his

or he

and moving before

as living

we

These, then, as

may

case he can either take

in

present

all

own

his characters

us.

said

at

the

beginning, are

the 2

three differences \vhich distinguish artistic imitation,

the medium, the objects, and the manner.

one point of view, Sophocles

kind

So that from

an imitator of the same

higher

imitate

of view, of the

types

of

same kind

both imitate persons acting and

for

Hence, some

doing.

both

for

from another point

as Aristophanes

to

Homer

as

character

is

say, the

name

of

'

drama

'

is

given 3

For the same

such poems, as representing action.

reason the Dorians claim the invention both of Tragedy

The claim

and Comedy.
the Megarians,
allege that

it

to

Comedy

is

put forward by

not only by those of Greece proper,

the Megarians of Sicily, for the poet Epicharmus,

much

earlier

country.

the

who
by

originated under their democracy, but also

who

is

than Chionides and Magnes, belonged to that

Tragedy too

Peloponnese.

is

In

evidence of language.
called K(o/xat,

claimed by certain Dorians of

each

case

by the Athenians

that Comedians were so

they appeal

Villages, they say, are

Bijfioi

to

the

by them

and they assume

named not from

Kcofj,d^eiv,

'

to

aXka

')(6evTa<i
1448 b

3 IV.

III.

Kara

rf]

Tov aaTew<i, koX to

lY
5

eoUacn

TLV6<i rrj'i

avTol

fxev

hpav,

irepl

fiev

ovv

Se yevvrjcrat

Tol<i

dv6pco7rot<?

Ttav

aW(ov

crei?

iroielTai

eK

to re yap

Tralhcov

twv Siaipopwv 4

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

koI tovtm Siacpepovcrc

ecTTi,

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

Sea

ra?

/jbtfJi^(Tco<i

koX to yaipeiv

irpoiTa'i,

arjixelov he

epycov a yap avTo,

T(t)V

e/c

Ad7)vaiov<; 8e

oXo)? rrjv "TrotTjTiKijv alrlaL Svo

/juev

Tot? imLi^jxacn 7rdvTa<;.

10 eVt

elprjaOco ravra.

/jLi/xi](Teoi<;

Koi avrai ^vaiKaL

TLve<i

23

ifkavrj dTCfu,a^o/xevov<;

K(ofia<;

iroueiv

TTpaTreiv irpoaa/yopeveiv.

Kal iToaaL koX

381448 b

1448 a

6.

tovtov to av/M/Salvov .3

\v'K7)pSi<i opcj/xev,

tovtcov Ta<;\

elK6va<i TO.? fidXtcTTa rjKpijBoiixeva^ '^alpo/xev de(opovvTe<;,olov

OripLwv re

twv dTC/moTdToov Kal

/xopcftd'i

Kal TovTov, OTi jxavOdvecv ov /xovov

dXA,a
15

avTov.

Sid

ovTO^

t7]v

rj

eKelvo<i,

'^poidv

elKOva'? 6po)VTe<i,

firj Tii'^rj

rjhovrjv

TOv

dXkd

fiLfxeicrdac

Kai TOV pvOfjbov, Ta yap /xeTpa otc

iaTC (J3avp6v, ef

OTcb

tl 6Ka-

TrpoecopaKco'i,

Sid ttjv drrrep-

Kal

fxopia

dWrjv

aiTiav.

dp/xovia<i 6

Trj<i

tcov

pvd/juojv

Kal avTa fjbdXtaTa KaTa

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

fiiKpbv 7rpodyovTe<i iyevvrjaav ttjp iroirjcnv eK tcov avTOcr'^e-

1448 b

1.

Kal TO Tvoieiv

Arabs.

Arabs

5.
:

tovto A"^

TjdovTjv

22.

Kal airra

Trpoaayopeveii'

18.

irpbs

13.

avTa Aid.

20.

Kal [tovtov] Spengel

5??

Bekker

Vahlen

coni.
:

els

avTO, Kal

post yudXtcrra traiciendum esse coni. Susemihl.

oXcos

4.

tovtov apogr.
:

om.

confirmat

Kal <:\6yos>

ovx V Hermann, iaru S, ut videtnr

om. Arabs.
:

om. Arabs.

ai^rat A'^.

[kuI toijtov] Zeller

To^jTov Bonitz,
rriv

avrai apogr.

'
i

/Bpa'^v Koivcovovaiv'

Scd TOiavTijv Tivd

i)

6pto<; rjfxcv

(f)V(TLV Srj

inel idv

ttjv

7roci]creL

fji[fM7)/j,a

yacriav

20 KaTa

iirl

yap tovto '^aipovac ra?

(JTOV, olov OTi

97

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

dXX,

oyu-otcu?,

dewpovvTa^ p,av6dveiv Kal crvWoyi^eadai

avji^aivei,

ou^

aXXoi<;

KOA, T0t<;

a'cTiov Se;4

veKpoiv.

(Beitr.)

oi'xt

codd.

5^

codd.

Gomperz

Kal

aiiTcc

ARISTOTLE'S POETICS HI.

15

but because they wandered from village to village

revel,'

{Kara

being excluded contemptuously from the

K(o/xa<;),

They add

144S b city.

is

3 IV.

This

may

for

'

doing

'

irpdrrecv.

suffice as to the

modes

various

Dorian Nvord

also that the

and the Athenian,

Spdv,

number and nature

of the 4

of imitation.

Poetry in general seems to have sprung from two

lA"

causes, each of

them lying deep

in our nature.

man from

instinct of imitation is implanted in

First, the 2

childhood,

one difference between him and other animals being that

he

the most imitative of living creatures

is

imitation he
universal

have

learns

the pleasure

is

evidence

of

lessons

his earliest
felt

and through

and no

facts

less

We

in things imitated.

the

in

this

experience.

of

we view with pain, we

when reproduced with minute

Objects which in themselves

delight

contemplate

to

such as the forms of the most ignoble animals

fidehty

and

dead bodies.

of

The cause

of this again

is,

that to 4

learn gives the liveliest pleasure, not only to philosophers

but

to

men

learning

is

in

general

more

limited.

enjoy seeing a likeness

is,

whose capacity, however, of

Thus the reason why men

that in contemplating

find themselves learning or inferring,

'

Ah, that

is

he.'

For

they

and saying perhaps,

you happen not

if

it

to

have seen

the original, the pleasure will be due not to the imitation

as such, but to the execution, the colouring, or

some such

other cause.
Imitation, then,

is

one instinct of our nature.

harmony

Xext, 6

'

and rhythm, metres

being manifestly sections of rhythm.

Persons, therefore,

there

is

the instinct for

'

starting with this natural gift developed

by degrees

their

16

IV.

^laafMarcov.

1448 b 24

II-

1449 ^

ra? T(yy tocovtcov,

Kara ra oiKela

SieaTrdcrdr} 8e

yap ae/xvorepoL ra? /caXa?

25 ol fiev

Tov

ijOrj

iroliqaL'i- 7

rj

i/xcfiovpro 7r/oa^ei<? /cai

ol Se evTeXecrrepot Ta<; rcov (pavXcov, irpSi-

wcnrep arepoc v/xvovi Kol ijKcofMLa.

\lr6jov<i 7rocovvre<i,

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

etKO? Se elvat 7roWou<i, airo he 'Ojxi^pov dp^afievoi,<i

TTOiTjfia,

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

TO dpfxoTTOv

\etTai vvv, OTi iv

tm

tovtw Idfi^i^ov

i^erptp

iyevovTO tcov irdXaccov ol fxev

TiKa<i

1449

koL

oio-irep he

rai.

yap

35 ^v, fi6vo<;

ov'^

i'TToirjcyev,

ovTCt)<;

Kal

vTTeBeL^ev, ov -^oyov

irotrjcra'i

Kal

Ta9

rj

7r/3o?

ol

i(f>^

ol

he

fjuev

t?}?

rrjv

Troirjcriv

eiroiv

7rpb<i

6p/ji(0VTe<i

Kara

rrjv

TpaywhohthdaKoXoi hid to

el

erepot

'IXta9

Tpay(ph[a<i Kal kco- 10

T7]<;

TO fiev ovv iiTiaKO'irelv

e^ei, wairep

dvrl twv Id/m^cov KWfjbwhoTToiol iye-

dvrl rwv

Spengel

(X'yfjixaTa

to yeXoiov hpafxaro-

ra a'^^p.ara

drepoL

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

KOiix(phia<i

dWd

fiel^ova Kal evn/xoTepa

27.

koI 9

dXX.i]\ov<i-

Ta9 Tpay(phia<i, ovrco Kal 0VT0<i

eKarepav

OLKelav (f>vcnv ol
vovTo,

ra

'Trapa^aveicrri'i he

KO)ix(phla<i.

kol

[pri] Koi fxt/Mtjaea Bpafia-

yap Map-ytT?;? dvdXoyov

^OBvaaeia

/x,(phia<;

on ev dW<d>

irpwTO'i

oh

rjpcoiKcov ol Be Id/ji/Scov iroirj-

crTrovSata /xdXcara

to,

iv

koX la/x^elov Ka-

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

codd.

dp"

e'^^et

30.

elvat

rjhrj

Kal

ravra eKelvwv.
Tpayaihla rot? 11

rj

to

dp/j.6TTov

[la/j.^e'iov]

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

?X" Vahlen.

'

ARISTOTLE'S POETICS IV.

special aptitudes,

till

6 il

17

their rude improvisations gave birth

to Poetry.

now

Poetry
the

character

noble

imitated

spirits

meaner

persons,

trivial

at

The graver

the writers.

of

and

actions,

The more

good men.
of

diverged in two directions, according to 7

individual

the

of

actions

sort imitated the actions

composing

first

as

satires,

hymns to the gods and the praises of

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

many

though

cited,

his

own

example, and other similar compositions.

Margites, for

The appropriate metre was

the measure

But

such writers probably there were.

from Homer onward, instances can be

is

measure, being that

also here introduced

the

called

still

in

hence

iambic or lampooning

which people lampooned

Thus the older poets were distinguished

another.

one
as 9

writers of heroic or of lampooning verse.

As, in the serious style,

Homer

is

preeminent among

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

in the dramatic form of

liis

down

of

main

the

lines

imitations, so he too first laid

Comedy, by dramatising the

ludicrous instead of writing personal satire.

1449

bears the same relation to

Odyssey do to Tragedy.

came

to

their

natural bent:

light,

Comedy,

and

Tragedians,

form of

Comedy

since

Iliad

and

But when Tragedy and Comedy 10

the two classes of poets

the

His Margites

that the

still

followed

the lampooners became writers of

Epic

poets

were

the drama was a

succeeded

larger

by

and higher

art.

Whether Tragedy has

as

yet

perfected

its

proper

18

IV.

elBecTLv iKava)<;

II 15-

Kol TTpo^ ra Oearpa, aWo<i

10

Twv i^ap'^ovTcov Tov

uTTo

yevo/jievT}

Xo<yo<;.

avToa'^ehiaariKri, koX avrrj koL

ap'^rj'i

Xlkcl

828

avro re Kad^ avro Kpiverat

ov,

?)

1449 a

Si,dvpa/x/3ov,

rj

rj

Kcoixwhta, koX

Se airo

rj

twv ra

air

fxev

(fioX-

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

Kara

ixi^ofjieva,

/xtKpov

irpoa'yovrwv ocrov iylyvero

rjv^i'jdrj

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

(j)avepov avrr}<i, Kal

15 rpaytpSla iiravcraro, iirel ecr'^e rrjv avr)]<i (pvcrcp.

re roiv viroKpirwv rr\ri6o<; i^ vo<i

X09

[val]

i)

< S' > ovv

Yj'ya'ye

eh Svo

rj

Kal to 13

tt/owto?

AtV^u-

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

7rp(oraja)VL(Tri]V TrapecrKevacrev, rpet<i 8e Kal aKrjvo'ypacjilav

Sia ro eK aarvpiKov jxerajBaXelv

^eco<; <ye\oLa<;

yap irpwrov rerpafierpa> e^pf^vro hia ro

/J,ev

(xarvpiKrjv

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

avrrj

rj

25 Kov roiv fMerpcov rb lafi/Selbv

yap

jevofMevr]';

ro oiKelov fxerpov evpe, fMoXicrra yap \eKri-

(J)V(tl<;

TrKelcrra

eariv
ev

lafi/Beta Xeyofiev

he

a-tjfjbelov

StaXeKro)

rfj

8.

en

dpjxovia^.

KpLverai.

hammer

vai.

Kal A<=

Kplverai ^

9.

oSv Bekker.

\e|ets

<

r/

fort.

leg.

aXV

Kal ra
Kpivai

Kpiverat

Kal

Forch-

elvai

>

yevo/jihTjs

odv A<=

rj

Kal.

(Mar-

yevo/ji^vr)

d'

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

avToa-xeSLaa-riKri apogr.,

diafjL^veiv

X^^ts iK

Bursian

odf apogr.

-yevofiivr)

10.

apogr.:

Siafjihei

(pavWiKo. A'^

A.

19.

X^^ews Christ.

X^^ews

Omissum

'orationes' Arabs,

i.e.

vocab. collato Arabe id

Margoliouth suspic. cuius vice Graeculi vfrjyopia usurpant.

27.
eis XeKTi/crjy apfiovlav Wecklein (cf.
Terpafierpa Winstanley.

e^d/j.Tpa

Rbet.

iii.

arifieiov
ttXtj^i?

fiXXa

/cat

7rpo9

t?}? Xe/c-

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

11. 0a\Xt/cd apogr.

A.

esse

Kpiverai dvai Kal apogr.

[yal.'\

Habuit S, ut videtur,
goliouth).

he eTTeKTohicov rrXtjOrj.

rovrov
rfj

aX\^\ov<;, e^djbberpa Se 6\LydKt<i Kal eK/3alvovre<i

rcKrj<i

arre-

o^\re

ro re fjuerpov eK rerpafxerpov lapLJBelov ejevero'

(jeiivvvdrj.

ro

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

ert

'Zo(f)OK\i]<i.

20

8.

28

codicum lect. tutatur Arabs.

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

1408 b 32)

apfxovias

punctum

oh Hermann.

15

ii 14

ARISTOTLE'S POETICS IV.

and whether

types or not

in

also

relation

Be

question.

was

that as

be judged in

to

it is

audience,

the

to

or

raises

another

as also

Comedy

may, Tragedy

it

itself,

this

The one

mere improvisation.

at first

19

12

originated

with the leaders of the dithyramb, the other with those

which are

of the phallic songs,

our

in use in

still

new element

form, and there

Aeschylus

it

first

of

each

found

its

natural

introduced a second actor; he dimin- 13

Chorus, and assigned the

Sophocles raised the number

leading part to the dialogue.

of actors to three,

it

stopped,

ished the importance of the

late

that showed itself was in turn developed.

Having passed through many changes,

till

many

Tragedy advanced by slow degrees

cities.

and added scene-painting.

that the short

plot

was discarded

It

was not 14
one of

for

greater compass, and the grotesque diction of the earlier

form

satyric

for the

stately

manner

iambic measure then replaced the

of Tragedy.

trochaic

The

tetrameter,

which was originally employed when the poetry was of

the satyric order, and had greater affinities with dancing.

Once dialogue had come

the most colloquial

in,

Nature herself discovered the

For the iambic

appropriate measure.

we

see

is,

in the

it

versational speech runs into iambic form

than into any other kind of verse

of all measures,
fact

that

rarely into hexameters,

and only when we drop the colloquial intonation.

number
other

of

'

episodes

'

embellishments

or acts

added,

was
of

con-

more frequently

also increased,

which

The

and the

tradition

tells.

20

IV. 15

CKaara

ft)?

1449 ^ 29

1449

Xeyerai

earco

epjov

to-o)?

KcofimSla

Se

1^

Xorepcov

4-

Kocrfir]6r]vat

30 TToXv 'yap av

V.

/xev,

wcnrep

icrrlv

eLirojxev

<pav-

fiifirjcnf;

ov fievroi Kara iraaav KaKtav,

alcT'^pov iarc to

elprjjxeva'

rjfMLV

KaO^ eKaa-rov.

Bie^ievat

eir}

b 11

aXXa tov

to yap yeXolov iaTtv

<y\otov fMoptov

afidpTTj/xd Tt Kal al(T'^o<i dvcoSvvov Kal ov (pOapTtKOv, olov

35 v6v<; TO yeXotou irpoa-wirov ala'^pov Tt Kal SteaTpafi/xevov

dvev

1449 b

al

6Svvr)<;.

fjuev

wv iyevovTO ov

St'

(TirovBdi^eaOai i^
o-x^re

ovv

Tpay(pSla<i p,eTa^dcrei<i Kal 2

Trj<i

XeX-qdaaiv,

dp'^fj<i

tj

Be Kco/xcpSia Bed to

ekaOev Kal yap

TTore 6 dp'^^cov eBcoKev,

dW'

firj

')(ppov KcofjiaiBwv

edeXovTol

rjcrav.

Be

7]8r]

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

p,vrifiovevovTat.
5

7j

Be irpocrunra direBwKev

Ti<;

fjuvdovi TTOielv ['E7rt^ap/i09

/c

ScKeXla'i rfkOe,

d<pefjbevo<;

t7]<;

fiv6ov<;.

r]

tmv

irpoXoyov^ 3

fxev

T(f

Kal

to

^6p/jLL<;]

fxev

to Be

ef

dp')(fj<;

Be 'AOijvtjctiv K.pdTrj<i irpoiTO'i rjp^ev

lafiBifC7]<i

KaOokov

lBea<;

ovv eiroiroua

10 fieTa fieTpov [/leydXov]

6r]aev

rj

vwoKpiTOiv Kal oaa TOiavTa, rjyvorjTat.

irXrjdrj

tj}

iroielv \6yov<i

TpayutBia

/^ep^/Oi fJ^ev

Kal

tov 4

elvac arirovBaioiv rjKoXov-

fiifiTjcrif;

Be to jJueTpov dirkovv e-^eiv Kal dirayyeXiav

dW

/xh odv roirtav roaavTa add. Aid. ante Iffrw.

32.
dXXd < Kara rb yeXoiov, > tov < 5' > al^xpov
5 ToO alffxpov Friedreicli
Christ
sed tantum res ridicula est de genera foedi quae est portio
29. irepl

'

etridicula' Arabs
aiffxpoO
lect.

fibpibv

(Margoliouth),
ioTt.

Kal

conflatum esse censet Susemihl

TOV aiffxpov, (2) dXXd tov alcrxpov

ol \ey6fievoi

oXiyoi p-h

TTpoXbyovs A'^

#6p/its seclus.

ol

[j.6vov

dXXd /xdpiov
{cm Kal Tb yeXolov.

\6yovs

yap

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

(Susemihl),

(1)

fj.6pi,6v

< iKeWev

Castelvetro

irpbXoyov Christ

Susemihl

dXXd

i.e.

ye\o?ov

Tb

1449 b

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

Hermann.

TJcrTT]v

>

'E-n-LxO'pt^os

3.
4.

''Ewlxo-pp-os Kal

6.

Kal

^6p/ji.is

post

^X^e Bywater, collato Themistio, Or. xxvii. p. 337 A, recte, ut opinor.

9. M^XP' pbvov piTpov p.ey6.\ov codd.
pixpi- f^^" '''o^ juerd p-erpov Thurot (of.
:

Arab. )
/jL^v

yuexpt

p^v tov

p-^Tpt^

TOV M^Tpij} Tyrwhitt

Ueberweg.

10.

< iv

m^XP'

> /xeydXiji coni. Susemihl /x^x/"

< tov Sm Xbyov ep. > p.4Tpov p.eydXov

prjKei.

P^bi'ov

Pro p.eydXov codd.,

p.eTd

Xbyov Aid.

et,

ut videtur, 2.

15 V.

ARISTOTLE'S POETICS IV.

These we need not here discuss

21

them

enter into

to

in 15

detail would, doubtless, be a large undertaking.

Comedy

is,

we have

as

of a lower type,

said,

an imitation of characters

not, however, in the full sense of the

word bad, the Ludicrous being merely a subdivision of

the ugly.
is

not

some defect

It consists in

painful

or

destructive.

example, the comic mask

is

or ugliness

To

take

an

which

obvious

ugly and distorted, but does

not imply pain.

The

successive changes through which Tragedy passed, 2

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

Comedy has had no

1449 b

history, because it

was not

treated seriously.

a comic chorus to a poet

the performers were

voluntary.

Comedy had

when comic

poets, distinctively so called,

Who

of actors,

main unknown.
Sicily

themes and

his

or

are heard

'

these and other similar details re-

As

for the plot, it

came

iambic

'

or

is

who,

first

plots.

far as it is

imitation in verse of characters of a higher type.

and

from

originally

lampooning form, generalised

Epic poetry agrees with Tragedy in so

differ, in

of.

the 3

increased

but of Athenian writers Crates was the

abandoning the

then

till

already taken definite shape

introduced masks, or prologues,

number

at first

It was late before the Archon granted

an 4

They

that Epic poetry admits but one kind of metre,

narrative

in

form.

They

differ,

again, in

the

22

4 VI.

V.

hia^epovcnv

elvat, TavTT)

1235

1449 b

4.

'in he

tm

<e7re\>

jxi^KeL,

-q

fiev

irepiohov rfkiov elvat

OTC fMoktcrra 'Treipdrat

viro fjiiav

fiLKpov i^aXkaTTeiv,

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

15 Koi

r]

Kairoi to irpwrov

TOVTO) hia(f>epef

rovro eTroiovv koI ev

Tpaya>hiai<;

ra

ecrrl

ravrd,

jiev

KOI

olhe

jap

fiev

rpajwhla,

Ty

20 virdp'^et

he

avrfj,

<^av\r]<i,

eiroTroda

iravra

ov

S'

hionrep

koi

airovhala'^

olhe

eiroiv

irepl

fjiepv

chta t^? Tpa'ywhia^;.

he

rpaywhia^

irepX

6crTL<;

to,

ral^

ev

6fMoioo<;

enreaLv.

rol<i

rj

ep^et,

ev

rfj

eTroTToua.

VI

ovv

irepl

ev

TYjq

varepov

Kcofiwhla^i

ava\a^6vre<i avrrj^
25

dTrayyeXla'i,

Trpd^eco^ ctttou- 2

^yxp

"^ocovTcov TraOijfidTcov

TrdXiv Tepa hid fjueXovi.

'^^1'

TaL T7]v

fil/jLTjcnv,

Tpaywhiaf; 6

12.

^\

.^^'^16.

^
'

il\

"^

v|^ Vj

Vw
""^^--^

20.

i4l*<''<;

ij

fjL^v

iireaiv
avTrjL

et

var.

aiiTT]

apogr.

diro\a^6vTs codd.
irad7)ixa.TU3v

Mtro"

i^ avdyKiq'^ dv

ttjv

"Vettori

/cat

lect.
:

aCri;

to he

habuit iam

(Diels),

<:^trel>
15.

/xeXos

seclus.

'in

tl fjboptov

i]

Gomperz

fxh

Arabs.

epesi'

a.vaKa^bvT% Bernays

eKaarov codd.
31.

ju-bvov

29.

30.

fxadri/j.dTwv A<=.

Tyrwhitt.

\e^i<;,

dtacpepovaiv Christ.

omnibus

24.

TjTwliitt

etrj

\eya) he Xe^cv

/xlfirjcnv.

Reiz.

27. eKaffTtp

corr. apogr.

('partes' Arabs).

/jLeX.o<i,

euTa ixeXonrqua Kal

airaai.
:

twv

eVel he 7rpdTT0VTe<; ttolovv- 4

fiev

T779 6'^eco<i koct/jlo^,

coni.

]:.

Xeyoi he rjhvafxevov jxev 3

Hermann, coufirmat Arabs.

Vahlen 7/ /j-ev yap apogr.

di.a<pepei.

<-^>

trpwTov

yap TroiovvTat

35 iv TOVTOt<i

''"^

irepaivovcra ti]v

(po/Sov

KdOapaiv.

')(^a)pl<i

Kal ov St!

to hta jxeTpaiv evta fxovov irepaiveaOai,

^&)/3t9 rot? etheao

<C

\^^iw

hpoovrcov

fiopi,oi<i,

eXeov Kal

he

Trepl

rbv ytvofievov opov

/xifJbrjaL'i

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

'{"

elprjfxevcov

eicdcnw tcov elhojv ev roU

X ^>-

-- ">

roiv

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

,,.

%^

e'/c

Kal

/xifiijrtK'P]';

he rpajcphla'^ Xeyco/J^ev

irepi

eariv ovv rpajwhla

ov(Tla<;.

T7]<;

e^afieTpoL<i

epovfjbev,

/neXos

fjLopia,

'Si

'"y

'''-

';

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

for

4 YI.

23

Tragedy endeavours, as

far as

-^

confine itself to a single revolution of the

to

sun, or but slightly to exceed this limit

Epic action has no limits of time.

second point of difference

This,

though at

then,

is

their constituent parts

some peculiar

what

common

therefore,

for all the

knows

its

serious, complete,

is

and

discuss

formal definition, as resulting from

what has been already

Tragedy, then,

verse,

now

Let us

will speak hereafter.

Tragedy, resuming

^^^

r"

'

'^

Of the poetry which imitates in hexameter

Comedy, we

"^

^^'^

elements of an Epic poem are found

found in the Epic poem.

of

j
3

r*

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

VI

j4

-^

to both, 5

good or bad Tragedy, knows also about Epic

is

poetry

are

Whoever,

Tragedy.

to

some

>
<=^

*si

freedom was admitted in Tragedy as in Epic poetry.

Of

""^

same

the

first

cT'^^'v^

whereas the

"5

jSs,

*>

'

^
^

H5

said.

an imitation of an action that

and of a certain magnitude

embellished with each

kind

of

artistic

is 2

"Vs^^v

in language

>^^3--

ornament, the

several kinds being found in separate parts of the play

form of

in the

action, not of narrative

through pity and

By

fear effecting the proper purgation of these emotions.

'language

embellished,'

mean language

rhythm, harmony,' and song

'

in separate parts,' I mean, that

through the

medium

By

enter.

'

into

<

which

the several kinds

some parts

of verse alone, others again with

as

tragic

imitation implies

persons

acting,

it 4

> o

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

ment
for

will be a part of Tragedy.

these are the

to^ -U^

i.^^

<^

'

the aid of song.

Now

are rendered

medium

,iXr.

of

Next, Song and Diction,

imitation.

^ io-,.v^

By

'

Diction

iPCfc:;^

xLv.^AA^.^^

24

VI. 4

rwv

avTTjv Trjv

/iev

ttowik;
1450 a

{Bta

Kara re to

elvat

rLva<i

koI

TovTcov

Kal

T}

tmv

Bvo

Trai/re?), ecTTiv

B idvoia v

(^afxev

Troid'i

wpd^ecov

elvat,

rvy^dvovai

Kal
tt}?

Br]

avdyKij

01)9

Tr)v

elval

e'crTt

irpd^ewi 6

fxev

\ejco yap fivdov rovrov rr]v crvvOeaiv

fii/jiijcri^'

roiv TTpay/jbdroyv,

koX

^6p<;

Trpd^ei,^

Kara Tavrat

kui

7J9o<i,

Kal aTTOTvy^dvovai
fxv0o<i

Ta<i

alrlwi

Be

7re(f)VKv

Bidvoiav

eVet Be Trpa^ew?

e'^eL Trdacv.

TTpaTTerac Be vtto tlvmv irparrovTcov,

<ydp

Tiva<;,

16

crvvOeaiv, /xeXoTToiiav Be

fierpoov

TTjv BvvafMCV (})avepav

filfi7]ai<i,

1450 a

1449 ^ 36

9-

Be

tcl

r^Or],

KaO' o ttolov^ riva<i elvai

^afiev T0V9 irpdrrovra^i, Bidvoiav Be, ev oaoi<i Xe<yovre<i

diroBeiKV-uaa-iv

ovv

10 eariv

r]

Kal diroc^aivovTai

ravra

rpaycoBla'

r)

Kal

Xe^i<;

yap

ri

rpaya)Bia<; fiepr]

irdarj<i

Bidvoia

/xifiovvTai,

Kal

Bvo

elvai

oi/^i?

ovv <irdvre<i>

6i<i

Kal Bidvoiav

36. fihpwv: ^vo/xdrwv

codd.

irdcrav

40.

aMas

Christ

to Oro

apogr.

ws

codd.

<d\Xd

Trdi'Tws (?

add.

Kal yap

eiBecriv

Kal Kara

4.

37.

yap tovtuv

ire<pvKev

8e

< iLwavrei >

Eucken

5??

u>s

diretv

<irdvTes> ws

Trao-t;'
.

rwv

Maggi

navTes in

ivicpvKev

an post

K'^.

iroidi

5^ codd.

5.

6.

KaObk'^: Kad' A

14.

ovk 6\iyoL airCiv

By water

ovk oKlyoi

ovk oXiyoL avrCov om.

Margoliouth).

(vid.

apogr.

Travres nescio

Kad' & Trotd apogr.

gloss. OVK dXlyot avrQv, scrips!

/xei''

ev,

Tovroi<i fxev 8

16.

8ia
2.

iravTes> ws eiweiv Bursian

iravTes)

roc<i

seclus. Christ (of. Arab.).

A^

oh

p,e\o<;

3.

oKlyov avrOiv

Kal

f)

1450 a

KadoTTola

9.

elireiv

avrOiv

Maggi

tjOt]

p,eyiarov Be rovrcov ecrriv

TLvas transponere praestet (Christ).

rovTov

Ti<i

Kal

ravra ovBev.

Sta 5^ Zeller.

atVta codd.

iroid

Be fxifiovvrai,

o)?

Hermann, coUato 1450 b

parenthesi Thurot.

Kal fivOov Kal Xe^iv Kal

rjdo'i

a)(ravra><i.

fiv9o<i

Ke'^prjvrai

eiirelv

Kal

Kad

Kal fxeXoTroda.

ecrriv,

fMeprj

Be fiifiovvrai, rpia, Kal irapa

15 oi^et? ep^et Trdv

earl

dvdjKr} 7

yvcofjurjv.

e^,

"2,

sed

Deleto igitur tanquam

eiire'iu:

Rhet.

cf.

i.

1.

1354 a

o'udii' wj elTreip A in marg., ubi 6\lyov glossema esse

veram lect. ovdiu dij eiire7v. Viam monstravit Diels, qui tamen
irdvres quoque omisso, tovtois fikv o^v ojs elireiv scripsit
ovk oKiyoi. avrQv
<
iv Trdffi Trdvres > Gomperz
ovk dXlyoi avruv < dXXa wavrei ivaai >
Zeller: <.vdvT^ iv Trdffiv aiT^s> Susemihl.
15. ttSj' iure suspexeris.

12,

dXlyov codd.,

suspicor,

dW

49

ARISTOTLE'S POETICS VI.

I

mean

as for

arrangement of the words

the mere metrical

Song/

'

25

a term whose sense every one under-

it is

stands.

Again, Tragedy

is

the imitation of an action

personal agents,

action implies

who

It is these that determine the qualities

selves

these

natural

thought

actions

and thought.

spring

is

the imitation of the action

mean

the arrangement of the incidents.

mean

that in virtue of

to the agents.
is

proved,

or,

may

is

By

determine

quality

its

general truth

namely.
Two

Diction, Thought, Scenery, Song.

stitute the

medium

And

man

qualities

enunciated.
parts,

Plot,

which

Character,

of the parts con-

and three

these complete the

These elements have been employed,

the poets to a

Character I

of imitation, one the manner,

the objects of imitation.

I here

required wherever a statement

be,

Every Tragedy, therefore, must have six

parts

these

Hence, the

which we ascribe certain

Thought
it

on

by plot

for

two

the

are

causes, again, all success or failure depends.

Plot

them-

of actions

and character

from which

causes

necessarily possess

certain distinctive qualities both of character

1450 a

and an

we may

say,

list.

by

in fact, every play contains Scenic

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

and

Thought.

But most important

of

all

is

the structure of the 9

26

VI. 9

o-vaTacn-i'

7rpa<yiJidTU>v

ovK avdpcoTTcov

dWa

145 ^ ^7

14-

Tpa<y(pSia

'yap

i)

he /3lo<;> ev

irpd^et iarlv kol to TeXo<i Trpd^k rt? icrrLV, ov

2o

Kara

Se

elcrlv

7rpd^ei<;

ev8aifxove<;

TeA,09

dvev

25 eTi
he

'r)d(av

6ev

Twv

dv.

al

elcrlv

Kal

prjaei'i

ov

7roi7]at

fMaWov
e')(ovcra

3S he

rj

he

fivdov

eTi

ecrTLV,

aX

re

OTi

Kal

aWa

a/5%r/ fiev

Toh

('

sed in

l]

Guelf.

(TviJLivapa\afjLdvov(Xi.

diavoias codd.

da/xQi Margoliouth.

31.

Spengel

uKpi^ovv

}xvdo<i

"v/^vx^

irpd^et.

Et <vita>
5^ |3^os>
ita
/cat

ii>

codd.,
est in

Trpd^ei,

supplet Vahlen,
i]

KaKoSaifiovla.

(rvfiirapaXafi^dvova-L

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

A<=.
:

13

dva-

Vahlen habuit iam S Xefets

fort,
apogr.
oii add.
necxuaquam Arabs
awlaraadai codd.
39. (rvvLardvai Thurot

X^fet Kal Siaj/o^i?

32.

7rpo<i

Kal

rjOecnv

operibus et vita.

Trpdrrovras iroiovcnv coni. Vahlen.

dyadQv A\d.

ttoXv

Tpajmhia,

rj

KaKoSai/movla if

22. wpdTTovinv

12

Tpayayhia,

ol irpwTOi irotrjTav

unde Margoliouth dXXd Trpd^ews Kal piov, <:6

quod probant Diels, Zeller, Susemihl. Codicum lect.
Kal eiiSaifiovlas <Kal KaKoSai/j-ovias, i] 5^ evSaiiJ.oi'la>

opere')

he

iiy^eipovvTe^ iroielv 14

ovv koI olov

irpd^ecoi Kal ^iov Kal evSai/xovlas Kal

sed alio spectat Arabs

dWd

irepiireTeiat
01

Kal

\e^ei

rj

i(f>e^'i]<i

TrpayfiaTcov.

Td irpdypbaTa crvviardvai, olov Kal

40 a')(ehov diravTe^.
18.

ttj

Tt9

ireTTOLrjfieva'i,

epjov,

ylrv^aycoyei

crrjpielov

TrpoTepov hvvavTai
rj

oh

fieytara

p^epT]

yv(opiaeL<;.

edv

Ke'^prj/JuevT]

(Tvaracnv

Kal

fivOov

rd

T0VT0t<i

Tov

Tpaywhla';

Trjt

rjv

ireirov-

riOoypdc})o<;,

eVt

yjOa.

KaTaheeaTepoif TOVTOif

tocovtol,

UoXvyvcoTov

Kal Xe^et Kal hiavola ev

rj6tKd<i

07}

TrXelcTTcov

ttoWoI

6\o)<; TrocTjTol

e^et

twv

vecov

llo\vyva)TO<i dyado'i

30 Zev^Lho<; ypacprj ovhev

Tpaywhia, dvev 11

<yevoiTO

tmv

<ydp

/jiv6o<;

drravTcov.

fxejiaTOV

TeA-o?

ijOrj

crvfiTrapaXafi^a-

r^drj

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

ydp

fxev

rd

Trpd^eax; ovk dv

fxev

^yevoLT

olov Kal

he

rd^ 10

he

ovkovv oirw^ ra

coare rd Trpdy/j^aTa Kal 6

rpajwhiaii, to

Tpafywhiai

dr]6eL<;

dWd

'iroiorr]'^-

Kara

Tive<i,

rovvavriov.

r)

Td<; 7rpd^et<i'

tt)?

irotol

rjdr]

Trpdrrovcriv,

fjbt/xijawvrac

vovatv Bid

rd

[xev

icrriv

/At/i-r/o-t?

^iov <6

Kol

Trpd^eco';

'

'

29.

Kal
ov-

ARISTOTLE'S POETICS VI. 914

For Tragedy

incidents.

of an action and of
its

end

mode

is

is

life,

of

an imitation, not of men, but

and

life

action,

consists in action,

not

happy

is

the chief thing of

without action there cannot be a tragedy

The

without character.
poets

fail in

general this

and here

lies

often true.

It is

devoid

Again, 11

all.

there

may

be

and of poets in

the same in painting

the difference between Zeuxis and Polygnotus.

Polygnotus delineates character well

is

most of our modern

tragedies of

the rendering of character

is

Dramatic

incidents and the plot are the end of

and the end

by their

is

or the reverse.

character comes in as subsidiary to the

Hence the

action.

a tragedy

10

with a view to the representation

action, therefore, is not

of character

it

and

Now

quality.

character determines men's qualities, but

actions that they are

27

of

ethical

the style of Zeuxis

Again,

quality.

if

you

string 12

together a set of speeches expressive of character, and

well finished in point of diction and thought, you will

not produce the essential tragic effect nearly so well as

with a play which, however deficient in these respects,

yet has

a plot

and

artistically

constructed

incidents.

Besides which, the most powerful elements of emotional 13

interest in

Tragedy

Eecognition scenes
proof

is,

The

are parts of the plot.

further 14

that novices in the art attain to finish of diction

and precision
plot.

Eeversal or Eecoil of the Action, and

of portraiture before they can construct the

It is the

same with almost

Plot, then, is

the

first

all

the early poets.

principle, and, as

it

were,

):

28

VI. 15

Koi eVl

icTTLV

KaWlaToa

145 ^ 41

19-

Sevrepov 8e ra

Tpa<yoi)hia<;,

T?}?
1450 b

T?}9 jpa(})iK7]<i

'^vhr^v,

(f)app,dKOt<;

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

21

yap

re? ivakelyjreie rol'i

ovk av

TovTO 8e

Sidvoia.

icTTtv to

epyov eariv

pr)ToptKrj<;

Xoywv

oU OVK ecm

iv

o Tt [7rpo]aipCTac

SrjXov

cfjevyet

rj

049 d'jroBeLKVVovcrl ri &)9

Tt

Be,

6vo/xaaLa<i

[Trei're]

iv

rj

01)9

eariv

kpjjbrjveLav,

7ro\cTiKrj<;

Trapair'Kriaiov

ra

<tcr>a)<;

3.

ovk

eMva

roiv

ydo<;

oXco? ecrrcv

firjS'

Bcdvoca
ecrrtv

iv

Be,

KadoXov

rj

77

\e^t9' 18

Bid

koi eVt twv ififieTpcov

koI

elvac

twv

Bvva^uv.

dre'^vorarov

fiev,

1450 b

vetro.

ecrnv Se 17

Trjv

ttjv avTrjv

'i'^^ei

iroLriTLKr)<;-

oh

Xeycov.

rjBvcr/jbdTOJV,

Be

Be Xocttcov 19
rj

koI rjKtcrTa

ydp t^9 TpaywBia^

dvev dycovo^ kol viroKptToyv eariv,

41.

t?}?

dpj(aloL irokc-

e')(0V(Tiv

fMeXoiroda fiiyLarov tcov

rj

ylrv^aycoycKov

T^

rj

ovk

irpoTepov etpr^rai, Xe^iv

cocrTrep

eVl Tcov Xoyoov

20

yap

fiev

TerapTov Be to)V Xeyo/xivcov

diro^aivovTaL.

Xeya
T7]<;

ol

SiOTrep

^evyei,'

rj

rj

Xeyeiv BvvacrOai, rd ivovra 16

TO TOLOVTOV o BijXot TTjv TTpoaipeacv oirold

i^ev

10 {irpo^atpelrat

15

rplrov Se

eTTolovv Xeyovra^, ol Se vvv prjropLKOi^;.

TLK(o<;

^^09

7rpd^eQ)<;

fJLifJbrjaa

Kol rd dpfMorrovra, oirep eTrl^Twiv^ \6<ya>v

KOL

evcppdvecev

6nola><i

eariv re

KoX hid ravT7]v /judXicrra tmv TrparTovrcov.

5

jdp 15

irapairX'^a-iov

7]6rj.

ei

145 b

en

Be

o-v/ri9

olKelov

koi

Bvva/j,i<;

Be Kvptcorepa Trepl

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

yap Hermann.

re codd.

oh ovk icjTi drjXov ^ irpoaipelrai ^ (pevyei'

oh fj-rjd' 6'\ws ^(ttlv 6 rts {6 rt apogr.
Lectionem in textu receptam dedit
vpoaipdraL t) (pevyei 6
Deerant in S ip oh ovk ^<tt(. dTjXov ^
Christ).
secutus
(of.
Gomperz, alios
irpoaipelTaL i) cpevyeL, unde coni. Margoliouth 5 5r}\o2 Tr]v irpoalpeaiv, oirola
(peiyu.
Susp. Susemihl iv oh ovk icTi.
Tis' omissis verbis iv oh

M. Schmidt.
didnep ovk

9.

owoTd

Xiy^f
X^yuv A<=.

^v

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

rj

rts iu

(pevyei et iv

oh

fi-qd'

6'\ws ^ariv

(peiyeL var. lect. esse.

12.

S ti

tQv fih \bywv codd.

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

apogr.

ARISTOTLE'S POETICS VI. 1419

the soul of a tragedy
1450 b

similar fact

colours, laid

is

29

Character holds the second place,

The most beautiful

seen in painting.

on confusedly, will not give as much pleasure

Thus Tragedy

as the chalk outline of a portrait.

the

is

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

view to the

action.

Third in order
saying what

is

Thought,

possible

is

that

In the case of oratory, this

stances.

is

the political art and of the art of rhetoric

make

the older poets

of civic life

the faculty of 16

is,

and pertinent in given circumthe function of

:

and

so indeed

their characters speak the language

the poets of our time, the language of the

Character

rhetoricians.

purpose, showing

is

what kind

which

that

of things a

avoids.

Speeches, therefore, which

manifest,

or in

reveals

man

moral 17

chooses or

make

do not

this

which the speaker does not choose or

avoid anything whatever, are not expressive of character.

Thought, on the other hand,

proved

to

be

or

not

to

is

be,

found where something

general

or

maxim

is

is

enunciated.

Fourth
Diction

among

by which

the
I

enumerated

elements

mean, as has been already

expression of our meaning in words

and

its

comes 18
said, the

essence

is

the same both in verse and prose.

Of the remaining elements Song holds the

among

chief place 19

the embellishments.

Scenery has, indeed, an emotional attraction of

own, but, of aU the

parts, it

is

the least

connected least with the art of poetry.

of Tragedy,

we may be

representation

and

sure,

actors.

is

felt

Besides,

artistic,

its

and

For the power

even apart from

the production

of

30

VI. 19

VII.
tmv

rrjv aTrepyaa-Lav

1450 b 221451 a 4

5.

o-sjrecov

rj

tov a-Kevoiroiov rexv] t^?

T(OV TTOirjTMV icTTLV.

VII

Set

crvaraaLV

rrjv

elvai

tcov

TOVTO Kol TTpMTOv Kol fjLeyKTTOv

Kelrai

hrj

30 jjieaov Kol TeXevTrjV.

elvai

35

dWo

fjber

yiveaOaL,

rj

dXXo

7re(f)VKev

/lerd

Be

ev

dWo

eVf^^e reXevrdv,

en

8'

40

'^X^iv

dWd

KaXov ev
av

ov

fo)9

avTO
rrb

fier

ttoXv,

avve(n5)Ta<i

tov<;

Tal'i

/Ji7]6'

^Sov Kal dvav

TavTa

fxovov

jxr]

to

^mov,

avy')(elTai

oirov
iBeai<i.

elprj/jievaif;

Trpdy/jia

TeTayyukva

tv^ov

Kal rd^ei eanv, Bio ovTe

KaXov

i^

'7re(}>VKev

eVt

ap'^^eaOai

Kal fieyeOo'i virdp'^eiv

fieyeOei

yevoiTO

Ti

dXkd Ke^prjaOai

TivSiv

e'/c

dpa

Bel

erv^^ev

KaXov Kal

to

eirel

avveaT7]Kev

rj

/xr]

[juev

/xeaov Be o Kal avro fier

ovBev,

oiroQev

fx-qO'

dp'^rjv koX 3

erepov

rovvavrlov

e| dvdjKTj'i

?)

eKeivo erepov.

[ler

fxv6ov<;

Be

reXevrr]

S'

okov Kai

<ydp

avro

Se icrriv o

dp'^rj

iaTiv, /xer' eKclvo

elvai

rovro

dXKo Kal

ecTTiv

o\ov he eartv to e'^ov

eyov fieyeOof.

dvdyK7]<i

icmv.

rpay(phia<i

Trj<;

rt fieyeOo';'

i'^ovar]';

elvai fiifX7]cnv
fxrjhev

ttoluv

eVetS^

Trpayfj.drcov,

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

rrjv

t)fjbiv

ravra

tovtcov, Xeycofxev fjuera

Se

BicopLCTfiivcov

25 TLva

o 4

Bel

to yap

TrdjijJiiKpov

yap

Oeoopia

rj

eyyv<i tov dvaicrOijTov '^povov yivofievr), ovTe 7rafJi/Jieyede<;,

1451 a

ov yap

afjia

17

OecopCa ylverai

TO ev Kal TO okov eK
e'irj

^<pov'

Tcbv ^(f>wv
27.

5tj

Pazzi.

Bel KaOdrrep

eirl

')(eiv

fxev ixeyedo<i,

tovto Be evavvoivTov elvai,

41.

Arabs.

Laurentianus

ot-^eTai toI'^ decopovai

ware

Bywater

Laurentianus

aW'

T779 deoopta'i, olov el fxvpicov CTTaBlcov

Ix.

Trdv

5'

A^.

30.

Trdv ixLKpbv

16.

/^^yeOos

Ix. 16.

A^

/xt;

^^

tcov acofxdrtov Kal eirl 5

dvd7K?7S codd.

Trdfi/xiKpov

A^

ira/j./j.iyedes

1451 a

3.

avffTTjiJLdTuv

/at]

irdvv /MKpbv

Bonitz, Spengel

Riccardianus 16

awiidroiv

dvdyKrjs

ii,

Riccardianus 16

43. xp^j'ou seclus.

tutatur

trdpv jxiya

Bywater.

ARISTOTLE'S POETICS VI. 19

VII.

more on the

spectacular effects depends

31

art of the stage

machinist than on that of the poet.

VII

These principles being established,

us

let

now

the proper structure of the Plot, since this

discuss

the

is

first

and most important part of Tragedy.

Now, according

to

our

of a certain magnitude;
is

for there

may

whole

follow anything

end, on the contrary,

follows

something

as

some

it.

is

or

is

that

necessity,

comes

to be.

that which itself naturally

is

some other thing, either by

has nothing following

that which has 3

beginning

by causal

but after which something naturally

An

an

be a whole that

is

a beginning, a middle, and an end.

itself

is

complete, and whole, and

is

wanting in magnitude.

which does not

Tragedy

definition,

imitation of an action that

necessity, or as a rule, but

middle

other

thing

that which follows

is

follows

it.

well

constructed plot, therefore, must neither begin nor end

at haphazard, but conform to these principles.

Again, a beautiful object, whether

it

be a picture of 4

a living organism or any whole composed of parts, must

not only have an orderly arrangement of parts, but must

also be of a certain

magnitude

and

magnitude

order.

for

beauty depends on

Hence an exceedingly small

picture cannot be beautiful

for the

view of

it

is

con-

fused, the object being seen in an almost imperceptible

1451 a

moment

of time.

beautiful

Nor, again, can one of vast size be

for as the

eye cannot take

the unity and sense of the whole

as for instance
long.

if

it

all

is lost for

in at once,

the spectator

there were a picture a thousand miles

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

pictures a certain magnitude

is

necessary,

and a magni-

32
5

5 VIII.

VII.

Kol

ovTco

Twv

eVt

fivdoiv

Tov<}

'^LV

fiev

rod ^rjKOV<i

evfMvrjfMovevTOV elvat.

527

145 1 a

3.

dycova'i koX rrjv atadr](Tiv ov

tovto

/jL7]K0<;,

<o>

6po<i

Te^i/779

Tr]<i

Be

tTjOO? 6

/xev

icnlv

el

<yap eSei eKarov rpaywSLa'; aycovl^ecrOai, Trpo? K\e-ylrvSpa<i

av

i^ycovL^ovTo, axTTrep Trore koI

fiei^oiv

TO

a7r\w9

Be

o)?

Kara to

et/co?

rj

avfi^alveL et? evTv^iav

1

VIII

BvaTV^cav fieTa^dWeuv,
S'

f^vdo<;

va

57"

ecTTlv

ovBev

iroWai

elcnv,

ev

ovtco<;

wv

fiia

ovBep,la

dfiapTavetv

K\7)lBa rjcTTjlBa Kol

7rpoai]KeLv.

25

^vcnv

Bed

6.

ttoctjtmv

Bib 2

'Jipa-

ire'iroi'qKacnv'

wcnrep

Kal

tjtoi,

yap

ttolmv

olov

'TrXrjyrjvac

apogr.

8.

to,

Bid

ovk

Be TrpoaTrocrjaaadat ev

fiiv

evo<;

irpd^i'i.

'TTOiij/JiaTa

"0/u,i]po(;

crvve^r],

irphs

irpd^et^

iTrolrjaev

fxev

tm

aXka
Te'^vrjv

ev

tco

dyepfxw,

KXe^vSpav apogr.

9.

M. Schmidt
sicut solemus dicere etiam aliquo tempore et
Arabs <l)a<nv codd.
17. r^ evl apogr.
rwt yivet A<= (cf.

aliquando

1447 a

koI

6 'I{paK\r}<i, eva Kol tov (jlvOov

^OBvaaeiav

ixavrjvav

add. Bursian

eiiliOacrtv

3'

ToiavTa

eav TrepX

avfi/Salvet, ef a)v

tmv

oaoi

eh

tov fieyedov?.

ylveTai

eoiKev /caXw? IBetv

diravTa oaa avTw

Uapvaaao),

rjv

Kal tovt

Bia(f>epei

to,

eU

otovTat ydp, eVel

Be

oa(p

'yLyvofievoiV

olovTai

evl

Kara

ev

i^ evTv^ia';

?)

Tive<i

ea-Tiv

i^

eoLKacnv

20 TrdvTe<^

elvat

axTTrep

fiev

earl

elirelv,

lKavb<; 6po<{ iaTiv

TToXka yap koL aireipa rw

[ivLoov]

del

i(f>e^i]<;

BvaTv^lai;

e/c

ov-^

et?

Biopicravra^

to dvajKalov

Se 7

elcodacriv.
opo<;,

TOV avv8ri\o<; elvac KaWicov

P'^xpi'

fj,e'yedo<;'

fiejedeo

aWore

avTTjv rrjv (f)vcnv tov Trpdyfiaro'i

10 /car

'

17).

'

18.

Muv

seclus. Spengel.

ARISTOTLE'S POETICS

may

tude which
the

plot,

33

be easily embraced in one view

length

certain

which can be

5 VIII.

VII.

easily

necessary,

is

so in

and a length

embraced by the memory.

The

limit of length in relation to dramatic competition-

sensuous presentment,

had

been the rule

it

is

no part of

together, the performance

the water-clock,

of the

drama

itself is this

more beautiful
on

size,

to

define

the practice in certain

is

limit as
:

fixed

by the nature

the greater the length, the

will the piece be, so far as beauty

depends

And

provided that the whole be perspicuous.

the

matter

proper magnitude

we may

roughly,

say

comprised within such

is

For

compete

to

would have been regulated by

as indeed

But the

other contests.

artistic theory.

hundred tragedies

for a

and

the

that

limits, that

the sequence of events, according to the law of probability

or necessity, will

admit of a change from bad fortune

to

good, or from good fortune to bad.

VIII

Unity of plot does

not, as

some persons think,

consist

in the unity of the hero.

For

incidents in one man's

which cannot be reduced

unity; and

so, too,

out of which
error, as

it

life,

there are

infinitely various are the

many

we cannot make one

action.

poems of the

to

man

Hence the

who have composed

appears, of all poets

Heracleid, a Theseid, or other

actions of one

kind.

They

imagine that as Heracles was one man, the story of

Heracles must also be a unity.
else

he

is

art or natural genius

the truth.
all

But Homer,

of surpassing merit, here too

seems

to

as in all 3

whether

from

have happily discerned

In composing the Odyssey he did not include

the adventures of Odysseus

such as his wound on

Parnassus, or his feigned madness at the mustering of

'

3 IX.

VIII.

34

Oarepov

ovhev

o)v

irepl

30 Trjv ^Ohvacreiav crvveaTTjaev,

ovv KaOdirep Kol iv

^pr)

35 rivb^

yap irpoaov

tov p,v6ov,

ipavepov

kol

o\r]<;

/ila 4

rj

irpd^eco'^

eirel

to, f^epr]

Be

i)

irpoaov

fxr)

irotel eVt-

fXTjSev

tov 6\ov eariv.

BijXov, ovSev fjLopiov

IX

dX\,ai<; fXiH7]TiKal<i

d(paLpovp,evov Bca(ppecr6ai, Koi Kcvelcrdat

rj

fj,epov<i

oXov

TO

ei/co9

rj

ovTw<i, wcrre /xerarLde/jLevov

irpay/jidTcov

rcov

o-vveaTCbvai,

rjv

Se Koi rrjv ^\\tdha.

6p,oico<;

Tal<i

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

fiifJLTjcTL'i

13

Trpa^tv oiav \i<^o^ev

filav

ovro) koX

ia-riv

ev6<;

fMLfirja-i^

ava'yKalov

<yevoiievov

aWa

Odrepov yeveadac,

281451 b

145 1 a

5.

roiv

etc

Kal

elpr/fievcov

ov

ore

to

to,

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

Bvvard Kara to

40 yevotro koX ra

yap

1451 b

[aTopcKO<i Kal 6

Bta^epovaLV,

d/xeTpa

rj

et/co<?

ov

7rotr]Tr]<i

yap

e'lrj

av

fieTpa TeOrjvai, Kal ovBev tjttov av

/xeTpov

^L\oao(^(jOTepov Kal cnrovBaiOTepov

yap

fxev

fjbdWov

'7roL7)cn<i

"TTola

cLTTa crvfM/3aLvec Xeyeiv

i7riTi9ep,evr],

28.

Tjv

T)

X^yoififv

apogr.

Sia(p4pea0ai

Arabs.
40. [Kal
.

^c

TO,

29.

A<=.

33.

5ia(f>ope?crdai,

habuit
36.

fort,

Kal
cf.

Suvard] Maggi.
.

to,

iroiw tcl 4

ovop-aTa

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

Kcop.q)Bia<;

rjBr}

tovto 5

yap tov fxvdov Bid twv

"K^yofMev

2,

lect. S,

'

TOVTCfi

10.

&v
35.

8t.a(pdelpea-dai coni.

et

confundatur
oCrw A^.

ov rb apogr.
.

A^

Susemihl.

corrumpatur
38.

4.

Xiyoifxev

Kal

464 b 13

ws apogr.

1451 b

apogr.

ratjTrjs

de Div.

rd Spengel.

tS

fxev,

eaTLV

laTopia

B""

7roirj(ri<i

rj

Tr]<;

TavTT]s

utramque

Trotet, iirlbriKov

TwA'=: TOVTO

ovv

crva-TrjaavTe<i

Vahlen.

Margoliouth

p,ev

eirl

yeyovev

Brjkov

Bib kol 3

irpdTTeiv KaTa to eiKO^

rj

crTO'^d^eTai

to Be KaO^ eKaaTov, Ti

eiraOev.

Ti

rj

ov

dvayKaiov,

TO

/;

tov

tc3

iroirjcn'i l(TTopia<i

KaOoXov,

tcl

ei?

fXCTa

Ti<;

Bia<f)epi,

eaTiv Be KadoXov

KaG' cKaaTOV \eyet.

10^

'UpoBoTOV

laTopia

yevofieva Xeyeiv, tov Be ola av yevocTO.

5 fiev TO,

7]

efXfieTpa Xeyeiv 2

to,

eXrj

dvev pueTpwv, dXkd tovtw

7]

to dvayKoiov.

rj

tc3

to apogr.

tcJj
:

apogr.

t6v

A<=.

tovto

ARISTOTLE'S POETICS VIII.

the host

IX.

35

which there was no necessary

incidents between

or probable connexion

but he made the Odyssey, and

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

sense of the word

one, so the plot, being

is

As

one.

is

imitative arts, the imitation

one,

is

therefore, in the

when the

other 4

object imitated

an imitation of an

action,

must

imitate one action and that a whole, the structural union

of the

being such that,

parts

any one of them

if

is

displaced or removed, the whole will be disjointed and

disturbed.

For a thing whose presence or absence makes

no

difference,

visible

not

is

an organic part of the

whole.

IX

It

that

moreover, evident from what has been said,

is,

has happened, but what

may

happen,

what

is

yj

possible

according to the law of probability or necessity.

1451 b

not the function of the poet to relate what

is

it

The

poet and the historian differ not by writing in verse or

The work

in prose.
verse,

and

metre no

would

it

of Herodotus
still

be a species of history, with

than without

less

it.

The true

Poetry, therefore,

is

a higher thing than history

mean how

speak or
necessity

a more philosophical and 3

By

the universal 4

a person of given character will on occasion

according to

act,
;

and

it

is

this

the

law of probability or

universality at which poetry

aims in the names she attaches to the personages.

particular
suffered.

the poet

is

is

for poetry tends to express

the universal, history the particular.

I

difference

what has happened, the other what may

that one relates

happen.

might be put into

for

example

In Comedy
first

what

Alcibiades

this is already apparent

did

The
or

for here 5

constructs the plot on the lines of prob-

^
i

/^

36
s

IX. 5

1451 b 14

lo-

eiKOTWv ov ra rv^ovra ovofxara virortOeaaLv, koI

wcrrrep

01

8e

iirl

aXnov h

ovv

fiev

rwv

Tpay(pSia<;

Tr]<;

dhvvara.

dWa

ov

/nrjv

Kal rd ovofiara
ov

ou?

on

30

TTOLTjrrjv

eariv,

35

7roLrirr)<i

roiv

14.

oi5

Kard

7roirjrr)<i

BrjKov ovv 9

rrjv fiifirjalv

dpa avfi^y yevo-

kolv

rwv

ea-rc

rotavra

yevkdQai,

0X17069

jvcopifjia

rcov fivOcov elvat Bee

7roti]r^<;

KwXvei

Kal

dvre'^ecrdai.

elalv,

KaO^

yevo-

<ydp

dv

ola

elvat

eKelvo<i

etKO'i

avrwv

eariv.

'nequaquam' Arabs:

^jTiTi^e'ao-tapogr.,

Susemihl

quemadmodum

si

quis

Bekker.

15.

22.

iviais A<=.

unum

esse

bonum

oiiTu

r^y A'=

(dat. 'Avde6s), cf.

seclua.

Parthenius

Spengel.

Vahlen.

34.

Ka.1

irepl

statuit

codd.,

twj'
r(^

'

cf.

1451 a

apogr.

20.

'Aydduvoi dvOei

at

<evSoKt/j.ovcrai>

<o^k fiXXws> dward Susemihl:

36. tCiv

aTrXwj 5^ ruiv Castelvetro.

Arabs male Syrus

Pro dvdeL coni. 'Avdel
:

ipwTiKQv iradTjfidTwv, Mackail.

26.

adai seclus. Vorlander, om. Arabs.

8^ d-n-Xwp codd.

^j*

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

elmt

ev(f)pal,vei'

TrapaSeSofievcov 8

roiv

/xdWov

rd
rat

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

iv ivlais apogi'.,
'

olov ev

rd re irpdyfiara

Kal rd

Be rd'i 7rpd^et<i.

(vel ovxl) scrips!

38.

ovofidrfov,

ev,

eixppaivec 'jrdvra<i.

6)Jbco<;

Troirjrrjv

Bvvard

Kal

icrrlv

ev rovrtp

^Tjrecv, iirel

ovBev

evia

ijevero, el

rpa'ywBlac'i ev 7

ovS'

^rjrrjreov

ovOev rjrrov

jxeva rroielv,

yeveaOat

Sward, rd

Kal ovSev rjrrov

ro)V fierpcov, oaco

rj

he

rpayaBlac

at

rov

fiifiecrat

ixevcav

yap

elvat

yv(opifid eartv dXk'

eK rovrojv

rd

rat<;

fyvoipifjioiv

ev eviat'i

ofiolco'?

rovro

lydp yeXoiov

Kal ev

ireirolriraL,

7rdvro)<;

rrepl

fivd(ov,

dvr- 6

Sward, ov yap dv

dWd

hvo rwv

rj

TreTTonjfieva,

^AydOcova dvOei'

25 axrr

ovo/xdrcov

yevo/ieva ovttco irKnevofiev elvai

fir)

eVtat9 fiev ev

Se

iart

oy^

ttoloxxtlv.

to Svvarov.

yevofxivcov

iriOavov

otl

Be yevofieva (f^avepov ore

riv

top Ka6^ eKacrrov

Trepl

lafx/3o7roLol

^^(ovTai,.

20

36

rpayuiSiai
/cai

dward

U dWuu Tyrwbitt

25.

coni.

yev^:

tQv

'ARISTOTLE'S POETICS IX. 510

and then

ability,

the lampooners

But tragedians

what

that

is

characteristic

inserts

who

possible

is

credible

at once feel sure to

happened

is

Still

We

must

legends,
it

it

would not

known names,

the rest

In others, none are well known,

in Agathon's Flower,

are fictitious,

but what has

there are some tragedies in which 7

there are only one or two well

fictitious.

unlike

what has not happened

be possible

manifestly possible; otherwise

have happened.

names, the reason being 6

to real

we do not

being

names;

write about particular individuals.

keep

still

37

and yet they give none the

not, therefore, at all costs

to

as

less pleasure.

keep to the received 8

which are the usual subjects of Tragedy.

would be absurd

where incidents and names alike

attempt

it

for

Indeed,

even familiar sub-

a few, and yet give pleasure

jects are familiar only to

maker

'

should be the maker of plots rather than of verses

to

It

all.

since

he

is

historical

there

is

And
he

even

is

why some

happened should not conform

and

possible,

'

subject,

no reason

the poet or

because he imitates, and what he

a poet

imitates are actions.

an

that

follows

clearly

and in virtue

of

if

he chances to take

none the

less

a poet; for

events that have actually

to the

law of the probable

that quality in

them he

is

their poet or maker.

Of

all

plots

and actions the epeisodic are the worst. 10

X
"^

38

IX. lo

X.

Xeyo)

'^elpLarai.

elcrlv

iTreLCToSia

iTretaoSLcoSr]

S'

oKkrfka

fxer

1452

1451 b 37

3.

ovr

Toiavrat Se Trocovvrat viro

twv

w ra

ev

jjuvOov

out

et/co?

jxev

a 20

avdyKij

(paiiXoyv

elvat.

Sl

ttoctjtcov

40 avTov<;, vTTo Se tmv d<ya6o)V Sid roifi v'7roKpiTd<i' dycovl-

1452 a

ajjiUTa

fydp

vovTe<i

fMvdov

Kol

Bvva/MLV irapaTei-

rrjv

dvayKd^ovruL

Siaarrpe^eiv

<0Tav>
fidWov

OavfJiaaTov

e^et 12

ovTOi<i
iirel

T7]<i tv'^7]<;,

koX

TavTU davfiaaiMTaTa SoKel oca wcnrep

T(ov aTTo

TV'^7]<i

eVtTT^Se?

(palveTat

yeyovevai,

olov

o)?

dvSpcd<;

tov

tm

MtTt/09 iv "Apyei direKTeivev tov aiTiov tov OavaTOV

OecopovvTi

10 M.LTVL,

yevea-Qai.

elKrj

11

\^KaX\

/judWov

Kol

So^av,

rrjv

yap

to

aTTo tov avTOfiaTOv Kol

el

rj

irapd

yevrjraL

dWrjXa'

81'

to

/^tytiT/crt?

rj

Kol ekeeivoiv, ravra he ylveraL

(f)o/3p(ov

orav

fidXiara
5

TToWaKL'i

eVel Se ou p,6vov TekLa<; icrrl 7rpd^ea><i

(f)e^r]<i.

dWd

Kot irapd

TToiovvre'i

tou?

dvdyKrj

(ocrTe

yap Ta ToiavTa ovk

eoLKe

efM7r(T(i>v'

tolovtov^

elvat

KaXKiov<i /Mv6ov<i.

etcrl

twv

Be

fivOcov ol

Kal yap al irpd^eL'i

15 CTLV
ri<i

jjuev

wairep

yivofjbevq^

TrepLireTela'i

rj

ireirkeyfievr]

S'

cruz/ep^oO?

t^9

1452 a

2.

A"
:

nrepL-

r)

fjtvdov,

Gomperz.

3.

Se

Set 3

cocrre

e'/c

Bekker

/cat

seclus.

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

correxit Reiz

apogr.

ylveTai,

41. wapareivovTei apogr.,

seclus.

17

codd.

lect.

tuetur Tucker, Kal kclXXiov scripto pro Kal fiaWov

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

\4^is

tov

dvev

fitd<i

TavTa

eaTCV.

(rvarTdcre(o<i

Trpd^Lv 2

[juev

dvayvcopca/xov

fieTd^aal<i

rj

Kal

fieTd^aai<;

77

fieTa

r)^

Kpiras apogr.

vaparelvavres A^.

Susemihl.

wpicrTat

ecnlv

avTrj<;

40, viroKpiras A<=

ol /xvdol elatv virdp'^ov-

\eyco 8e aTrXrjv

dvayvoiptcrfjiov

d/ji(f)OLV

20 ytveadat i^

difkol ol 8e TreirXey/Mevoi,

fJiL/j,'^crei<;

ovaai TocavTai.

ev6v<i

Trere/a?

oiv

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

ijs

e.

Ueberweg.

5^

-/l

e^Tys)

18.

Valilen

5' ^o'TtJ'
:

^s

SusemiM

5^

Se e^ ^y vel 5^ Trpa^ts

ARISTOTLE'S POETICS IX.

I call a plot

'

epeisodic

in

'

lo X.

39

which the episodes or

acts suc-

ceed one another without probable or necessary sequence.

Bad

by

poets compose such pieces

poets, to

the

please

players

their

own

beyond

pieces for competition, they stretch the plot

1452 a

and are often forced

capacity,

good

fault,

they write show

as

for,

its

to break the natural con-

tinuity.

But

Tragedy

again,

an imitation not only

is

complete action, but of events terrible and

an

effect

by

surprise

same

best produced

is
;

and the

when

effect

will then

striking

the events come on us

for

when they have an

The

one another.

be greater than

themselves or by accident

even coincidences are most

air

Such events seem not

therefore,

to be

on

constructed

We may

of design.

murderer while he was a spectator at a

Plots,

tragic 12

they happened of

if

instance the statue of Mitys at Argos, which

him.

all

heightened when, at the

is

time, they follow from

wonder

of

Such

pitiful.

fell

festival,

due

these

to

upon

and

his

killed

mere chance.

principles

are

necessarily the best.

Plots are either

in real

show

life,

of

Simple or Complex,

which the

plots are

An

a similar distinction.

for

the actions

an imitation, obviously

action

which

is

one and 2

continuous in the sense above defined, I call Simple,

when

the change of fortune takes place without Eeversal (or

Eecoil) of the Action

Complex

accompanied

by

both.

and without Eecognition.

action

is

one in which the change

by such Eeversal,

These

last

should

structure of the plot, so that

or

arise

by Eecognition,
from the

is

or

internal 3

what follows should be the

40

X. 3

TMV
TO

avfi/Salveiv

yiyveadat ravra'

rdSe Bca rdSe

trdai,

pbTaj3o\rj,

OISlttoSi

To5

to

w?

Trpo?

P'^vo'i

TOV

davelv,

Tovvo/xa

(piklav

et?

he

KaXKla-Trj

35 wpccrfxevcov
TreTetat
fiev

yivoyvTai,

dWai

ovv Koi

Treirpaye Tt9

p,a\taTa tov jxvdov

icTTLV

et,p7]fMevr)
1452 b

TTCTeta

i)

22, ravra

commate

delete

36.

Fort, otav

By water.

^(ttiv

a.])ogr.

ws

fKeov coni.
:

(ireidr]

to.

dXX'

irpd^ecov

7)

Kal irept- 4

dvayv(opia-c<?

varepa Gomperz.
seclus. Zeller,

post /xera^oXri
TL

Gomperz.
38.

Tpaywhia

rj

Vahlen.

35.

39.

Susemihl.

1452 b

1.

Susemihl, pos, commate post

oioji'

ecrrLv

66'

apogr.

Kad' &

Susemihl.

Gomperz.

6t ucrirep Ric-

<6>irp Gomperz.
:

el ixt)

</j.d\LaT' eav

v-n-bKeirai.

a/ta nepLveTdq.

^M^^apogr.

/cat

< >

probante

Essen,

eanv

KadaTrep dpr)Tai,

25.

Gomperz

uxnrep A<=:

i<XTlv

<6>Trep Spengel

avpLpaivei A.

Kal TrepLirireLa seclus.

5^

d-yjrv^a

7rpb<;

fidXiaTa t^9 Trpd^eca

rj

ToiavTrj

ad wdTrep X^yonev

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

cvfi^aivnv

elalv 3

koX yap

(jjo^ov, o'iwv

rj

34.

rj

Kal

yap

ravavria Bonitz

gloss,

jrpoypTjTai

cardianus

irepi-

vTroKecTac ert he Kal to aTvyeiv Kal to evTv^elv

fxcfXTjaa

tanquam

eXeov e^ec

oTav d/xa

ireirpayev eaTiv dvayvcopicrat'

firj

r)

tc3

rj

hvaTv^iav

r)

<o>'7rep etpTjTat crv/ju^alvet, Kal

&>?

ec

r]

ev

77

koI 2

p,eTa^oXrj

OlhiTrohc.

dvayv(apLcri<;,

e')(L

&)?

diro-

wcrirep

he,

evTV^iav

dvayvcopia-et';'

Kac Ta Tv^ovTa ecrTiv

40

he

olov

dyo-

puev

uKoXovdcov

eh yvwcnv

7rp6<i

09

S7]'kcoaa<;

Treirpayfievcov

dvayv(iipLaL<;

i^ dyvoia<;

eyjdpav TOiV

elf

rj

tmv

e/c

koI

OlSiirovv

Aavao'i

he

avve^rj

Be

wairep iv

kol iv tcS KvyKel 6

aadrivai.

a7}/j,aiveL,

tov

(po^ov,

jxrjTepa

dTrodavovjjbevo'i,

6i<i

diroKTevoiV, tov /xev

civayKalov

77

evcppavMv

Tr)v

tovto

kuI

etpr^Tai,']

etVo<?

^v, TovvavTLOV eTTolrjcrev'

30

Kara

rj

yap ttoXv to yiyve-

to ivavTLOv tmv irpaT-

et9

rj

{^Kaddirep

eX9ci)u

diraWd^ayv tov

fierd rdSe.

tj

Xeyofiev kuto,

coa-irep

i^ avdyKrjii

7)

Biacj^epec

eari Se TrepcTrereLa fiev

25 TOfievcov

1452

1452 a 21

4.

irpo'ye'yevriiievwv

Iko<;

XI

XL

41.

AP.

Kal>

olop A^.

TreptTr^reta
2.

Iri

ARISTOTLE'S POETICS X.

3 XL

41

necessary or probable result of the preceding action.

makes

the difference whether any given event

all

It
is

case of propter hoc or post hoc.

XI

Reversal (or Recoil)

a change by which a train of

is

action produces the opposite of the effect intended, subject

Thus

always to our rule of probability or necessity.

in

the Oedipus, the messenger comes to cheer Oedipus and

free

ing

him from

who he

by

his alarms about his mother, but

he produces the opposite

is,

the Lynceus, Lynceus

reveal-

Again in

effect.

being led away to his death, and

is

Danaus goes with him, meaning

outcome of the action

is,

to

slay

Danaus

that

him

but the

killed

is

and

Lynceus saved.
Recognition, as the

name

indicates, is a

change from 2

ignorance to knowledge, producing love or hate between

the persons destined by the poet for good or bad fortune.

The best form

of recognition

is

coincident with a Reversal

(or Recoil), as in the Oedipus.

There are indeed other forms.

Even inanimate things

most

of the

times be objects of recognition.

trivial

Again,

kind

may

we may

recognise

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

1452 b

But

the recognition which

is

most intimately connected with

the plot and action

as

we have

persons.

is,

said, the recognition of

This recognition, combined with Reversal, will 4

produce either pity or fear

effects are those

sents.

.3

some-

and actions producing these

which, by our definition, Tragedy repre-

Moreover,

it is

upon such

issues that fortune or

XL 5-XII.

42

TOiV TocovTcov (TVfji^rjaeTaL.

eVfc

iirel

orav y

fiovov,

avayvcoplaai,

Set

avayvdopiai^i 5

r)

olov

Trj<^

afji<j)OTepov^

^Opecnrj

to5

'l(f)Lyev6La

fxev

t]

i7riaro\r]<;, eKeivov he

t?}?

7rp,-\frea)<i

tov erepov

7rp6<;

arepo^ rt? iarLV, ore Be

Srj\o<i

dveyvcopLcrdr] eK

hrj

Oarepov

Tivoiv iariv avayvcopLatii, at fiev

5

3-27

1452 b

3.

7rpo<; rrjv ^IcjicyeveLav aX\7]<; eSet avayv(opi<Tew<i.

hvo [xev ovv TOV fivOov

10 nreTeia koI avayv(t)pLac<;,

TreptTrereta fxev Koi dvayvciipicn'i

7rpd^L<i

cf)6apTLKr)

OdvaroL

koi

[jovtwv he

etpT^rat,] 7rd6o^

koi

Trepccohvvlat

irepi- 6

iart,,

irdOot;.

ohvvqpd, olov ot re ev

i)

at

ravr

jrepl

fMepi]

rpirov he

tc3

he

ecrrt

(pavepoi

kuI

Tpd)aeL<;

ocra

Toiavra.

XII

rpaywhia'i

he

[f^^PV

rdhe

Ke^oopicr/jbeva

KOLvd
20 Kol

fiev

to

he

'X^optKov

25 CTTdaL/jLov
Tpoxct'i'OV,

diTO
3.

he

T)

yu,eA,o?

fiept]

eireLbr)

2, ut videtur.

Bywater

iKeivcp

9.

Susemihl, om. Arabs.

K6/J,fjLoi

del.

Trept

4.

Maggi

Susemihl.

Christ praeeunte Ritter.

oXrj

27.

AVestphal

oh

fj.h

wj

eraipov
eKeivov

non habuisse

10. tovtwv di

re apogr.

cap. seclus. Ritter, recte, ut opinor.

24.

7.

irepov

trepl

6\ov

dire

19.

apogr.

26.
:

eipyjraL

15.

A<=.

kolvo,

A<=.

e'ideai dei

hel 3

ethecri,

codd.

raiVd Twining.
di

Koi

<TOiV>

i^^^

co?

fiev

12.

xopov,

dvairaiCTTOv

oh

seclus.

/ieXo?,

oXtj

x'^P'^^

0' 77 Bekker.
Bernays
grepos
-rrepl

xopov

\e^L<;

iird

arepo^

seclus.

(Margolioutli)

KOivo<i

he Tpay(phia<i

codd.

eaTt

dvev

'^^

dprjvo<i

videtur

Totum hoc

crKrjvrj^

rrj^;

o\ov rpayw- 2

fxepo<i

irpcoTTj

rj

X^P^^

apogr.

5.

ovk

jxeO^
fjuev

he

KO/jip,o<i

AP'-.

e^oho<i

x^P^ irapohov, eiretaohLov he fiepo^ okov

jxeTa^v oKwv '^opLKcov p,e\o)v, e^oho^; he

irdpoho'i

crKrjvrj<i.

7ret 57}

eireLaohtov

ravra, thia he rd diro

oKov Tpaywhia'i

lxepo<i

eh a hiaipelrai

Trdpoha TO he crrdaifMov

fxev

earcv he 7rp6\oyo<; fxev

Sta? TO irpo

hel '^prjcrdac

ethecTL

irocrov koI

irpokoyo'^

ecrriv,

d'rrdvrojv

Ko/xfjioi.

Tpayrphla'i

to?

/xev

he rb

TOVTOV TO

Koi

"^opiKov,

ol?

Kara

16 irporepov eoiro/xev,

fih

tQv add.

oh fih

8ei

A".

XL 5 XII.

ARISTOTLE'S POETICS

Eecognition, then, being between 5

misfortune will turn.

persons,

may happen

it

when

by the other

may

is

recognised

known

already

is

or

it

be necessary that the recognition should be on both

Thus Iphigenia

sides.

make

required to

Two

revealed

is

Orestes

known

parts, then, of the Plot

and the

by the

on the

is

to Iphigenia.

The Tragic Incident

action, such as death

Orestes

to

but another act of recognition

turn upon surprises.

Incident.

XII

that one person only

the latter

sending of the letter

tion

43

Eeversal and Eecogni- 6

third part

is

is

the Tragic

a destructive or painful

stage, bodily agony,

wounds

like.

[The parts of Tragedy, which must be treated as

elements of the whole, have been already mentioned.

We

now come

parts into

to

the quantitative parts

which Tragedy

is

divided

Episode, Exodos, Choric song

and Stasimon.

into Parodos

plays

peculiar to

stage and the

the

this

some are the songs of

is

The Exodos

which has no choric song

Parodos

Chorus

the

is

the Stasimon

or trochees

and

actors.

the separate

being divided

common

to all

actors from the

that entire part of a tragedy which 2

Parodos of the Chorus.

.

the

last

These are

that entire part of a tragedy which

choric songs.

namely, Prologue,

Commoi.

The Prologos
precedes

the

first
is

Commos

The

is

is

The Episode

is

between complete

that entire part of a tragedy

after

it.

Of the Choric

undivided

utterance

of

part

the

a Choric ode without anapaests

is

a joint lamentation of Chorus

parts of Tragedy

which must be treated 3

44

XII.

3 XIII.

^pija-dac Trporepov

a Siaipelrat

XIII

MV

Se

ravr

icjie^rj'i

av

ovv Bel

Trjv crvvdeacv elvat

dirXijv

dWd

fit,fL7]TLKJ]V,

irpwTov

fxifiriaeoi^ ecTTiv,

avBpa<i

Tr]<i

BvcTTV^^iav,

Bel evKa^elaOai crvv-

vvv

t?}? Tpa'y(pBla<i
iireiBr)

elpTj/jbivoi'i.^

KaWiaTTj'i Tpa'y(pBia<i

koX

7a/3

ovtc

ea-TiV

wv

e;^ei

ovT

ecTTiV

ovTe tou9 e'meiKel<;

fiev BfjXov otc

tov<;

oils'

eh BvaTv^iav

dvOptoTTov e^OL dv
5

rj

av tov

ovTe

crcfjoBpa

to

fieTaTTLTTTecv'

ToiavTrj crvcrTa(TL<i

X^ovvTa, 6 Be irepl

Be

(j)o/3epov
X.ot7ro9.

tov

irepX

dW

Be

TOtovTa

ovTe

Tr}V

fjueydkr}

30.
2.

S}i>

BvaTv^iav

apogr.

wj

a5 rbv apogr.

Ritter,

ovtcov

Bo^T]

A<=,
:

dXkd

6 firjTe dpeTrj

koI

Bi

ovTe eXeov

6.

?Xeos ij^v

Slwovs A,

ovTe

dpa tovtoov

twv

OlBiirovi

kol

jxeTa^dXkwv

34. ireirXeyfxivqv seclus. Susemihl.

a5 t6 A^.

quod non confirm. Arabs (Margoliouth).

Bvcttv-

tov dvd^iov,

Ttvd,

olov

e|

yap ^l\-

Bca<f)epcov

dfiapTi av

evTV^ia,

ekeeivov

ekeeivov

fieTa^i)

10 BiicaLoa-vvr), firjTe Bid KUKiav Kol fioyOrfpiav

eh

ovBev

Trovrjpov

fiev

fiev irepl

&crTe

o/jlolov,

to avfi/Satvov.

ecTTai
ecTTt

tov o/xolov, eXeo?

eU

aTV^ia'i

e^

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

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

(f)o^o'i

kol

ToiavTT)<i

Tr}9

ovTe yap ^CkdvOpwTrov

Bel,

<f)o/3ep6v

evTv^ia<;

fir]

(po^epMV

TavTrjv

tovto jdp tBiov

40 evTV^iav, aTpaycpBoTaTOv <ydp tovt ia-Ti irdvTwv

1453 a

et?

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

ov <ydp ^o^epov ovBe iXeecvov tovto dWa

Bei

fiiapov

TOL<i

TreirXey/Jievrjv

35 iXeeivcov elvat

to ttoctov koI

Be

koI iroOev earat to

\eKTeov

eir]

a 12

icrrlvJ^

aro'^d^ecrdaL Kol

Sel

281453

Kara

etirafiev,

Ke'^copcafiiva

31 i(TTdvTa<; TOv<i /j,vdov<i

epyov,

1452 b

3.

ev

Kal

1463 a

rhv S/ioiov seclus.

12.

Oldiirovs apogr.

3 XIII.

ARISTOTLE'S POETICS XII.

whole have been already mentioned.

as elements of the

The
is

quantitative parts

divided

As

XIII

45

the separate parts into which

what has already been

the sequel to

we must

said,

proceed to consider what the poet should aim

at,

what he should

and by

what means the

A perfect

avoid, in constructing his plots

specific effect of

seen, be arranged 2
It should,

moreover, imitate actions which excite pity and

being the distinctive mark of tragic imitation.

plainly, in
,

'''./

the

that the

place,

first

brought from prosperity to adversity:

fear

it

^.

''-i^-for

1453

merely shocks

this

for

the

no single tragic quality

moral sense, nor

hibited.

it

would

to

by the misfortune
event,

therefore,

of a

will

pity

man

be

neither

nor

just,

that of a

yet whose misfortune

or depravity, but

be

man who

one who

is

is

by some
highly

is

^^^\^'e~^

Such an
terrible.

brought about not by vice

frailty.

'

nor^ \ ^

not eminently good and

error or

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

There remains, then, the character between these two

extremes,

v'

3,

satisfies

fear.

ourselves.
pitiful

^
'

<-

inspire neither pity

like

^^

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

neither
or

.3.

moves ^^

by unmerited misfortune, fear^

fear; for pity is aroused

man\>

kind would, doubtless, satisfy

plot of this

the moral sense, but

forth

calls

it

'

Nor, again,

us.

nothing can be more alien to the spirit of

a possesses

^^

change of fortune '\^t'

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

^<J^

fear, this

It follows

presented must not be the spectacle of a virtuous

\^>S(^\ neither pity nor

and

Tragedy will be produced.

we have

tragedy should, as

not on the simple but on the complex plan.

'

it

are here enumerated.]

He must

renowned and prosperous,

>*

^l\ ^

XIIL 38.

46

uearT]<; koI ol

apa

dvayKT]
15 /xaXkov

ovK

koXm'?

evrv^lav

et9

CK

afiapriav fjbeydXrjv
rj

20

rj

tou9

Troirjral

ot

7<x/3

nvh

j)aai, koX

aWa

Sia

/xr}

rovvavrtov

fxdWov

TV')(ovTa<i

fiv6ov<;

aWoi<i

crv/ji^e/3r]Kv

Kara

25 ovv

Opecnrjv

Bio Kol

Kol

yap

TOVTO

iaTLV

al

TOcavTat,

tmv

ttoitjtwv

XeyofievT]

vtto

tlvwv eaTiv

irpoiTrj

35 re

Tr]v

avaTaaiv

TeXevTMcra

e^

BoKel Be elvai

rot?

Bid

nrpoiTrj

fjurj

Trjv

rj

tcov

dWd

oIkovo/xcI

rj

^OBvaaeia,
Kal

om.

iatn S.

rj

Kal

'^elpocnv.

OedTpwv dadeveiav

ev')(rjv

to?9

iroLOvvTe'i

27. tout' avrb

rjBovrj 8

Thurot

avrol

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

Reiz

28.

<al>

iroWai Knebel

TroXXat

<;ai> Tyrrell.

dedrpuv A^ et S, ut videtur

34.

cnjaraffis

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

seclus.

Twining.

37.

BcttX^jv

eaTCV Be ou^ avTrj <>]> diro Tpay(pBia<i

21. KdWicrraL seclus. Christ,

8'

BevTepa

[crycrTacrt?]

^eXTioac

dKoXovOovcTi yap ol TTOirjTal KaT

6eaTai<i.

ev

(palveTai.

KaOaTrep

6'^ovaa,

ivavTia<;

Be

arifxelov

dv KaTopdoiOwcnv, Kol

(palvovTai,

aXka

rpaycp-

rekevrwcnv.

Kol tcov dycovwv Tpayu-

TpayiKcoTaTO'i ye

el

Tat<;

opOov.

e'cprjTat

crKrjvcov

to,

l^vpc7riB7]f;

TavTr}<i

e/c

Bvcrrv^lav

Kal

fiev

rj

ol ^vpnrlBr] yKa\ovvT<; 6

et?

Mcnrep

eVi yap tcov

30 /jueyiCTTov

KooTaTac

avrov

-TToWal

6(tol<;

7rotr]aai,.

rj

TOVT avTO dfiaprdvovaiv, ore tovto Spa iv

hlai<i

koI

T^\(f)Ov

rpaywhia

KaWlarr]

iari.

(TVcndaco<;

TYj'i

koL

iraOelv heiva

ri-^vv^

ttjv

vvv

[KaWcarao] rpajaySlac avvri-

Svecrrrjv
i)

fxev 5

aTrrjplO/jiovv,

Oevrai, olov irepl ^AXKfialcova koX OISlttovv koI

yieXiaypov Koi

ot

koX to yiyvofievov vrpcorov

Se irepX 6\l'ya<i olKia<; al

KoX

i^

aWa

^\ti,ovo<;

rj

eLvat 4

fxerajBaXkeLV

/jbo^drjpuav

oXov elprjrat,

arjfielov Se

'^elpovo'i.

airXovv

jxvdov

ZvcrTV')(ia<i

SvaTVVLav,

eh

evTvyia';

e7ri^avel<i dvSp<;.

e'^ovra

SlttXovv, axTTrep

rj

jevMV

tcov tolovtwv

e'/c

rov

1339

1453 a

(cf.

ARISTOTLE'S POETICS XIII.

personage

men

Thyestes,

47

other

or

illustrious

of such families.

A
in

Oedipus,

like

well constructed plot should, therefore, be single 4

issue, rather

its

than double as some maintain.

The

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

reversely,

from good

to bad.

should come about as

It

the result not of vice, but of some great error or

in a character either such as

The

rather than worse.

At

our view.

came

first

we have

frailty,

described, or better

practice of the stage bears out 5

the poets recounted any legend that

Now,

in their way.

story of a few houses,

tragedies are founded on the

on

the fortunes of Alcmaeon,

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

others

who have done

or suffered something terrible.

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

Hence they

should be of this construction.

who

censure

Euripides

principle in his
as

we have

plays,

just

many

because

he

are in error 6

follows

this

which end unhappily.

of

The best proof

said, the right ending.

It

is,

is

that on the stage and in dramatic competition, such

plays,

they are well represented, are the most tragic

if

in effect

and Euripides, faulty

management

he

as

of his subject, yet

in the general

is

felt to

is

be the most

tragic of the poets.

In the second rank comes the kind of tragedy which 7

some place

first.

Like the

Odyssey,

it

has a double

thread of plot, and also an opposite catastrophe for the

good and

for the bad.

It is accounted the best because

of the weakness of the spectators

in

what he

writes

by the wishes

pleasure, however, thence derived

for the poet is guided

of his
is

audience.

The

not the true tragic

48

v..

8 XIV.

XIII.

40 aXXa

fidWov t^?

eyOtaTOL oiaiv iv
<f>tXoL <yv6/jiV0i

ovSeU

XIV
1453b

20

yap

eKec

av

ot

fivOw, olov 'OpecrrT^? Koi AL<yia6o<;,

eVt reXeurr}? i^ep-^ovraL koI airoOvrjcTKeL

ovhev6<;.

VTT

eaTiv

ovv to (po^epov Koi ekeetvov ck

/xev

,
"
sjv
a
ecrrtv be
jLyveaaai,

hel

401453 b

OLKela'

Ka)fi(pSla<;

ra>

,j-

yap Kol dvev rov opdv

eK

Trj<i 6'\jrco<i

avcna(Te(o<i

rr)^

ovrco

rcov

avvecrrdvai, rov fivOov,

rd Trpdy/xara yivofieva Kal

axrre rov aKovovra

Kol iXeelv

e^ avTrj^

/cat

iarl "rrporepov kov ttoltjtov afxeivovo^.

Trpajfjudrcov, oirep

1453 a

4.

t%

to Se Sid

aKOvcov rov rod OlhiiTov fivOov.

(fiplrrecv

dv irdOoc

direp

avfM/SatvovTcov

rtov

Ti<i

oyjrea)';

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

Be

01

e<7TLV.

to ^o^epov Bid

firj

vovaiv ov ydp irdaav

dXkd
Bid

ytit/iT^creo)?

(bavepov
15

oiKelav.

Trjv

TpaywBia

ovv Beivd

dvayKT]

Xd^fOfiev.

Brj

ToiavTa<; irpd^ei';

rd's

ovv

iydpo'i

uvto to

oTav

hv Bonitz

exOpov

8'

hv

ev

ol

Tal<i

codd.

dTX''^'''^P''

-A-*^-

Khf

elvai
r)

irdOo'i'

^iK[ai<i

ol

16.

Ueberweg.

ovB'

Spengel

dv

irotSiv

dv

eyyevr^rai

ex^pbv diroKreivri Bekk. praeeunte Pazzi.

oiid'> iXeeLvop

aXXrjXovi 4

irpo^

ovTe

Spengel.
Srj

iroia

avfiTTiTTTOVToyv,

jj^eTepwv.

ekeeivov

kut

ttXtjv

ot

<^i\wv

e-^fdpcov

ovBev

/jueWoov,

repov apogr.

rj

rj

ttoitjt^v,

i/j,7roi7)Teov.

tmv

<})aLVTai

ej^Opov,

20 eyovre^;'

40.

oiKTpd

rov

irapaaKevd^eiv

r)Bovr]V

irola

rj

iXeov Kal (fyo^ov 3

Be ttjv utto

eirel

Bel

to

kolvoj-

Bel ^rjTetv rjBovrjv diro TpaycoBia^

tovto ev rot? irpayp.acnv

ft)9

dWd

o-v/re&)9

t?}?

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

fxev

ovts

jJ,r)BTpco<i

Ta

1453 b
5^ codd.

4\eeu>bv

irdOr],

8.

drexvo18.

< (po^epbv

ARISTOTLE'S POETICS XIII.

pleasure.

It

who, in the

1453 b

Fear and pity

may

but they
piece,

poet.

which

from the inner structure of the

the better way, and indicates a superior

For the plot ought

will thrill with horror

This

is

to

be so constructed that, even

who

and melt

to

by the mere spectacle

is

and dependent on extraneous

spectacular

means

hears the tale told

pity at

we should

the impression

But

hearing the story of the Oedipus.

effect

like Orestes

be aroused by spectacular means

without the aid of the eye, he

place.

is slain.

may

also result

is

enemies

quit the stage as friends at the close,

and no one slays or

Xiy

49

proper rather to Comedy, where those

is

piece, are the deadliest

and Aegisthus

8 XIV.

to

what takes

receive from

produce this

a less artistic method,

aids.

Those who employ

a sense not of the terrible

to create

but of the monstrous, are strangers to the purpose of

Tragedy

we must not demand

for

of

Tragedy any and

every kind of pleasure, but only that which

to

And

it.

afford

is

since the pleasure

is

proper

which the poet should

that which comes from pity and fear through

evident that this quality must be impressed

imitation,

it is

upon the

incidents.

Let us then determine what are the circumstances

which

strike us as terrible or pitiful.

Actions capable of this effect must happen between 4

persons

who

are either friends or enemies or indifferent

to one another.

If an

enemy

kills

an enemy, there

is

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

except so far as the suffering in itself

again with

indifferent

persons.

incident occurs between those

is

pitiful.

But when the

who

So

tragic

are near or dear to

XIV.

50

o&X^o?

olap el
-q

vws

4 S

1-5

eSieK/^iiov

Spa, Tovra

;:

vro?

17

fjofrepa avoKrei^ei

:-54

^^

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

fieXXei

avv

irtipeCK.'q^itevavii

t^

^^ktrraifivrjc-rpav

Tovq ftep

^ifnfTeop.

IMvOovi \vetp ovK eoTor,

a 3

\eya

Se otop

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

rtm *A\xftalefP09, avrop Se of^iaKew

^va/tep
vpa^cp,

o-a^tetrrepop.

wnrep

Set

xal tok Trapa-

to &e icdXuf_Tl \eyofLev,

SeBofMhmv jQtfiadai icdXa^.

yap

etrri iiep

ovrto yivetrBat rijv 6

vaXoioi ewolaup elSora^

01

^vyvda-

ictu

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

ravn

?a2ia?

eartp

Mj^Seidv.

"npr

Be

irpa^qd,

fjuev,

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

Twpf ^>iXiap,

aup
35

e^

atrwep 6

So^KXeou^ OlM-vouq' rovro

rov BpdfiamK, ep

AXxpaiav 6

S* airry

'AjcrrvSofutpro^

Tpavpa-na, X^hvaa^eZ.

en

t TpaiyaBia

6 TijXe^opo^ 6 ev

Be rpirop

fieXXopTa voiesp ri tAp aPfjKearap &'

plaaA wplp wot^eu.

to t yap piapop

owaBih yap

Bemepop.

ej(i,

Kpeopra 6 MpMBP.

fieXriap Be to aypooupra pep

ftrj
firj

elhoTai;,

Trpa^ai

Ktu ov rpayiKov

Biavep ovBels voiei opoiofi,

olap ep 'ApTtyopg top

a, pri oXtydKi<:,

to C irpa^ai 8

vpa^u, Trpd^avra

2& elntfta' apogc. : dkwftBf A*.

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

l^

IW

vScfisai-

Kfihne^v Si

-ri

Ktu vapa Tavra ovk eartv aWtot;.

yap vpa^oA opajic^ ^ 171 Koi aSoras rj

40 TouTtap Se TO pep ytwaaKopra peXXSjaai tcu

iss&z

t^

vapa rtwra ro
ajpouw avayvco-

ri

j(jdpurrap-

/jl^v

olov

AffmSvTU )ih>

iamrp>i^iema.- -rk

-re

ykp

iu.a.pat'

51

kills,

or intends to

ARISTOTLE'S POETICS XIV.

one another
kill,

for

if,

example, a brother

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

any other deed

his mother, or

of the kind

are the situations to be looked for

by the

done

is

indeed destroy the framework of the received legends

was

that Clytemnestra

fact, for instance,

and Eriphyle by Alcmaeon

these

He may not

poet.

the 5

by Orestes

slain

but he ought to show invention

of his own,

and skilfidly handle the traditional material. Let

us explain

more

what

clearly

meant by

is

skiKiil handling.

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

manner

indeed that Euripides makes

It is thus

but done in ignorance, and the

an example.

the

slay her

may

be done,

but cases occur where

the action of the play

one

Astydamas, or Telegonus
is

of kinship or friendof Sophocles

Here, indeed, the incident

drama proper

Again, there

tie

The Oedipus

ship be discovered afterwards.

is

Medea

Or, again, the deed of horror

children.

third

may

in
case,

the

of the older poets.

it

is

outside

falls

within

Alcmaeon

cite the

Wounded

of

Odysseus.

where some one

is

just 7

about to do some irreparable deed through ignorance,

and makes the discovery before

done or not done,

all

persons,

and then not

without
1454

and

But of

a therefore,

instance,

is

being

that wittingly or unwittingly.

to act.

tragic,

These are

done.

these ways, to be about to act

for

is

the worst.

knowing the
It is

shocking

no disaster follows.

It

never, or very rarely, found in poetry.

however,

is

in

threatens to kiU Creon.

tlu\t

it

For the deed must either be

the only possible ways.

the Antigone, where

The next and

the deed should be perpetrated.

better

Still

is,

One

Haemon
way

is

better, that

vlov

Be

KoX iv

at

TOVTO,

dX)C diro

Te^i/779

dvayKa^ovrai ovv

TTOtoy?

XV

ovv

jiev

'TTepl

Tvepl Be

rd

rerrapd

v p-ev Kal TvpoyTov

oirco'^

idv wcnrep iXej^drj

iroifj

20 irpoaipea-lv
Be

iv

riva

ye

dvBpelov
25 dvBpeiav

Kparel

5.

Tt

p,ev

<5^

^a^epa;' Aid., Bekker.

<:T}Tt.s

t)

(pvyrjv

aXK"

5 coni.

Diintzer

TpiTov

Trpd^a

ecmv

'^pTjarr}

Kal

ydp 2

ecrTiv

Be to o/xocov.

"EWt;

9.

20.

Vahlen

'AvtiStttj

to

tovto 3

Valckenaer.

secludendum,
<ijv>Tiva <S>7j Bywater:

Trpoalpeaiv rivaiji A'^:

(? cf.

irpoaipefflv Tiva

irpoaipeffiv Tiva, (pavXov

apfj.6TTovTa coni.

tj

rj

dpfioTTOv yvvaLKi

ov'^

Tr\l> arov Tucker.

19.

&v>

Be ^do<; p,ev

^prjcrrijv.

ydp yvvq iarcv

elvat.

vel

Kal

iKavci)<;.

e^ei

\0709

olKLWi

Bel aro^d^ecrdai,

a>v

y.

(jiavepbv

rd<i

tovtcov to p,ev yelpov, to Be oXtw?

rjOo';,

Betvr]v

r}

drro

av(TTdaea><;

eiprjTaL

BevTepov Be Ta dpfioTTOVTa'

iaTcv.

(jiavXov

icrrcv

'^prjo-rd

Kal

tcroi<i

ovk

irdOrj.

^priarbv Be idv

[77],

eKoxTTW yevei'

Bov\o<i, Ka'iTOL

ravra^

iirl

Bel Tov<i /u.vdov<i

tjOtj

TroWd

Trepl

ydp

TrpayfiuTcov

roiv

rrj'i

elvat

Tivd<i

rrj

evpov to tocovtov irapaa-Kevd^etv

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

1

rbi'

dveyvcopiaev,

ov

ecprjrat,

^7]TovvTe<;

elcrlv.

rv')(7}<;

iv Tol<i iiv9oi<i.

aXK"

ov,

iKBiBovac fxeWcov dveyvcoptaev.

iraXai

oirep

TpayipBlaL

McpoTT?/ fxeWei

r/

Be

dBeX^rj rov dBeXipov, Koi iv

7)

i/i09 Tr]v fMrjrepa

yap

yevq

Kpea(f)6vT7]

airoKreivei

^I(J3C'yevLa

rfj

'EW77
10 Bid

tw

olov iv

aTTOKTelveiv,

7]

KpariaTov Be to reXevralov, 9

avayvMpKTiii iKTrXrjKTLKOv.
\ej(o

425

1454 a

3-

to re yap /xiapov ov irpocrecrriv koI

Be dvajvoopiaai'
5

8 XV.

XIV.

52

Arab.)

< ^xoira,

biroia.

tis

Siv> y

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

Vahlen, probante Gomperz,

24. rt ^609

Gomperz
23. to

Hermann

*tui A^ ovrm Vabl. coUato Pol. iii. 4,

t6 apogr.
9jdos codd.
1277 b 20. Desunt in Arabe verba t^j dpdpeiav
ehai, quorum vieem
ut
appareat
haec
clausula,
'ne
quidem in ea omnino' (Margosupplet
TO

liouth).

Unde

Diels ry dvSpeiav

veram lectionem

Teiecerit,

scribendum

dvai glossema esse arbitratus quod

esse

coni.

ware

fi-qd^

<palve<76ai

8 XV.

ARISTOTLE'S POETICS XIV.

it

53

should be perpetrated in ignorance, and the discovery

made

There

afterwards.

case

when

the best, as

is

is

then nothing to shock

produces a startling

wliile the discovery

So in the Iphigenia, the

life.

liis

in

up.

This, then,

when on

why

is

who he

is,

the

sister recognises

the point of giving her

a few families only, as has been

already observed, furnish the subjects of tragedy.

was not

art,

is

spares

Again in the Helle, the son

time.

recognises the mother

us,

last 9

Merope

in the Cresphontes

about to slay her son, but, recognising

brother just

The

effect.

It

but happy chance, that led poets to look for

such situations and so impress the tragic quality upon

course

to

are compelled, therefore, to have re-

They

their plots.

those houses whose

history contains

moving

incidents like these.

Enough has now been

XV

said concerning the structure

and the proper constitution

of the incidents,

of the plot.

In respect of Character there are four things to be

aimed

Now
of

it

any kind will be expressive of character

will be

good

if

to each class.

slave

being,
to

and most important,

First,

at.

must be good.

any speech or action that manifests moral purpose

aim

the purpose

is

Even a woman may be

though the

woman may

but for a

propriety.

woman

appropriate.

to

There

is

is

relative

good, and also a

The second thing

a type of

be valiant, or

Thirdly, character

the character

be said to be an inferior

and the slave quite worthless.

at is

This rule

good.

terrible,

manly valour
would be

must be true

to life

infor 3

XV. 37-

54

rod

'yap erepov

wcTTrep

Ti?

ava)fia\o<i

to

-^prjcrTOV

ttjv

tw

iv

ri6ov<i

T^9 Me\avi7nr7}<;

Tj

35

XP^

^^

^^

'^^''

ware

rov

dva<yKalov

rocovrov

rd

ecKO'i,

kol

rj

dvajKalov ^

roiavra
rovro

on

rwv

i]

M?;8e/a drrb

iv rfj

rov diroirXovv dXXd

Bpd/jiaro<i,

elBevat,

Tj

ocra rrpo

fXTj-yavfj

rov

rj

ytveaOai

rj

Kal rd<i \vaei<i roiv 7

cocnrep

f^rj

ra

'IXtaoi

rfj

'^prjareov iirl

ra

rrepi,

rov

e^(o

a ou^ olov re dvOpwrrov

fye<yovev

d Betrai

varepov,

ocra

rj

Kal iv

fir]Yavrj<i

eLK0<;,

nrparreiv

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

1454 b yu.u^(uv

irpa'y- 6

ro

rj

rovro

fMerc

(f)avepov ovv

eiK6<i.

Xeyetv

varepa.

rrj

rfj

to dvajKalov

rj

Av\IBl

iv

rj

iKerevovaa

rj

warrep Kol iv

TjOecTiv

'^^^'^

avarda-ei del ^Tjrelv

fjudrcov

eotKev

fMij

ZKvWrf Kat

Trj

rov Be dvco/xaXov

pijai^,

ovBev yap

Kai

aTTpeTTOv'i

dpfxoTTOvrof; 6 re 6pr]vo<i 'OSfcrcretw? iv

^ItpLyeveia'

ecTTiv 5

dvayKaia^ olov

firj

rov Be

'OpeaTrj,

<yap 4

tolovtov

Kat

dvcofiaXov Sec eivac.

r)6o<; viroTLOel'^, 6fjiQ)<i 6/jLa\cb<;

Kav

ofxaXov.

irape^cov

/Jbifjirjcrcv

30 Be 7rapd8eL<y/jia Trovrjpla'; fxev

M.eve\ao<;

to

8e

koI apfjuoTTOV iroLrjaaL

ojdo'i

reraprov

eiprjrac.

261454 b

1454 a

Kai

rrpoa'yopevcreco'i

'The manly character is indeed sometimes found even in a woman

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

KadSXov

(^(mi/

woman, and as a
secludendum

fort,

quem

Spengel,

Bywater

seq.

E.
33.

Exemplum

Sus.

Bywater,

(Margoliouth).

refert,

not found in her at

Hermann

dprirai.

Susemihl.

ed.

1,

32.

rj

1454 b

3.

post vcrrepov disting.

pTJffis

<tov>

coni.

tQv /jlvBuv

38.

cf.

<ws>

tQv rjOQv S, ut videtur

dirXovv

5.

A'=.

R. Hardie, qui dyyeXlas ad

wpoayopevaeus ad Saa varepov.

seclus.

Bywater.

Vettori

Hermann.

dTrovXovv apogr., S:

W.

olov

'Odvaa^ws

intercidisse

dvayKoiov
39.

fort, recte.

e'iprjTai

uxrirep statuit

dvayKalou A*^: dvayKalov apogr.,

30.

37 et 38.

Cbawep

27.

all.'

lacunam ante

dvayKa^of] Gomperz.

[/xrj

Christ.

tov dvo/xoiov post

Susemihl, Christ.

Commate

is

iiTrep

dvayKaias Thurot

Miiller,

Kal TovTo

rule
:

fiira

Trph

rod


ARISTOTLE'S POETICS XV. 37
this is a distinct thing

the

of the

subject

be inconsistent,

is

imitation,

consistency

who

for

we have

of character gratuitously bad,

in the

though 4

suggested the type,

he must be consistently inconsistent.

still

As an example
Menelaus

from goodness and propriety, as here

The fourth point

described.

55

Orestes:

of

character indecorous and

inappropriate, the lament of Odysseus in the Scylla, and

the speech of Melanippe

at Aulis,

her later

As

of inconsistency, the Iphigenia

for Iphigenia the suppliant in

no way resembles

self.

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

traiture of character, the poet should always

at the

necessary or the probable.

aim

Thus a person

either
of a

given character should speak or act in a given way, by

the rule either of necessity or of probability

just as

event should follow that by necessary or probable

this

sequence.
of the plot,
1454 b

It

is

no

therefore evident that the unravelling 7

less

than the complication, must arise out

of the plot itself, it

Deus

ex Machina,

as

must not be brought about by the

in the

the Greeks in the Iliad.

Medea, or in the Eeturn

The Deus

ex

of

Machina should

be employed only for events external to the drama,for

antecedent or subsequent events, which

the range of

human knowledge, and which

lie

beyond

require to be

ayyeXla'i'

airavra

akoyov Se

firjhev elvau

eVet Se

tw

1)

rpajMSla

e^co

jjurj,

So^o/cA-eou?.

/SeXriovcov

dya6ov<;

tov<;

fjUfietadat

tm

OISlttoSc

opdv.

60t<;

Kad >

<rj

eKelvoL a7ro8cS6vTe<i rrjv Ihiav jxop^rjv o/juolov^ ttolovv-

Td<i

TavTa

irapa

ef dvdjKrj<;

Kt,<i,

to,

Brj

tov

olov

aKkrjpoTrjro'i]

0/jLr]po<;.

TTOcrjTtKr]'

Troirjrrjv

raXka

/juLfiov-

rotavra

tcl

tcov rjdcov, toiovtov; 6vTa<i eVtet/cei? irotelv

eirl

{TrapdhetyjJba
'

ovtw koi tov

'Ypd(f>ovcnv'

Kol opytkov^ koI pa6vfiov<; koI

Koi

elKOvojpa(f)ov<i'

KaWLOV<i

Kol

20

Tot<;

Te<i

ej(pvra<i
5

airoSlSofiev

iv T049 Trpdyfiacrtv, el 8e

yap

fjievov

629

to iv

iariv

/jbl/jirjai<i

Bel

rj/j,d<;,

1454 b

3.

<yap

Tpa<y(pSLa<i, olov

Trj<i

10

7 XVI.

XV.

56

'A^iWea ^Ayddoov

ScaTrjpelv

Set

kol Trpo? TOVTOL<i 9

dKo\ovdovaa<i

ala6j](Tei<;

ttj

KoX <ydp KaT avTaq eaTiv d/xapTdveiv iroXkd-

e'iprjTai,

Be

avTOiV iv

irepl

toI<;

iKBeSofievoi,<i

X07019

licav(xi<;.

XVI

dvayvcapiaa Be

tl /xev

^pcovTaL Bl' dnropiav,

fiev

25 dcrTepa<i

o'iov<i

KOL TOVTcov Tu

Bid TOiV

rj

tw

iv

t6 vel

tQ apogr.

ttj^
rb

goliouth collate Arabe

ov\rj<;

A"

ra Aid.

17

(R. Ellis).

ol

TrXela-TT)

apogr.

A".

29.

<6>

iificis

A: 5 apogr.
A".

irXeia-Tyj

i)

(tk6l4>7)s

eKTO'^,

cr/ca^?;?.

'^elpov, olov 3

7)

^ Kad'

rets A'=.

irepiUpaia Pazzi et apogr. pauca

olov apogr.

9.

St]

27.

Ta Be
r?/?

Stahr, Mar-

15. Trapddiyfj,a <TK\7]p6Tr]Tos seclns.

Bywater.
16. 5?? Se? Aid., Bekker
rd vel Ttt Trapa tols apogr. ras Trapa
pauca.

rj

dveyvccpiaOrj vtto t?)9

dX\,a)<i

^^Ss codd.

"

Be iTTiKTr/Ta,

to,

^ekTtov

r)

elBrj

TrXeiaTr)

Vrj'yevel'i

Tvpoi Btd

tt]

Kal TovTOL<i '^pr]cr6ao

ecTTLV Be

^OBvaaev<i Bid

^opovcn

v T&> adifxaTL, olov ovKai,

jjbev

fj

tovtoov Be Ta 2

cnj/xeicov.

rjv

Kap/ciVo?,

%ve(JTr)

Ta irepiBepaca Kal olov iv

8.

uTe^voTdTT] koI

rj

" Xoj^rjv

olov

avfji(f)VTa,

irpoTepov

ecTTLV, e'iprjTai

Be dvajV(oplcreco<i, TrpcoTr) /xev

'Odvffcrevs

'

irepidippea

ensis

'

Arabs,

Bywater.

17. ras

23.

A=

wapa

aTex'^^To-Tri apogr.

22.

ij

apogr.

vepl

a-ird6r]s

A^.

dipaia Aid.

2, ut videtur

7 XVI.

ARISTOTLE'S POETICS XV.

reported or foretold

for to the

we

power

ascribe the

Within the action there must be

of seeing all things.

If the irrational cannot be excluded,

nothing irrational.
it

gods

57

Such

should be outside the scope of the tragedy.

is

the irrational element in the Oedipus of Sophocles.

Again, since Tragedy

are above the

common

an imitation

is

form

distinctive

which
the

true to

is

in

poet,

indolent,

preserve
Achilles

the

of

likeness

So too

men who

representing

or

have

other

the

type

and yet ennoble

is

make

beautiful.

original,

and yet more

life

defects

are

irascible

or

should

character,

of

In this way

it.

portrayed by Agathon and Homer.

Nor should

These are rules the poet should observe.

lie

portrait-

They, while reproducing

painters should be followed.

the

who

of persons

example of good

level, the

neglect those appeals to the senses, which, though not

among the

concomitants of poetry

essentials, are the

here too there

is

much room

But

for error.

for

enough

of this

has been said in the published treatises.

XVI

We

What

Eecognition

will

now enumerate

First, the
wit, is

been

has

is

its

least artistic

Of these some are congenital,

the earth-born race bear on

by Carcinus

acquired after birth

as scars

explained.

form, which, from poverty of

most commonly employed

introduced

already

kinds.

in

recognition

such as

'

their bodies,'
his

by

signs.

the spear which 2

Thyestes.

or the stars

Others are

and of these some are bodily marks,

some external tokens,

as necklaces, or the little

ark in the Tyro by which the discovery

is effected.

these admit of more or less skilful treatment.

the recognition of Odysseus

by

Even

Thus

in

his scar, the discovery is

XVI.

58
30 Tpocf)ov KoX

TreyotTrere/a?,

(acnrep

a ^oiiXerao

eveyKelv.
1455 a (pcov^.

TpLTT)

hia

roU

yap Tov KiOapiaTOv Kal

rerdpTT}

on

Hor)(p6poi<;,

eiBov TOV cro<pcaTov rrepl

dpa

yap

Kal

eXijXvOev.

etVo?

7]

<6>

34.

fit

vicinum

eo

quod

Toia{iTr]

W.

Bywater

'OpeVrT^s

Spengel.
'

ev

4>y)(fi-,

TpLTT]

t(J5

" KepKiSos
7]

Ac.

3.

(pcovriv

apogr.

xXo^^6pots

Reiz

'Opea-r-qs seclus.

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

r;

kXvu)."

fix^ecr^at

A<=.

(pLvidan

5'

Jlo\v-

yap rov
Kal

Kal

vocem
7)

Diels sec. Arabem.

Vahlen,

38. Alia

A.'^.

'^ocpoKXeovs Trjpel

R. Hardie coni. TOLavrr]

rj

rj

yap rov tottov avveXoylaavro

dixit Sophocles se audiisse

5'

ovOeh

eoBcKTOV TvBel,

Kal iv to3

36. 5td ^771/s rt

dioTi tyyii^

iv 6

Be

irvOr)

d8e\(pr)

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

Tot9 ^cvelBaif;, IBovcrat

rrjv

olov

ofioi,o<;

^l(f>iyeveia<;'

on

avWoyiaacrdai,

OpecTTTjv

ISovra, 5

ri

avWoyLcrfiov,

iXrfKvOev,

T7]<i

10 avT(p av/M^aivet dvecrOat.

K6pKlBo<;

rrj'i

alaOecrOai

ihaKpvaev, 66ev aveyvw-

e'/c

97

n<;

ofioto'i

rj

^AXklvov a-TTokoyw, aKOVwv

/jLvrjcrOel^;

Be

'OpecTTT;?, ovro'i

Trjpel

rat

iyyvf rt

yap av evia kol

e^rjv

A.iKatoyevov<i, ISoov

iv

7)

areyvot. 4

'Opeo-T?;?-

Bcb

/iivdo<;'

earlv,

fjiVT]/ji,7]<?

KuTrptoi?

picrdTjcrav.

on

eKeivo^ he avro^ \eyet

Xo(/)oA,eoi'9

ypa^7]v K\avaev, Kal

plcrd-q

at /xev

fieXriovi.

iroirjTov, hio

aX\' ou^

dfjiaprla'?

tm

iv

rj

77

yap

elal

^iiTTpoi'i,

rov

t?}? i7naTo\7J<i,

Kal iv
rj

rot?

iv

7)

7roir]Tr]<;

elpijfievrj'i

dXX

^ ^^

\<^L<yevela aveyviopiaev

rrj

yap Bia

35 eKeivrj fxev

1455

crv^oroiv'

tcov

ireiroirjixevai, vtto

olov ^0pe(7Tri<; iv

uiairep

vtto

aX\ci)<;

Sevrepat 8e al

Tr]<;

1454 b 30

6.

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

iricTTew'i
etc

ttjs

cf.

contempti

KepKidos

ey t(^ [2o0o/cXe'oiis

39.

17

?]

'

"

T-qpel

sunt in

(Arabs)
Ati/ulos"

"

ttj^

fort-

unde

dvavdov,"

Spengel: ijroi. rrjt. A

1455 a 2. rots apogr, rrjt
:

dTrd X6ywi' A.
:

cpuivrj

Tplrr]

Gomperz.

IToXueiSou apogr.

dveyvu-

Arab, 'quam ob causam

legisse videtur, 'haec

radii

iv

rrjv

6.

Xo7}(p6poLs

UoXveldovs A.

12.

Vettori
^iveldaL^

36

ARISTOTLE'S POETICS XVI.

made

in one

is

way by

The use

men.

59

the nurse, in another by the herds-

of tokens for the express purpose of proof

and, indeed, any formal proof with or without tokens

is

a less artistic

mode

of recognition.

better kind

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

the Bath Scene in the Odyssey.

Next come the

poet,

recognitions invented at will by the 4

and on that account wanting

Orestes

in

Iphigenia

the

She, indeed,

Orestes.

makes

For example,

in art.

the

reveals
herself

that

fact

known by

he

is

the letter

but he, by speaking himself, and saying what the poet,

not what the plot requires.

This, therefore, is nearly

above mentioned

allied to the fault

for Orestes

instance

the

is

'

voice of the shuttle

might

Another similar

as well have brought tokens with him.

'

in the Tereus of

Sophocles.

The

1455 a

memory when

third kind depends on

some object awakens

feeling

as

the sight of 5

the Cyprians of

in

Dicaeogenes, where the hero breaks into tears on seeing

the picture

or again in the

Lay

'

of Alcinous,'

where

Odysseus, hearing the minstrel play the lyre, recalls the

past and weeps; and hence the recognition.

The fourth kind

the Choephori

by process of reasoning.

'

me

no one resembles
come.'

is

Some

Such too

one resembling

but Orestes

altar

like

my

to

sister.'

make,

lose

my own

life.'

'

So too

It

was a natural

So I too must die at the

again,

So,

Theodectes, the father says,

'

in 6

come

made by Iphigenia

in the play of Polyeidus the Sophist.

reflection for Orestes

Thus

has

therefore Orestes has

the discovery

is

me

came
in

in

the

to find

the

Tydeus

my

sou,

riiineidae

of

and
the

on

lfiap/xvr]v

ecopaKGL, TO

Kal

eiKOToov,

Bi'

^\<^iyeve[a'

Trj

iraadv he

olov [6]

OSvcrael

yvoocreadac

rcG

ov'^

iv

at yap

a-rjfieicov

Kal TrepiBepalcov.

TotavTat

ypd/i-

iTrtOelvai

avev twv

ycyvo-

OIBlttoBl

%o<^OKkeov<=;

tu>

jjuovat

avayvw-

^eXTiaTrj

t?}? eK7r\7]^ea><?

yap ^ovXeadac

eiKO'i

TreTToiTjfMevcov

BevTepai he at iK crvWoyia/xov.

Bel Be T0U9 fxvdov; crvviaTavai Kal

25 epyd^eadai otl /xdXiaTa

yap av ivapyeaTaTa

koX

avTal<i,

eKeivov avayvwpiovvTO^ hia tovtov,

8?)

fxaTa.

XVII

tm

iv
ecpT]

ef avTOiv tmv Trpay/xuTCOv

97

fjLev7)<;

w?

8e,

olov

yap to ro^ov

irapaXoyia/jbov.

eTTolrjae
/otfji?

Oarepov,

6 puev

'ylrevBayyeXo)-

1333

eariv Be ri? Kal avvderr] K 7

evravda.

rou

15 TrapaXoyta/jbov

1455 a

2.

tovtw eL/xapro airoOavelv

iv

i^ereOrjcrav

yap

20

6 XVII.

XVI.

60

irpo

Xe^ec avvair-

Trj

o/xf^aToov TiOe/xevov

opcov Mcnrep irap

[0]

ovtco

avTol<; yiyvd-

p.evo% T0%<i rrpaTTOixevoL<i evplaKOL to irpeirov Kal r^KiaTa

av XavOdvoL \to\

30

yap

ar^fielov

'A/x,(^iapao9

Be

BvvaTov Kal

yap

TaTOt

tovto

Bvar-^epavdvTcav

i^eireaev

diro

tt)^

avTrj<i

Ac.

rr}?

iv

ol

(f)vcreco'i

Hermann:

dvrjei,
qKT}vrj<i

oaa

OeaTOiv.

avvaTrepya^ofxevov.

Tol<i a'^rj/xacTLV

Tov Oarepov Bursian, praeeunte

tojv

tovtov o

i^ lepov

opoiVTa \tov 6eaTriv'\ ekdvOavev, eVt Be

[xr]

15.

virevavTla.

to,

J^apKivo)'

iireTL/jbaTO

Be

'TrtOava)- 2

Tol'i

irddeaiv

tov Oedrpov codd.

16.

Tyrwhitt d)s 5t' codd.

18.
Locus autem prope desperatus est.
Multo plura legisse videtur Arabs quam nostri codices praebent' (Margoliouth).
19. iKTrXrj^euis apogr.: TrXij^ews A: rrjs e/cTrX^^ews
Ik6tu}v cm. Arabs.
20. 6 seclns. Vahlen
i] apogr.
22.
pauca.
ai yap roLavraL
vepibepaiuv seclus. Gomperz.
23. Tre pidepaiuv
apogr. (cf. 1454 b 27), Vahlen ed. 3: depeuv A^: depalwu Vahlen ed. 2.
6

fih apogr.

rb

Aid.,

(irolrjffe

ixev

Bekker

17.

TroLrjaai

uis 5tj

codd.

'

24. a-vvaTrepyd^ecrdai

ivepyidTara A.
^apogr.

hv

A''.

elrj

dwepyd^eardai. Suseniihl.

om. Aid.
30.

dearriv seclusi (simili errore

irrepsit)

credo,

fir]

inscius

Tyrwhitt

bpCovr
:

rbv

opGivra codd.

bpGivr

29.

hv Vahlen.

dvrjei.

rbv

1358 a 8 roiis aKpoaras in textum

[^earV] Gomperz, emendationis meae,

Rhet.

a<v>Tbv
ttoltjttiu

26. evapyeffrara apogr.

rb om. apogr.

28.

i.

Dacier,

2,

Suseniihl.

33.

dw'

codd. lect. confirmare videtur Arabs (Margoliouth).

avTrjs

rrjs

ARISTOTLE'S POETICS XVI.

women, on seeing the

we

doomed

are

Again, there

is

to

6 XVII.

place, inferred their fate

die,

here

for

we were

61

Here
'

cast

forth.'

a recognition combined with a false in- 7

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

Odysseus Disguised as a Messenger.

would know the bow,

This remark led

man

said he

-which, however, he had not seen.

Odysseus to imagine that the other

would recognise him through the bow, thus suggesting a

false inference.

But, of

all

which

recognitions, the best is that

arises 8

from the incidents themselves, where the startling

covery

made by

is

Such

natural means.

Oedipus of Sophocles, and in the Iphigenia;

for it

natural that Iphigenia should wish to despatch a

These recognitions alone dispense with the

of tokens or necklaces.

Next come the

dis-

that in the

is

was

letter.

artificial aid

recognitions

by

process of reasoning.

In constructing the plot and working

XVII

proper

the

diction,

the

should

poet

as far as possible, before his eyes.

In

this

everything with the utmost vividness, as

spectator of the action, he will discover

with

it,

and be most unlikely

The need
Carcinus.

of such a rule is

shown by

is

he were a
in keeping

the fault found in

way from
of one who

his

This fact escaped the observation

On

scene,

way, seeing

if

what

out with
the

to overlook inconsistencies.

Amphiaraus was on

the situation.

it

place

the temple.
did not see

the stage, however, the piece failed,

the audience being offended at the oversight.

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

best

of

those

who

his
feel

power,

with

appropriate

gestures

for 2

emotion are most convincing by force of

XYII. 25.

62
Kol

elaiv

145

\>

koI

17
'^aXeiralvei

evcpvov'?

<yap

Kol

\6yov<;

av Oewpelcrdai to KadoXov, olov

TvOeta-T]^

Tcvo<;

Ovaacnv,

iBpvvOeLar]';

rov<;

^]v

koI

Koprj<;

Se

(rb Se otl

oXXtjv '^copav,

Tov KaOoXov \e\6elv

eKei],

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

eW

picrev,

Kara ro

w?

eiK0<i

o)?

IIoA-iJetSo?

/xera

ravra Se

7;

77877

fjuavia

Bi

7^?

ra

e\7](j)67j

eTreiaoSia, olov ev

Kal

rj

re apogr.
38.

Ka66\ov Vahlen.
TOV

i^eraffTiKoi

codd.

rS

rd erreLaoSca

^Opearr]

Kaddp-

rrj<;

crvvrofjua, 5

(Diels).

to^tovs re

37.

roiis

vel roijs

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

TrapeiXTj/x/jLivovs

reiueiv A<^.

e'^oj

dSe\(f)7]v

awrTjpia.

7)

Sta

<j(j)r7]pia

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

eKaraTLKol cod. Vettori

eiroirjaev,

vrroOevra ra ovofxara eTreiaoBcovv, 4

ev p,ev ovv rot? hpdpiacnv

aecof;.

iXdecv

e^w rod

rrjv

Kal avrov eSei rvOrjvai, Kal evrevOev

Se earat oiKela

lepw-

Tr)v

6 re Si,

ecf)^

dWa
5 OTTft)?

toI<;
vo/jio';

fj

dveadai fxeXXcov dveyvo)-

ovk apa fxovov

ore

Be

^eo? Bia rtva alriav,

koX

eW^

^vpiirLhrj^
eirroiv

ev

avve^rj

aSeXcfxM

tc3

civeTXev

iepeia<;

^(o

aSrjXco'i

Oew, ravTrjv eo-^e

tt}

vcrrepov

Tr]<;

Xejco

^l(f)i>ypeia<i'

Trj<i

a(f)aviadeLcn]'?

Se et?

6vetv

^eVof<?

'^pov<p

<Tvv'}]V

01

Tov<i 3

avrov iroiovvra eKriOeadat Ka6-

koI

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

ovTco<;

iroLrjriKi'i

t)

evifKaaroi

[xev

01

re

TOv<i

elcriv.

Set

7r7roLr]/jievov^

8io

tovtwv

ixaviKoi)'

rj

341455 b

yeLixal^ofxevo^

0X7)6 ivcarara.

eKaraTLKOi

8e

^eiixaivei

35 opyL^o/xvo<;
icTTiv

1455 a

9.

coni. Vahlen.

KadSXov:

fort.

KaddXov (Diintzer, Susemihl).

olim Vahlen.

1455 b 2. irapaTdveiv Vettori

Vahlen.
10. fj.v6ov

/jlv6ov

Secludendum videtur aut

17.

eXdelv

e/cet

(Bekker

dveyvuplaOr]

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

irepi-

fort.

ed. 3) aut

M. Schmidt,

apfiaatv A'^.

et

ARISTOTLE'S TOETICS XVII. 25

One who

sympathy.

angry rages, with

is

agitated

most

the

63

one who

storms,

is

Hence

reality.

life-like

poetry implies either a happy gift of natnre or a strain

any character

proper

made

for the

amplify in

he should

for himself,

it

and then

outline,

young

girl is sacrificed

who

mysteriously from the eyes of those

is

up

offer

ministry she

is

him

ordered

strangers to the

all

The

when on the
The mode of

recognition

So
'

who was doomed

in

it

to

is

outside

is seized,

and,

who he

is.

be either that of Euripides

whose

was not

this

some reason

coming

again, of his

may

To

he

play

my

sister

be sacrificed

'

exclaims

very

only, but I too,

and by that remark

saved.

After
fill

in

relevant

this,

the
to

his

the names being once given,

episodes.

the

example, there

and

her

the general plan of

point of being sacrificed, reveals

Polyeidus,

of

naturally

to

by

later her brother

However, he comes, he

the action proper.

is

sacrificed

fact that the oracle for

to go there, is outside

The purpose,

the play.

he

illustrated

she disappears

goddess.

Some time

appointed.

chances to arrive.

or

sketch

transported to another country, where the custom

is

to

ready 3

it

first

the episodes and

in

fill

The general plan may be

detail.

the Iphigenia.

she

out of his

lifted

is

whether the poet takes

story,

or constructs

general

its

can take the mould

in the other, he

self.

As
1455 b

man

In the one case a

of madness.

of

is

action.

We
In

it

remains 4

must see that they

the

case

of

Orestes,

are
for

the madness which led to his capture,

deliverance

by means

In the drama, the episodes are

of the purificatory rite.

short,

but

it

is

these that 5

?}

8'

tovtol<;

iiroiroLla

<ov>
20

5 XVIII.

XVII.

64

TToWa Kal

icTTiV

OSvaaela^

yap

Tr]<;

nvo^

a7roBr)fiovvT6<;

errj

TrapacpvXarro/jLevov vTrb rov IIo(TetB(Ovo<i Kol

VTTO

ockoi

tcov

Be

ert

fiovov 6vT0<;,
'^p-tjfJMTa

fxrjKvveTaL.

A,0709

fiUKpb'i

1838

1455 b

2.

eTTi^ovXevecrOac,

avTo<i

eyovrwv ware ra

ovTco<i

dva\lcrKa$ac

fxvrjarrjpcov

acfjiKvelrac

hrj

rov

kol

vlov

Kal

'^eifMaadel';

dvayvwplcra'i ore avTO<i eTridefievoti aur6<i fiev eaoiOrj tov<;

25

8'

ej^Opom

dWa
XVII [

30

earo Be

rd

fiev

rb

Be

XoLTTov

'keyw

Xutrt?.

r]

Becnv

Be

pepov<;

'^^^

'^o'^'^'O^

P'^XP''

rd re TrpoTreirpaypeva Kal

35 Kal TTaXiV
alridcreo)';

19.

pev

avrojv S^ *

r)

rov davdrov
recrcrapa,

elal

eXBr)

"f*

<d'7r\ri

fxiKpbt

apogr.

Castelvetro.

21.

seclusi

els Si'crri'Xtaj'
d'

sermo non

S:

e-n-ei

>

lect.

^>

addenda

A^.

Bywater

iroXXd/cis

28.

23.

ort avrbs

oXov
'

alios secutus

esse coni. Vahlen.

i]> coni. Vahlen:

i]

35.

e.

ov

IloaeLdwvos seclus.
St?
:

coni.

Vahlen

riuai airrbs olim

post ^^uOev collocavit

31.

<(Tv/j.^aivei

earlv

Arabs, h.

eonfirmat Arabs (Margoliouth).

Gomperz,

Tf;9

iXe^dV']

p^eprj

rb

est longus

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

avrbs seclus. Spengel.

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

Xvffis

'

Becn<;

rpaycpBla'? Be 2

re\ov<;.

rj<;

et?

X?}-v|rt9

<.Xvat<i S' ?;> dirb

rreirXeypevri,

24. rivas avrbs codd.

Ueberweg: codd.

"f*

rj>

@eoBeKrov

[roaavra yap Kal rd

fiaKpbs A<^

rrjv

eartv

fjberal3daea)<i

'^V'^

rov TraiBtov

rj

p-ey^pi' "tov

Be>

rj

/xoKpos (Margoliouth).

oe codd.

ea'^arov

Bvarvx^av avp^aivet

<el<i

Beai<i,

r)

elvai

fiev

wcrirep ev rut Av<y Kel rtG

reXovi'

P'e'xpi'

7]

S'

ro Be \vac<i,

Beai'i

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

p,ev

ra

tovto,

XBlov

rpaywBia'i ro p.ev

ttcio-t;?

ov pera/3aLveiv

i^

ovv

fiev

e^codev Kal evta roiv ecrcodev TroXXa/ct?

dp^r]<;

CLTT

to

BiecjiOeipe.

iireiaoSta.

17

avTwv 8rj<\u}(ns, Xvais

avrQv
d'

<eis

^ i^ eiirvxias

Brj

< dTrayujyri,

7]> Christ, quod

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

'

roaavra yap
iX^x^V seclus. Susemilil ed. 1.
rd /ivdov Sus. ed. 2 sec. Ueberweg.
rd fivOwv Tyrwhitt
<dirX7i t] 8e> Zeller (cf. Vahlen, qui post dvayvupiaLS 39 <.i]

et Spengel).

rd

/jL^pr)

38.

i]

fiev

de aTrX7J>

37.

cum

definitione deesse susj).).

ARISTOTLE'S POETICS XVII.

from home

for

Poseidon, and

many

arrives

against

them and

essence of the plot

XVIII

certain

is

jealously watched

Meanwhile

son.

At

length,

his true self;

man

the rest

in

is

and
he

tempest-tost,

he attacks his enemies,

two

parts,

This

is

the

Complication

Incidents extraneous

(or Ddnou&tnent).

combined with a portion of

the action proper, to form the Complication

By

by

episode.

is

into

to the action are frequently

the Unravelling.

absent

is

home

his

himself preserved.

is

Every tragedy faUs

and Unravelling

of the

suitors are wasting his substance

his

and reveals

destroys

he

left desolate.

a wretched plight

plotting

briefly.

years

65

Thus the story

give extension to Epic poetry.

Odyssey can be stated

5 XVIII.

the Complication I

the rest

mean

all

is

that

comes between the beginning of the action and the part

which marks the turning-point

The

Unravelling

beginning of

the

is

that

to

good or bad fortune.

which

comes

change and the end.

between

the

Thus, in the

Lynceus of Theodectes, the Complication consists

of the

incidents presupposed in the drama, the seizure of the

child,

and then again * *

from the accusation

of

<The Unravelling > extends

murder

to the end.

There are four kinds of Tragedy,

first,

the < Simple, 2

then> the Complex, depending entirely on Eeversal and

XVIII.

66

1455 ^ 39

5-

koI dvayvMpiaL'i,

TreptTrereia
1456 a

Ataz/re? Koi ol ^l^loveq,

Kol

XlTyXeu?.

Kol

^opKiSe^;

Kal

5 fJbi'yicna

Tovcnv

ev

Xvovcrc

Be

OTrep

TO

[8e]

re

at

iwv

to,

jjurj,

crvKocpavp.epo<;

rov

d^covcrc

BiKacov 8e koI rpaycpSiav aXX.rjv koI

Sec

KaKOi<i'

<&)9>

'la(o<;

olov

Kel fiev

et

irXe^avre'i

KparelaOac.

del

koi

/xefMV7]cr6aL

rpaywZlav.

avcrrruLa

TrdXvjjbvdov,

yap Bia ro

'x^prj

Xe7a)

Se

'IXta8o9 oXov

T7)9

ra

Xafi^dvet,

fjLrJK0<;

/xeprj

TO Trpeirov fieyeOo^, iv Be T0t9 Bpafiacrt iro\v irapa

rrjv

vTToXrjyp'iv

'IXtoy

oKt]v

<i)>

pnrlBri'i,

20 TTLTrrovcrLV

diro^aiveL.

Kal

eTTOLTjaav

rj

Nto/37;i/

KaK6i<i

Kal

irepaiv 5

ocroi

a-rjfielov

Be,

fir]

Kara

/u,epo<i

firj

wcnrep Alo-'^vXo^,

dycovi^ovrai,,

iirel

Etr-

wo-irep

eK-

i)

Kal ^AydOcov i^-

1456 a 2. TO 8^ rirapTov oijs to 8i TeparQides Scliiader to de TeparQdes

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

hoc loco eadem iitique esse debent quae in xxiv. 1.

5.
re apogr.
7e A^.
7. eKaa-TOV apogr.
eKnaTov A^.
9. ovSevl
Lffws (lis Bonitz
ovdevl ujs Zeller
oidev I'crws t(^ codd.
tovto Tairb
TO.

dSj) in

Teichmiiller

tovt(^ Bursian.

11.

KpaTeladai

{ci.

Polit. iv. (vii.) 13,

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

codd.

Te2(jdai

Susemihl,
[/cat

Spengel

14.
:

5e

pro

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

AiVx^Xos,] Reinach.

'Ekcl^tiv

19.

?)

coni.

irotelv

/jlt}

iiroTrouKov

rov

rL<i

rovro

rco fjLvdq)'

ttoWoI 8e

a/x0&)

8e

TroXXa/ci?

e'lprjTac

15 TTOtol fivOov.

Se

el

tt)9

djadov

ISlov

re

jxaXLcrTa 3

aSov.

jeyovoTcov yap Kad' eKacrrov

Xeyecv ov8ev<l>

eiroTTouKov

o'i

olov

0779 "f

iv

'^^lv,

avrii ttXokt] koX \v(TL<i.

7]

olov

olov at ^Oiwrthe^

aWa)<i re koI

eKaarov rov

eva v7rep/3dWeLV.

&v

ireLpdaOai

hel

T0v<i TTOirird'^'

TT)V avTTjv

oaa

koI

a 20

iraOrjTLKri,

rjdLKrj,

rerapTOV

he

irXela-ra,

d<yad(av ttoctjtcov,

10 Se,

TO

IIpo/jLT)9v<;

airavra

ovv

fiev

"f*

Se

1)

8e

rj

1456

'

Arabs

add. Vahlen
Valla,

unde

t)

Kpo-

'locpuiu

'Ekcl^tjv

;;

ARISTOTLE'S POETICS XYIII. 25

Eecognition
apassion),

next, the

such

motive

Pathetic (where the

the

as

67

on Ajax and

tragedies

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

as the Phthiotides

such

world.

The poet should endeavour,

combine

all

such

the

Phorcides,

the

as

Prometheus, and tragedies whose scene

poetic merits

<'We here exclude

and the Peleus.

kind>,

supernatural

the

is

Ixion

in the lower

is

to 3

possible,

if

or failing that, the greatest

number and those the most important

the more

so,

in

For whereas

face of the cavilling criticism of the day.

have hitherto been good poets, each in his own

there

now

branch, the critics

expect one

man

surpass all

to

others in their several lines of excellence.

In speaking of a tragedy as the same or

best test to take

different, the

Identity exists where the

the plot.

is

Many poets

Complication and Unravelling are the same.

tie

the knot well, but unravel

it

Both

ill.

arts,

how-

ever, should always be mastered.

Again, the poet should remember what has been often i

and not make a Tragedy into an Epic

said,

By an Epic
plots

as

structure I

if,

mean one with

for instance,

you were

out of the entire story of the

owing

to

length,

its

magnitude.

In

the

Iliad.

each

part

drama

the

answering to the poet's expectation.

the poets

who have dramatised

to

structure.

a multiplicity of

make a tragedy

In the Epic poem,

assumes
result

proper

its
is

far

The proof

is

from
that 5

the whole story of the

Fall of Troy, instead of selecting portions, like Euripides

or

who have taken

the whole tale of Niobe, and not a

part of her story, like Aeschylus, either

fail

meet with poor success on the

Even Agathon

stage.

utterly or

68

XVIII.

iirecrev

iv

5 XIX.

wv ^ovKovrai dav-

he TOVTO, OTav 6 ao^o<i

jjueTa

[/tiei/]

koX

%Lav(f)o<;,

dvSpeio<i

TOVTO <Kal>

<JTLv Se

to

TOV oXov Kol avvaycovi^ea6at

30 &cnrep So(f)OK\l.

fxdWov TOV
KaiTOi

dWov

et?

dXkcov

fiev

ovv

TOiV

koX

Biavoia<i

Bidvotav iv

Trjv

cBiov /jLciWov

Trepl

TOL<i

t?}9

KeiV7)<;

<ovBev>

ecrTLV

Bio

e/x-

A.yd6wvo<i tov tolovel prjcriv e'f

rj

oXov

eTreicroBiov

rj

dXV

^vpLirihr)

efx^oKiixa aSeiv

rj

dXko dpfioTTOi

Xe^e&)9

Trepl

36 irepl

Bia^epet

Tfc

koX jiopiov elvat

cocrTrep

firj

^oXifia aBovcriv TrpcoTov dp^avTO'i

Tov.

koI tov yopov 7

Ik6<;.

dWrj<i Tpaya)B[a<;

?)

rjTTrjOTJ.

Be XotTTot? to, aB6p.eva

Tol<i

/LLvdov

Be

dBt,KO<i

fiev

e^aTraTrjOrj,

Mairep 'A<yd6(ov Xeyei, et09

elKO'i

iroWd Kol irapd

ryivecrdac

irovripLa'i

Se eva Bel viroXa^elv tcov viroKpiTOiv,

XIX

ecmv

TpajiKov yap tovto koI (^CKdvOpwirov.

jxacnoi'i'

jdp

ev he rat? TreptTreTetat? [/cat iv

crro'^d^eTac

T0t9 aTrXoi? irpd'^ixacrL]

25 Mcrirep

1456 a 211456 b

2.

tovtw fiovw'

:'

\oLirov

ecpTjTai,

r/S?;

elTrelv.

to,

ovv

fxev

tovto yap

Keicrdco,

priToptKrj<i

fieOoBov.

KaTa

Be

(tti

Be

irepl

ttjv

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

40

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

p^eprj

TrapaaKevd^etv, otov eXeov

1456 b 'jrdOrj

21.

Kal iv

Tois

irpdyfiaai seclus.

Tucker,

dXXots

Gomperz.

irpdyfjiaffi

rai codd.

24.

aut legend. 6

<:Kal>
:

Kal

uffTrep Trap'

Margoliouth
5iS6fj.va

aliud

(rocpbs

etVos

coUocat

videtur

22.

confirm. Arabs.

elKbs

Arabe.
ofJSiv

'

Arabs)
S,

^'So/uei'a

ov

(Margoliouth).

seclus. Bernays, tuetur Arabs.

35.
36. Kal

30.

Maggi,

air\o7s,

iv

dTrXaJs

(rroxd^ov-

cum Arabe)

apogr.

26.

elKbs

post

(pcKdvOpuTrov

29. ibinrep

Vahlen,
add. Maggi.

add.

ut videtur.

cum

pro

Kal

Heinsius

Bekker.

irapd Aid.,

(bairep

Twining

(Margoliouth

fi^v

Si

fiera irovTjplas

opyrjv Kol

rj

tuetur Arabs

ffToxdl^erai

Aut secludendum
ixkv

(f)6/3ov

diirXoU

ante

A'^.

36

Susemihl,

iroirjTov

Susemihl

qui rpayiKdv

cum

amplius

Arabs,

1451 b

collato

rj

XotTrots

ijTTTjdri

wcmep

TroXXots

quae canuntur Arabs

habuit iam 2 ('nihil

ijdr]

'

'

32.

apogr.

Hermann

i)

tolovtov
rjd'

codd.

'

poeta

elSeQv ut
41.

Trddrj

5 XIX.

ARISTOTLE'S POETICS XVIII.

known

has been

to

from this one

fail

69

In his

defect.

Eeversals of the Action, however, he shows a marvellous

skill in

the effort to hit the popular taste,

moral sense.

tragic effect that satisfies the

to produce a

This effect

produced when the clever rogue, like Sisyphus,

Such an event

witted, or the brave villain defeated.

moreover, probable in Agathon's sense of the word

is

probable,' he says,

that

'

many

is 6

out-

is

is,
'

it

things should happen

contrary to probability.'

The Chorus too should be regarded

actors

share in the action, in the

As

of Sophocles.

pertain as

They

a practice

difference

interludes,

It

is

first

to another

sung as mere

Yet

begun by Agathon,

act,

Tragedy having been already discussed.

of

Ehetoric,

to

which

to

strictly belongs.

pity,

fear,

may assume what

inquiry

Under Thought

is

the

anger,

is

said

subject

in particular,

the excitation of the feelings,

and the

like

in

more

included every effect

be produced by speech

proof and refutation

as

therefore,

remains to speak of Diction and Thought, the

parts

which has

1456 b

are,

there between introducing such choral

Concerning Thought, we
the

of Euripides but

and transferring a speech, or even a whole

from one play

other

manner not

to the subject of the piece as to that of

little

interludes,

XIX

one of the 7

for the later poets, their choral songs

any other tragedy.

what

as

should be an integral part of the whole, and

it

such

koL ere

0(ra Tocavra,

Be OTL Kol [eV]

Set

(f)alvea0at

Tov

XeyovTO'i

ytyveadat.
tjSt)

loXe^iv

TOLaVTtJV

dv
OTL

ev')(ea-daL

7]fjiapTfj(76aL

OL6pbevo<i

^ea," TO yap KeXevaaL

20 ecTTLv.
ov

XX

Bio

d^iov

koX

tl

TrapeLcrOw

eVToXr]

KOL

rrapd
ttjv

<ydp

tl

rj

koI
ttjv 5

tl

<ydp

eirLTLp^a,

" ixrjVLv

eliriav

TTOcelv

ttoltjtiktjv

ctttouSt}?.

deiBe

eTTLTa^h

firj

Tfj<;

7roL7}TLKrj<i

^leprj,

a-TOt^eiov

6ed)p7]fjba,

[t>}9 Be

Xefe&)9 d7rdaT]<; TdB^ ccttI

Ta

o-vWa/Srj (TVvBea/xo<i ovo/xa prjpia [^dpdpov]

(TTOLyelov p,ev ovv eaTiv
1456 b
(cf.

ttjv

ipcaTrjaa

dW7]<; kol ov

ci)9

Trj'i

tov

a UpcoTayopaf;

iTTiTdTTet
(prjalv

ttjv

a'^rjp.aTa

Tl

eh

ovBev

dryvoiav

rj

(f>6peTaL

Xojov

irepl

koi

koi

direCkr]

dXko tolovtov.

tl

el

v7roXd/3oL

TL<i

olov

dp'^LTeKTOVLKl'jV,

koi

tcl

vTroKpiTLKr]^;

rr}?

BtTjjTjaL'i

KOL

Oecopla'i

elBo<;

fxev

vtto

el (f)aivoiTO

Be

tcov

to,

Xoya
rov

irapa

eiKora

i)

on

8La(j)pi,

Koi

tov Xojov

elBevat

'yvwaiv

iTrcTi/Jbrjfia

fiejaXa

i)

IBeMV

avTOiv

tov \e<yovTO<i epyov,

etrj

Blcl

e-)(OVTO<i

diroKpLai'i
15 TOVTCov

av

eaTiv

icTTtv

Kol

ev')(r]

roaovrov

ttXjjv

firj

fjbev

Seiva

TrapacTKevd^ecrOai

KOL

Xe^e&)9,

?)

SriXov 3

fjLiKp6Trjra<i.

avev ScSacrKa\[a<i, ra he ev tm

tl <yap

Bet

Koi

/ji6ye6o<i

iXeeiva

rj

TrapaaKevd^ecv

5 Set]

224

1456 b

2.

Tot? Trpajfjuaatv airo to)v

orav

Set -^prjaOai,

tI

3 XX.

XIX.

70

2.

/uLLKpoTviTas A<^

Spengel).

(pavo'iTo

(TixLKpbT-qTo.

t'Sewc

codd.

9.

^wv't-j

apogr.

t^St]

Sl

del

Xoyo^;.

irTwcrL'i

dBLalpeTO';, ov irdcra Be
apogr.

eloeCbv

3.
A'^.

Tyrwhitt

^Stj

seclus.

8.

(paivoiro

Castelvetro

dX)C 2

Ueberweg

iv

scripsi
-IjSt]

8l'

Gomperz (praeeunte Spengel): TjSia codd.,

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

ijdri

-tq

diq.

ARISTOTLE'S POETICS XIX.

importance or

its

Further,

opposite.

XX.

it

is

71

evident that 3

the dramatic incidents must be treated from the same

when

points of view as the dramatic speeches,

is

evoke the sense of pity,

to

The only

ability.

fear,

difference

the

that

is,

the object

importance, or probincidents

should speak for themselves without verbal exposition

while the effects aimed at in a speech should be pro-

duced by the speaker, and

a result of the

as

For what were the need of a speaker,

if

speech.

proper

the

impression were at once conveyed, quite apart from what

he says

One branch

Next, as regards Diction.

treats

Modes

of the

of the inquiry i

But

of Expression.

this

province

of knowledge belongs to the art of Declamation,

the masters of that science.

what

is

command, a

It

know

art.

Homer by

For who can admit the

Protagoras,

that

in

goddess, of the wrath,' he gives a

idea that he utters a prayer

do a thing or not to do

may,

To know

not 5

or

these things involves no serious censure upon

the poet's
to

to

prayer, a narrative, a threat,

a question, an answer, and so forth.

to

and

includes, for instance,

it

fault

imputed

words,

'

Sing,

command under

the

For to teU some one to

is,

the

We

he says, a command.

therefore, pass this over as

an inquiry that belongs

to another art, not to poetry.

XX

[Language in general includes the following parts

the Letter, the Syllable, the Connecting word,

the

Verb,

the

Inflexion

or

Case,

the

tlie

Noun,

Proposition

or

Phrase.

Letter

is

an indivisible sound, yet not every such

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

>

XX.

72

1456 b 25

6.

25 ef ^9 Tre^VKe avvOeTr] yiyveaOai

aBiaiperoL

elcrlv

Be

TavT7)<i

(fxoprjev

TOV (TTOfXaTO^ Kol

rP <ovK>

TO

Try?
fj

aXka Kal
ovTe

a(t>d)vov

Be eaTLV

<^

tov A,

fieTO,

eVl

[crvv]Ti6eadat Kal

'

aw err]

acr7}fMo<; 6

^covr)

eK

cn]fiavTiKr}v

jjbiav

(ficovrjv

compositae voci

'

intercidisse videtur

i^ dcpibvov Kai Tj/xKpdbvov

tcov

38.

A''.

Post

Post
<puvT]v

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

yap

rP

t6

sine

toO

dvev

A non

avWa^rj

faciunt syllabam,

Kal

fieTO.

quoniam tantum

fiunt

Kal

nam T et
syllaba cum A

toD A,

'

'

Arabs (Margolioutb), unde restituit Susemihl quod in textum recepi

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

oiire

Kal

/J-iav

fxev,

iJToi,

34

(vel

ev

5^).

/ttSs a7)ixavTi.KGiv {crrjfxavTiKbv

dpdpov

olov Tb

diJ,<pi

iffTl

0wj'7j

(^.

p,.

I.

iK

crrjfiavTiKTjv,

&Kpwv Kal

tGiv

iirl

apogr., Bekker)

apfjidrrri

ohv

<pwv7)v

TTOiei

Oeadai,

A<=

^ttI

Tr\ei6vo}V

tov

ixiffov,

fj

(pujvr]

<p7]iJ.L

dcrrj/jLOS

Troielv

fj

-f)

ipiovUbv

Tre(pvKv1av

fjp

apfihrTeL

/jlt]

dpxv Tidevai KaO' airiv

A) Se

daij/xos,

kol yap

e'^^ovTO'?.

<fiO)vr]v

aarj/jio<;

(fxovr]

avWa/Sr] aXKa

TTOLel

Arabs

25. ffwderr] apogr.,

/j.eTpLKol<;

toI<;

eaTiv

tovtcov Oewprjaai tcl^ Bia(f)opa<;

7re(f)VKvla

cf)(ov(ov,

^^tCKoTT^TI,

o^vttjto kol /dapvTrjTL

Be

avvBecrfioq

ecTTiv.

/jbeTpLKr]<i

ouTe K(o\veL

irXeLovcov

dvev TOV

rPA.

40 olov TO

* Kot

uKovaTov,

KOl

Ba(TVTr]Tl

Be

avWa/3r)

^wvrjv,

a^'^/xacylv re 4

Biacpepei

KaB' eKaaTov ev

cov

Oecopetv.

i^ a(f>wvov #

crvvOeTr)

irepl

ne(T(p'

Tft)

TrpoarjKeL

KOL

Be

cicpcovov

e')(pv

jLvofievov

(fecovrjv

TOTTOL'i

koI 3

irpocrl3o\i)<;

Kol to P,

TavTa Be

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

(xroc^etov.

rj/xttpcovov

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

to

to

KaO^ avTO fiev ovBefiiav

Kal TO A.

35 KoX ^irjKeL Kol

koX

<.ro> avev

7]fjbl<p(i)vov

Be T03V e')(ovTwv Tiva

olov TO

Xejco

ovhefilav

fiev

aKOV(TTrjv, olov

(f)0)vi]v

fxeTo,

1457

(pcovrjev

ixeTCL 7rpoa/3o\rj<i

Kol

re

aKOVcrrrjv,

e')(ov (pcovrjv

TO

to
Se

ecrriv

a<f)Q)vov.

30 e'xo^

oiv

a 2

Kol 'yap rcbv drjpicov

(fxov)]'

<^wva\

fMeprj

1457

(k

(avTrjv

TrXeidviov

avvrl-

{^v

fj-r]

Tyi'whitt),
/xev

(puvQu

iricpvKev fxiav arifxavTiKTjv <pwvrjv.

\6yov dpxnv f) r^Xos

Aid. , Bekker) Kai rd

r)

diopLfffibv

StjXo?,

Kal

dXXa.

irepl

to.

ARISTOTLE'S POETICS XX.

26

For even brutes utter indivisible sounds, none

sounds.

The sound

of which I call a letter.

mean may be

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

which without impact of tongue or

that

73

audible sound.

semi-vowel,

vowel

is

has

an

lip

that which with such

impact has an audible sound, as S and E.

that which with such impact has

by

These

according

distinguished

are

mute,

no sound,

itself

but joined to a vowel sound becomes audible, as

D.

the

to

and
form 4

assumed by the mouth, and the place where they are

produced

mediate

treatise

tone

as they are acute, grave, or of

which

Syllable

A it

is,

in

an

inter-

detail

to

a non-significant sound, composed of a 5

is

GE

for

inquiry belongs

on metre.

mute and a vowel <or

vowel

they are aspirated or smooth,

according as

long or short

GEA.

a mute, a semi-vowel >

of

without

and a

not a syllable, but with

is

But the investigation

of these differences

belongs also to metrical science.

A
1457 a

Connecting word

neither causes nor

into one

In Ed.

mutavi.

is

a non-significant sound, which 6

hinders

sound

significant

the union of

may

it

sum Susemihl (praeeunto Hartung), nee quicquam liic

Sed nescio an Doring verum viderit qui locum sic restituit

secutus

a-Opdeafioi d^ iariv (puivrj dcrrifios

S^ TTOieTv 'wi<j>VKev

fjcLav

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

crriiJLavTiKTjv

fi^v
fxr]

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

(juavT)

many sounds

be placed at either

&(T7]p,os,

t)

oCre

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

KwXijet.

oiire

(xwrldeaOaL,

(pwvCiv, /xias a-tjfx.avTiKwv

apfibrTei.

to.

&\\a.

ii>

apxv \6yov

&f)dpoi>

5'

iarl

noiei (puvrjv jxiav <T-qp.avTLKy]v ^k TrXeibvuiv

< dXX' >

-i)

Xoyov

apxw

V t^^os

rj

diopia-fibf

twv dKpoiu Kal iwl rod /x^crov, olov fiiv,

Nullam tamen Arabia rationem Doring habuit, et Arabs
tjroi,
8^.
Ipse ut in re nondum
quidem cum nostris codicibus parum congruit.
5ri\oi,

ve(pvKv7a ridcaOai Kal

satis explicata CTr^x""

iirl

fateor.

irecbvKvlav avvrldeffdai codd.

2.

wetpvKvla rldeaOai "Winstanloy

XX.

74
UKpcov Kot
fiev

aXXa'

Biopicrfiov SrjXot, fjv

KaO^

avTijv,

OVTe

K(o\vL

olov

ifKeiovcov

TretpvKev

to

dp'^7]v

fxiav

koX

irepl

to,

T6\o<;

i)

rj

dp/xoTTec iv dp-^r} Xoyov TiOevai

/xr]

rjToi,

fiev,

OVT

\6yov

r}

e'/c

7)

irotetv

he,

to afKpu koI

darjjxo'i

(f)Q)vr}

29

daTi/jbo<i

(fioovr)

?)

olov

cficov7]v,

<r]>

1457 ^ 3

II.

(77] [MavTiKOiV

/XLd<i,

5 (jr]fj,avTiK7)v

rov fieaov

iirl

(f>(ov(ov

Se.

(pcovrj

[17

(pCOVrjV

'TTOtel

darjfjio<i

r)

arjfXaVTlKTjV

fMLUV

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

Kol

Tov

eirl

avTo KaO^ avTO

1

ov aripbaivei.
-^povov

Be

pf]fj,a

ou '^pcofie$a

StTrXot?

tm

olov iv

crrjfiatvov,

crvvdeTTf

(fxovrf

to

ovo/xaTcov

yap

fjuev

to

crr}/jiaiVi

to fiev tov irapovTa j^povov

Be

rj

dvOpcoTTO^;,

avvOeTi]
tc-

arrj/jLatveo

ov

yap

ivBe-^eTai

8-11.

T)

^adl^ei apogr.
S.p'

add.

aTra?

olov

seclus.

TroXXot?,

/3d5tfe

olov

vTroKpiTCKa,

eoBrj

evca

icTTLV.

iK

kol

i)

Hermann.
Alteram

21.

Gomperz, quern secutus sum etiam in

18.

to add.

e^aSife;/

KaT

\6yo<;

A^.

loci interpunctione.

Be II

avTa
Kal

6picrpL6<i"'

prj/xaTCOv elvac \6yov.

apogr.:

10

jSdBi^e

prjjjidTcov

dvdpcoTTOv

rj

ocra

dvOpwrroL
olov

Kad^

jiepr]

X6yo<i

"6 tov

Reiz,

/3a5ij-v A^.

Vahlen.

7^9

<Ka\> dvev

fxeaov

pr)p,aTO<i

rj

arj/Matvov

yap <dp' > i^dBiaev

TO

a7]/xavTCKr]

ovo/xuTcov (7vy KeiTai,

aW'

7)

Ta

Trpocr-

tov nrap-

Be

6v6fiaTo<i

KaTa TavTa Ta

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

evl

to

kol

XevKov ov

1)

j3e^dBiKev

rj

tovtw

rj

KaTa

Be

iTTLTa^LV

epooTTjatv,

iaTLV

tovtov

kutu to
7;

^aSl^ec

Be

TTTMcrt^

KaTa to

ToiavTa,
ij

to

iroTe,

20 e\7)\v6oTa.
TO

fieTa 9

crTjfiavTCicrj

dv6pu)Tro<;

cnjfiaLveL

/xev

koI

a)<?

eoScopcp to Scopov

ovBev jxepoq arjfxaLvet kuO^ avTO, wairep

rj^

Tb)v

iirt,

toU

iv <ydp

arj/jLavTiKov'

avvOeTrj 8

(fxovr)

ovSev iaTt kuO' avTO

/xepof;

rj';

iaTC

Se

ovofia

fxecTov.^

dvev y^povov

<n]fiavTLKr)

fiepo<i

wori Spengel.

apogr.
29. Kal

24.

add.

ARISTOTLE'S POETICS XX. 611

end or in the middle

of a sentence.

75

Or, a non-significant

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

and the

irepi,

Or, a non-significant

like.

which marks the beginning, end, or division

such, however, that

Noun

double

compound

or

itself at

as fxev, tjtoc. Be.

a composite significant sound, not marking 8

is

which no part

of

as

sound, 7

of a sentence

cannot correctly stand by

it

the beginning of a sentence,

time,

capable of forming one significant sound,

ficant, is
d/jL(f)i,

in

is

itself

significant; for in

we do not

words

employ the

Thus

separate parts as if each were in itself significant.

in Theodoras,

'

hwpov or

god-given,' the

gift

'

not in

is

'

itself significant.

Verb

a composite significant

is

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

For

ficant.

of

'

when

but

'

man,' or

'

'

'

white

marking

sound,

in itself signi-

is

does not express the idea

'

he walks,' or

he has walked

does

'

connote time, present or past.

both to

belongs

Inflexion

expresses either the relation

that
'

men

of
'

question or a

modes

'

of,'

number, whether one

or the

noun and

the
'

or

to,'

or

many,

as

'

like

or

man

'

or

or tones in actual delivery,

command.

'

Did he go

'

and

and 10

verb,

the

e.g.

go

'

are

verbal inflexions of this kind.

Proposition

Phrase

or

is

a composite significant

sound, some at least of whose parts are in themselves

significant

for not

of verbs and.

but

it

nouns

may

every such group of words consists

'

the definition of man,' for example

dispense even with

tlie

verb.

Still it

will

XX.

76

aei

30 fMevTOi
"

KXiwv

XXI.

II

ri

cr7}fiaiVQ}v,

'IXta?

eh

avvSecr/xw

/xev

/SaBi^etv"

St%w9,

rj

<y

ap 12

olov

avvBecr^cp,

avOponrov

tov

Se

el<i,

b 9

tw

" iv

Be ea-rt Xojo'i

irKetovwv

iK

rj

1457

olov

e|et,

arjfjbatvov

K\eft)i/09."

1457 a 30

4-

r)

ev

toS

(77] fMaive IV.

XXI
36

Se

6v6fj.aro<;
yLtr/

TOVTOV Be

Tw

ovK iv

TO

arjjMaCvovTO<i

usTb Tcov yiaaaaXiooTcbv

'iraTpi>.

arrrav
rj

Ta iroWa

olov

rj

\eyco

Be

<y\(t)TTav

yXwTTa

rj

eireiCTeTapbevov

i]

Kvpiov

t]

TreTroirj/xevov

rj

e^rjWayfievov.

rj

eKacTTOi,

'^pcovTUC

to Be K

av koI TpiifKovv Kai

iaTiv

6vo/j,d

Koa/io<i

v^riprjixevov

(ttXt/v

aa-7]fiov

'^p/xoKaiK6^av6o<; <i7rev^diu,evo^ Att

'

Be

koX

[/cat acrrjixov]),

eiT]

to Se hiirXovv

<yi],

TroWairXovv,

koL

ovofia

fjbTa<popd

olov

arjfiaLVOVTO<i

e/c

(TvyKeLTai.

(7T]fMaLv6vT(ov

aifKovv, airXovv he Xeyo)

/J,ev

av<yKenai,

/lev

ovofiaTt

40 TeTpaTrXovv

to

087]

(TTj/xacvovTcov

e'/c

rj

Kvptov

Be

co

fiev

OTi KoX fyXSiTTav kol Kvptov elvat Bvvutov to avTo,

Toh avToh
r]ixlv

jXwTTa.

Be

7ri,(f>opd
30. jSaS/feti/

Ac

Bigg:

iv ri^

olov

tov

"

ivrbs

TOV

(rvvMafiuv

6v6/xaTos

dWoTpiov 4

rj

KX^oic " 6 KXews' plerique edd.

/3a5lfet

^a5i^eiv," "KXiiov 6 KXeiovos"

avvdiapni) apogr.

elBo<;

31. KXiojv 6 KXiicv codd.

/3a5tT apogr.

eTrl

<yevov<i

fxrj

Kvpcov,

/xev

fieTacfjopd Be ecTTiv 6vo/j,aTO<;

diro

rj

aiyvvov KuTrptoi?

to <yap

Be'

aTro

tov

rb

KX^wv

olov ''iv tuj

M. Schmidt: (habuit S KXeuvos).

33.

A'^.

Tucker.

rip

ovS/iari

apogr.

Vahlen,

rd

32.

38.

A"^.

A.

ovdfjiaTos

Kal darjfxov om. lam 2, ut videtur ('non tamen indicans in nomine'

Arabs).
Idem effecit Ussing deleto Kal darj/jLov in v. 33, mutata quoque

interpunctione,
dcr-qfiov,

iK arj/j.alvovTOi,

Arabe ('sicut multa de

dominum

ilassiliotis

Massiliae

/xeyaXelwv olov

d(prip7]fxivov

Spengel

(cf.

rf dvofian

arjixaLvovro^,

MacrcraXiwrcD;' Diels, qui

"Ep/io/c

Kal

coUato

urbem

inter

tanquam

'Ep/io/c.

Hermum

iam missas facere,

Bekker ed. 3 fieyaXelwv
1458 a 1).

licet

Trarpl

opici

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

ex coniectura restituit.

fj.7jTp6TroXiv,

Ceteras emendationes

stanley

ovk iv

Hermocaicoxauthus qui supplicabatur

caelorum') totum versum

carminis, cornice scripti,

spectat,

ttXtjv

41. fxeyaXiurQv codd.

et

(pavepov

wcrre

eTepoi,

ARISTOTLE'S POETICS XX. II XXL 4

77

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

'

A proposition

Cleon son of Cleon.'

a unity in two ways,

may form

or phrase

Thus the

as consisting of several parts linked together.

Iliad
of

XXI

one by the linking together of parts, the definition

is

man by
Words

the unity of the thing signified.]

are

simple I

mean

such as

7-7.

either

12

either as signifying one thing, or

By

of

of

two kinds, simple and double.

By

those composed of non-significant elements,

double or compound, those composed

significant

non

and

element

significant

(though within the whole word no element

or of elements that are both significant.

is significant),

word may

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

1457

b so

many

Massilian expressions,

<who prayed

e.g.

'

Hermo-caico-xanthus

to Father Zeus.'>

Every word

is

either current, or strange, or metaphorical, 2

or ornamental, or

newly -coined, or lengthened,

or con-

tracted, or altered.

By

a current or proper word I

in general

which

is

use among

in

a people

use in another country.

the same word

may

lance,' is to the

is

Plainly, therefore,

be at once strange and current, but

not in relation to the same people.

'

mean one which

by a strange word, one

The word aiyvvov,

Cyprians a current term but to us a

strange one.

Metaphor

is

the

application

of an

alien

name by

transference either from genus to species, or from species

XXI. 48.

78
10 etSovi

TO

iirl

<yevo<i

olov "

kardvai

iarcv,

c5

eirl elSo<i

Ta/xelv dpixrat

TO
20

dvakoyov

he

eVl

Se

ecmv
/xvpi

hrj

rj

<Ti>

ttoXv

fivplov

etSov<; Be

dir

dpvaa<i " Kal " raficov

-y^v^riv

o-tto

fxev

dpvaat

ecprjKev

yap

d(^e\elv tl ecTTLV.

'\eyoi,

cifi^co

oTav

ofJLOiwi

rafxelv, to

to

e-^r)

hevTepov 6

TO TpiTOV ipel

TT/OO?

yap dvTt Tov hevTepov to TeTapTOV

dvTl tov TeTapTov

rj

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

6

\ey(o he olov

icTTL.

Kal dcTTrU 7rpo9 "Apij'

^yeo ^idXr]

oyu,ot&)?

epei

Kal eairepa

yrjpa<i

Kal

ri/jiepa<i

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

Trpo'i

to

yrjpa<i

(f>\oya diro

TrjV

fjbev

d(j)ievai,

om. apogr.

rd

dva/jLO.^

apogr.:

dva-fj-as

jSIoy

<Tbv

AS

^
Vahlen.

T)fiipa%

aTrelpeiv, to

14. tI

add.

29.

irpo^;

tov Kapirov,

Twining.

tQv A^:

a<piivTa.> rov Kapwbv Castelvetro.

he

0fM0i,a)<i

e^ec

tw

eaTL he

tmv

ocKeicov

27.

to

to apogi-.,

ri/j.^pas

tl,

eawepav ^iov ^
32.
Bekker.

-yTJpas

Xe-yOrj-

dW

dTro^rjaat

ihairep 'E^ttcSokXi;? koX

Mairep

Kal aWco^, Trpocr-

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

10.

o/jlolo)'?

OeoKTicrTav ^\6ya."

ayopevaavTa to dWoTpiov

r;,

ovk eaTiv ovofia

tjttov

TOVTO TTpo? TOV rfkiov Kal TO airelpeiv

35

b y^jpa'? rrpo^

yStof

8'

tov rjXiov dvcovvfiov

hco etprjTai " aireipajv

rj

eairepav
evioi<i

twv dvakoyov, aXX' ovhev

30 creTat' olov to tov Kapirov

Trpo^;

Aiovvaov

epel toIvvv Trjv eairepav

rj/xepav

^iov.

hvcrfia'i

tt/qo?

tolvuv ttjv (fadXrjv darriha

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

/Slov,

i]

evravOa yap to

TO TTpCOTOP Kul TO TeTUpTOV

7rp0<i

"

yevo'i,

vvv dvrl rov iroWov Ke'^pr]Tat.

olov " ^a\ft)

eioo<;

to yap opfieiv

'

ea6\a eopyev" rb yap

dretpei ^aA-:c5."
8e

ecrrrjKev

eiSovi

eVt

etSof?

airo <yevov<i f^ev eVl etSo?, 5

he

Xi'ya)
778'

air

rt.

'08ucrcreu9
I

Se fioL

V7]v<i

rov

airo

rj

Kara to avaXo<yov.

1035

1457 b

ARISTOTLE'S POETICS XXI.

from species

to genus, or

my

ship

From

to species, as

lying at anchor

for

;
'

species to genus, as

number, and

of large

number

From
away

generally.

blade of bronze drew

is

is

used for

again for apva-at,

Analogy

'

the

is,

lies 5

of lying.

species to species, as

the

and

life,'

Tafxelv,

is

here used for a large

to

'

'

With

Cleft the water

'

Here apuaac,
and

cleave,'

'

to

rajxelv

each being a species of taking away.

or proportion

fourth for

There

thousand

for ten

is

when

is

the second term

We may

as the fourth to the third.

first

'

species

with the vessel of unyielding bronze.'

draw away,'

Verily ten thousand noble

'
:

deeds hath Odysseus wrought

species

by analogy, that

to species, or

Thus from genus

proportion.

79

second, or

second

the

is to

the 6

then use the

the

for

fourth.

Sometimes too we qualify the metaphor by adding the

term to which the proper word

cup

is to

therefore,

shield
so is
'

'

is

be

called

'

the

shield

the cup of Ares.'

'

of Dionysus,'

in the phrase of Empedocles,

In some cases one

specific

name

the metaphor

instance, to scatter seed

'

'

the evening of
setting sun.'

life's

is

may

called sowing

be used.
:

process bears to the sun the

the seed.

Hence the expression

light.'

kind of metaphor
alien term,

same

There

may

is

and then deny

Still this

relation as sowing to

of the poet,

another

be employed.

For

but the action

of the sun in scattering his rays is nameless.

god-created

to life,

terms of the proportion has no

of the

still,

and the
is

Evening may therefore be called

evening to day.

or,

The cup may,

Or, again, as old age

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

life

Thus the

relative.

Dionysus as the shield to Ares.

way

'

in

sowing the

which

We may

this 8

apply an

of that term one of its proper

8 XXII.

XXI.

80

361458

1457 b

I.

a 21

"A/^eo? aXX' aoivov.

olov el TT}v daTTcBa eliroi (pidXTjv

firj

TreTronj/iievov 8'

KoXovfievov viro tlvcov 9

earlv o

Tiderat 6

avTO'i

oA,&)<?

fir]

BoKel >ydp evca elvac roiavra,

770477x7^9,

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

1458 a

TO Be dv

TO UrjXeiBov^ HrjXTjidBeo),
TO Bcb Kal "
B

Twv

oaa

/xev

eh

oaa e

Kal

laa crvfx^aivet

cocrre

eh oaa

TrXrjOei

TavTa

eh TavTa Kal

Be fxeTa^v
A,efeci)9

Be dpeTrj

aa(f)r]

20 ^eaTaTT) /xev ovv eaTCv

Tairetv^.

36. dXX'

irapaBeiy/xa Be

aoivov

Yettori:

Hermann.
Arabs

4.
6-q$

A*^

(h.

e.

om. A^.

ttXtjOt] A<^.

add. apogr. t6

15.

e/c

A*
to,

eh

Be d(f)a)vov

eh

to

Be

Be to
rrevTe.

Kal S.]
fxrj

elvai.

aa-

ovo/iaTiov,

dWa

TaTreivrjv

tmv Kvplwv

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

oSC'Is).

7701770-49

1458 a

codd.

2.

11.

Ueberweg.
add. ry S Tyrwhitt.

vairv rb ybvv rb d6pv rb dcrv.

kol

S
14.

Kal

t)

Kexpvf^^vos

M. Schmidt.

seclus.

ante ravTO.

nwv rb

r/

et9

/Spa'^v.

eh

t6 n7;Xet5oi; add.

dlls vel

12.

Bvo,

appeva Kal

eaTiv.

<f>covi]ev

koI

otvov

fiXXa

nryX-ijos koL

ck

rj

to,

Treirept.

kojxixl

Kal

S' icTTLV

to3V (^covqevTOiv etV re tcl del

ovBev ovofxa TeXevTa, ovBe eh

Tpla fiovov, ixeki

to

el<;

Kal tmv iTveKTetvofxevoov

fi,

to fydp "^ Kal to

drfKea.

Vettori

TeXevTO,

Kal oaa eV tovtov avjKeiTaL, TavTa

fxaKpd, olov

TO,

11

KaTaXeiTrr) to Be

fiev

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

appeva

"^ Kal E, drjXea Be

XXII

i^rjWayfievov

o-/r."

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

10 TO, Be fieTa^v,

ifi^e-

olov to Kpl koI

d^rjp'r][jbevov Be

ylveTac dficfiOTepcov

/jLta

[avTb)v Be

Kal

avWa^rj

rj

y avTov, eTreKrerafxevov

OTav tov ovofxa^o/xevov to

ea-Tiv

TTOifj,

rod oiKeiov

rj

d(f)r}p7)fxevov tl

eireK- 10

ro /xev eav (fxov^evri

TO TToXeeo? 770X7709 Kal to n77X,eo9 <Tlr]\i]0'i koI

fiev olov

dcj^rjprjfxevov

i]

Ke'^prj/xevov

fjuaKporepo)
^Xij/xevrj,

eanv

rerafievov Be

6.

H^

apogr., Maggi,
TrXifjdei

17.

apogr.

post irivre

XXL 8 XXII.

ARISTOTLE'S POETICS
attributes

to call the shield, not

newly-coined word

Some

but

use,

words

such

'

the cup

the wineless cup.'

'

even in local

'

we were

as if

of Ares,' but

81

is

appear

there

sprouters,' for Kepara,

'

one which has never been 9

is

invented by the poet himself.

be

to

as

and aprjTqp,

horns,'

ipvv<ye<;,

supplicator,'

'

for lepev<;, 'priest.'

A word is lengthened when its own vowel

1458 a

exchanged 10

is

when a syllable is inserted. A

when some part of it is removed.

a longer one, or

for

word

is

contracted

Instances of lengthening are,

tion,

Kpl, So),

and

o-v/r,

altered

word

is

An
form

is

ttoXt^o? for TroXecy?,

and UrfKr^idhea)

for HrfXeo^,

for lirfkeihov

as in

jiveTat a/xiporipcov oy^.

fjuia

one in which part of the ordinary 11

unchanged, and part

left

n?7X^o?

of contrac-

repov Kara /xa^ov, he^nepov

re-cast

is

as in Se|t-

is for Se^tov.

[Nouns in themselves are either masculine, feminine, 12

Masculine are such as end in

or neuter.

some
and

letter

9,

and

co,

those in

a.

77

and

and f are equivalent to endings in

a mute or a vowel short by nature.

fiiXc, KOfifii, iretrept,

in these

The
mean.

or in

?,

yjr

of vowels that admit of lengthen-

Thus the number

nouns masculine and feminine end

XXII

v, p,

these being two,

Feminine, such as end in vowels that are always

^.

long, as

ing

compounded with

two

latter

end in

five

vowels

The

clearest style
;

at the

is

is

the same

No noun

which
for

yfr

ends in

Three only end in

v.

also in v

perfection of style

or proper words

9.

of letters in
is

c,

Neuter nouns end

and

9.]

to be clear without being

that which uses only current

same time

it is

mean

the poetry of Cleophon and of Stheuelus.

That

witness
diction,

82
2^9eve\ov.

i]

av

Tc<i

av

avTT)

iaTt,

KaTa

fxev

XeyovTa

TO

ToiavTa.

TO,

dpa KKpda6al
TTOirjcret

35 Kal
1458 b Ttjv

ei9

Taireivov, olov

firjBe

Kal TciWa

Kocrfio<i

Xe^etu? Kal

t?}?

cra(f>e<;

Kal dTTOKOiral Kal

TO
5

dW&)9

fxevov,

e'^eiv

TO

icodoTO<i

i7riTt/J,(i!)VT<i

10

ev

25. Tts {Liravra vel tis

apogr.

iroirja-ai.

avTrj

Hfia

fxr]

etSi],

fjiepoq

?;

ISccotikov
fieTa(f)opa

to Be Kvptov

avp,(3dWeTat 4

ovo/xdTcov Bed

yap

fjuev

ela>6o<i

yiyvo-

Bid Be to KOLVcovetv tov

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

olov

Tr]'i

BiaXeKTOV Kal BcaKQ)-

^vKXelBrjf;

dpyato^;,

ci)9

CKTeLvetv 0' ottoctov ^ovXeTai,

Bciicret,

Xe^ei.

tj}

awavTa apogr.
29. &\\cov

A<=.

yap

lBlcotlkov at eTreKTdaei^;

fjurj

To5 TOIOVTO) TpOTTO)

cafji/3o7rocT]cra'i

Set 3

/3ap/3apLa/jL6<i.

y\u)TTa Kal

r)

iroirjcrei.

iroirjTrjV,

ovy

dvepc KoW^jcravTa,^^

to Kvptov, rrrapd to

0)9

TTOtelv, ec Ttf

avvdyjrai.

elprjfjbiva

e^aWayal twv

TO aacpe'i eaTai.

/layBovvTa TOV

paBtov

rj

IBtcoTCKOv

1X7]

to,

dSvvaTa

fiev

ovk eXd'^iaTov Be

aa(f)i]vetav.

TO

eV

to

tovtol'?-

7rco<i

yap ISea

ovofxdTcov avvOeaiv

tmv jXcottwv

eK

eav

re

he ttjv jxeTa^opdv evheyeTai,

olov " dvSp^ elBov TTvpl '^aXKOv

Kol

eaTai 2

a'cvijfxa

alvly/xaTO^

vTrdp'^ovTa

KaTa

iroLrjcraL,

i)

ficTacfiopcbv, atvLj/jia,

<dW(ov>

ovv ttjv twv

30 olov re TovTO

iroir^arj,

ovv K

p.ev

yXcoTTcov, jSap^apiapbO'i

e/c

rj

yXMrrav koL

iireKracnv koI irav to irapa to Kvpiov.

afia airavTa ToiavTa

^apjBapiaix6<i'

Se

to ISlcotikov

^cvlkov Se Xeyco

Ke'^prj/jLevrj.

fieTa(f)opav koX

aXV

i^aWdrrovaa

Kol

8e

ae/jbvr]

Tot? ^evcKoi<;

25

1458 a 221458 b 10

XXII. 15.

coni.

"

elBov

^^iri'^dprjv

Sv Eiravra

A..

Troi-fiaT]

Margoliouth, collato Arabe

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

reliqua

'

^ap^apiaixhs

'

a-vfj.p6.\\opTai

Tyrwhitt
Arabs).

apogr.

{'E.TrixdpT]v)

10.
:

itrl

elSov apogr.

ifret x^-P'-" A<=

x-P'-^

'EinxdpTiv Bursian praeeimte

2, ut videtur ('appellatum

t5op A<=

Ihihv

Gomperz,

cum

favore'

ARISTOTLE'S POETICS XXII. 15

on the other hand,

lofty

is

mean

and raised above the common-

unusual

which employs

place

83

words.

By

unusual, I

strange (or rare) words, metaphorical, lengthened,

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

Yet a

style

wholly composed of such words

riddle or a jargon

a jargon,

if it

a riddle,

if

either a 2

is

metaphors

consists of

it

For the

consists of strange (or rare) words.

essence of a riddle

is

Now

possible combinations.

true facts under im-

express

to

this cannot be

done by any

arrangement of ordinary words, but by the use of metaphor

Such

can.

it

is

the riddle

A man

saw who

'

on another man had glued the bronze by aid of

same kind.

others of the

strange (or rare) terms

a jargon.

is

fire,'

and

made up

diction that is

of

certain infusion, 3

therefore, of these elements is necessary to style

for the

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

and the other kinds above mentioned,

the

words will make

1458 b

will raise it

commonplace and mean, while the use

more

it

But nothing contributes

perspicuous.

produce a clearness of diction that

to

above

of proper

is

remote

from commonness than the lengthening, contraction, and

alteration

cases

For by deviating in exceptional

words.

of

from the normal idiom, the language will gain

distinction

while, at the

same

time,

the partial con-

formity with usage will give perspicuity.

therefore,

speech,

are

and

in

error

hold

the

who

author

up

Eucleides, the elder, declared that

matter to be a poet
will.

He

if

The

critics, 5

censure these licenses

to
it

ridicule.

of

Thus

would be an easy

you might lengthen

syllables at

caricatured the practice in the very form of

his diction, as in the verse

XXII. 57-

84

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

eicelvov

eWe^opov."

1129

1458 b

7' ipd/j,vo<;

av

ovic

to p,ev ovv ^aivecrOai

rbv

'^co/xevov 6

ttco';

rovTOi To3 rpoTTw yeXoiov, to 8e fieTpov kolvov diravTOiv

Twv ixepwv Kol yap

icTTl

dWot^

15 Toi<i

Ta

av dTrepydaaiTO.

to avTo

<ye\ola

oaov

<Kvploiv> ovofxaTcov eh to fieTpov.

tmv

he Kal irrl

to

8e dpfJuoTTov 7

^vpiTriSov,

uvto

ev

Koi

eirl r?}? yXcottt;?

aXkcov

tojv

enrl

lap-^elov Acct'^vXov

7rot^(ravTO<i

Be

ovo/xa

fiovov

fjLeTa$evTO<i,

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

AtV^uXo?

eyreXe?.

yap

fxev

(payeSatva <6'>

25

et Ti9

ioiv

fx

Xeyot

vvv 8e

fx

fiov crdpKa<; iadlet 7roSo9,

-^

11.

&v 7'

dvaio-OriTU}?

18.

Kvpiwv

apogr.
12.

iihv

fi

15.

dirpeirQs

iirl

Vahlen.
neraTidevros

to.

Kvpiov

Twining

yeXoTa
17.

21.

sttuv

fi/ct/cus.

irpLa-

Hermann

jravTus

Gomperz.

16.

iireKrdaeuv Tyrwhitt.

Evpnridov

Essen.

Kvpiov vel elwBdros

</cai> eiwOSros Heinsius.

dd Nauck.
non conveniat

seclus.

AtVxi^Xy
23.

A'^.

25.

5'

22.

secludendum
(vel t') add.

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

^aye8aiv'

c), Arabs 'ut

decB7]<;'

au yepdfJ.evos A"^: yevadfiepos Tyrwhitt:

ttws

dpfj.6TTOVTos A".

coni.

Vahlen

Ritter:
1.

oXiyos re Kal oiiridavos Kal

vvi'

Tucker.

fieTadevTOi Aid.
coni.

de

epd/j.ei'os

apfidrrov apogr.

deiKrj'i}

/xeTaTidel'i

kol daOeviKo^; Kal

Gomperz.

/xevos

Kal

icbv jXLKpo^ re

515,

ix.

S'

ev to5 ^iXokttjtt) eTroLTjcre

0X1709 re Kal ovTtSavb'; Kal

Kvpia

to,

dvTi

KaXov to

o Se dvTl Tov iadiec to OoLvaTat fxeTeOrjKev.

vvv Se

Ihewv

Kvpia ovofxaTa kutlSoi otl dXTjOrj

to,

to

olov

Kal

/leTacjiopoiv

20 fieTuTiOel'; av rt?

Kal

koI

<y\(OTTai,'i

eVt toov iirwv Oewpeiadco ivTiOefievcov twv

Sia(j}ept

Xeyofiev

koL

/ieTa(f)opal<i

etSeac '^pcofievof; <a7r/De>7ra>9 Koi eVtTT/Se"? eVt

'

deiorjs

codd.

&klkvs Odyss.

1.

c.

ARISTOTLE'S POETICS XXII.

^FjTTf^dprjv elBov

85

Wapa6covd8e ^ahl^ovra,

or,

ovK av y

To employ such
but

grotesque;

rov eKeivov iX\e/3opov.

epdfievo<i

license at all obtrusively

in

any mode

of

Even metaphors,

must be moderation.

words, or any similar forms of

the like

eiffect

if

poetic

made by

is

no doubt,

would produce

used without propriety, and with the

How

great a differ- 7

the appropriate use of lengthening,

may

be seen in Epic poetry by the insertion of ordinary forms

in the verse.

So, again,

if

we

take a strange (or rare)

word, a metaphor, or any similar

and replace
of

our

by the current

it

observation

be

will

mode

of expression,

or proper term, the truth

Eor example

manifest.

Aeschylus and Euripides each composed the same iambic

But the

line.

who employed
one,

makes

trivial,

alteration of a single

one verse

(f)a<yeBaLva

'

word by Euripides,

the rarer term instead of the ordinary

appear beautiful and the other

Aeschylus in his Philoctetes says

Euripides

vvv Se

<S'>

substitutes

rj

/jlov

fx

ioiv

(TdpKa<; icrOlei, "Koho^-

OoivaraL

Again, in the

feeds on.'

'

feasts

on

'

for

icrdlei

line,

6X1709 re koI ovTtBavo<; koI

the difference will be felt

if

we

dtKt]<;,

substitute the

common

words,
vvv Be

fjj

there

strange (or rare)

speech,

express purpose of being ludicrous.

ence

is,

diction

ecov /XLKpo^ re

koX da9eviKo<; koI

aetS?;'?.

'

7 lo-

XXII.

86

1458 b 30

1459

a 18

30 Kol
hi<^pov [t'] aeLKeKiov KaTa6el<i oXljtjv re rpdire^av,

re Tpdire^av.

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

"

Kol TO

1459 a

Sco/xdrcov,

TOiavTa'

TO

BnrXoi<i

ecTTL

jxovov

elvat.

fieTa(f)opiKov

Xa^elv

y\(OTTai T0?9

Kal iv fxev
iv Be Tot9

TavTa dpfxoTTet

yap ev

Toi<i

at

elprjixeva,
/xi/jieiaOai,

Be

Kav iv

[6croL<i]

Ta TOtavTa to Kvpiov Kal

\oyoL<i

/zera-

iKava Ta

iv

Tr]<;

tw

irpdTTecv

fiL/ji^-

eiprjfieva.

'

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

Iliad xvii. 265.

aeiKiXiov codd.

31.

r'

f'lTTOi.

apogr.

K&v Harles
odols 2,

Be

lafi^eloL^.

Ta

ovv TpaywBia<; Kal

ecTTQ) tjjmv

35.

ra 10

Bed to otl fjidXiaTa Xe^iv

toov ovofiaTWv oaoL<;

ecTTt

/jueTa-

ovop^dTcov

BiOvpdixjSoi'i,

at Be fj,eTa(f)opal

to

dXXov

K6(Tfxo<;.

Trepl fiev
(Tea)<i

Tol<i

kol

fieyLcrTov

rjpwuKol^ diravTa '^prjaLfxa

Tol'i

la/Jb/3ei0L<i

15 Tt? '^pijcraiTO'

<^opd Kal

dpfioTTet

r)po)iKoi<i,

Be fieya fiev 9

yap tovto ovTe irap

tmv

Ta

diravTa

j^prjcrOai,

Be

re arj/xeLov eaTL' to

ev(^via<i

fidXiaTa

BiirXa

ecTTiv

ttoXv

(pipecv TO TO ofjiooov decopelv eaTiv.

10 fiev

\e^L

irpeirovTO)';

elpTjfievwv

Kal j\a)TTaL<i,

ovo/xacrc

iv Tol'i

etvai

fx-q

Tjj

A^tXXeo)?,

rrepl

firj

yap to

tovto ruvoec.

Be

twv

dWd

Bid

ISlcotikov iv

fjiT]

iK6ivo<i

eKaaTM

TO

Se 8

'in

a ouSet? av

Kol ro aeOev Kol to iyat

irepi,

oaa aXka TotavTU.

KvpioL<i TToiei

dirb

fxr]

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

Kal

Kpd^ovaiv.

r)i6ve<;

SiaXeKTO) TovTot<i '^pwvrai, olov to hwpbdrwv

rfj

dWd

airo

Tpa7ft)8ou9 iK(Ofi<pSei, oTt

roi)^

^ApL(j)pdSi]<;

35 ecTTOL iv

I3o6(ocnv "

rji6v<i

et-rrrji

t'

aiK^Xiov

A^.

Kal codd.

ut videtur

(Ellis), cf.

Vahlen

1459 a
del.

ocrois

Arab.

'

5.

re seclus. Susemihl ed.

to apogr.

tQl A=.

1.

14.

Aid.: <:tois> Xoyoi^ Gomperz

quot usurpant homines in

via.

ARISTOTLE'S POETICS XXII. 710

87

Or, if for the Hue,

hi^pov [r

we

deiKeXiov KaTa6el<i oXljrjv re rpdire^av,

read,

KaraOel^ fiLKpdv re rpdrre^av.

8l(f)pov fjiO'^Orjpov

Or, for

^ooaxTiv,

'^i6v<i

Kpa^ovcrtv.

rjtove'i

Again, Ariphrades ridiculed the tragedians for using 8

phrases which no one would employ in ordinary speech
for
1459 a

example,

(TeOev,

phrases

'A^t\Xcci>9

viv,

and the

'A'x^tWico';,

not

are

instead

utto

Boy/jbdrcov

Si

iyob

of

drro

Bco/idTcov,

instead

of

Trepl

It is precisely because such

like.

part

of

"Jrepi,

current idiom

the

that

they

This, however, he failed

give distinction to the style.

to see.

a great matter to

It is

several

modes

of expression

and so

(or rare) words,

far

is

to

observe propriety in these 9

compound
But the

forth.

have a command

of

cannot be imparted by another

for

to

make good

metaphor.
it is

words, strange

greatest thing

metaphors

the

by

This alone

mark
an

implies

of genius,

eye

for

resemblances.

Of the various kinds

of

words, the

compound

are 10

best adapted to dithyrambs, rare words to heroic poetry,

metaphors

to

In

iambic.

these varieties

are

heroic

which reproduces, as

far as

poetry,

But

serviceable.

may

in

indeed,

all

iambic verse,

be, familiar

speech, the

most appropriate words are those which are found even

in prose.

These

are,

the current or proper, the meta-

phorical, the ornamental.

Concerning
action, this

may

Tragedy
suffice.

and

imitation

by means

of

JUyj

XXIII.

88

XXIII
20

he

irepi

Tr)<;

1459 a 19

3.

1459

t>

koI ev<\> fxerpa

Btr]ryr)fjLaTtKr]<;

Bel rov<; /jLvdov<; KaOdirep

oTi

TLKr]<i,

fitfjbrj-

ev Tai<i Tpaj(p8iat<;

avvea-Tavai Spa/xaTiKov<i koX Trepl fxiav irpa^iv oXtjv koI

reXelav, e'^ovaav
ev 6\ov

^(pov

laropl.ai'i

ofjLOLa<i

25

p^

'

7rpa^eco<i

iMLa<i

eV

"

rovTcp

'X^povov'i

ra^

tt/jo?

rj

dX\

SrjXcocnv

eva

coairep

"ZaXaficvL

iyevero

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

Odrepov /xerd

reXo?.

a'yeoov oe ol iroWol tcov

'

ypovov, ocra

eKaarov

a)v

yap Kara

T3

vvv

fieya<i

fcal

'^povoa

rovro hpoiau.

Troirjrciyv

rca fi7]8e

KaraireTrXey/jievov

v fiepo^ diroXa^cov

40 BiaXafjb/Sdvet rrjv Trolrjcnv.

oXov Xlav

dWoi

01 S'

IcTTopias

28.

ixera ddrepop Castelvetro,

apogr.

t6 A=.

fj,Tpid^ovTa

A<^

post ^aeadai
39,

codd.

ffvvrjdeis

TCLS

oh apogr.

36.
:

fxiya

Bursian.
:

5ls pr.

11,

ras avvdiaas Dacier,

iffTopiais

Hermann

[J-ifo.
.

fj.i-^as)
.

olov 6

iv i^afxirpip
:

avviaTavai

confirmare videtur Arabs

apogr.

fierpla^ov

avrQv seclus. Christ

et ceteri codd.

Vahlen
:

vaijfxaxos

fierd daripov codd.

corr.

evavvoiTTov
38.

A=

(rec.

eva Troiovat

Trepl

1459 b 36)

vavfiaxi-a.
:

avrwv

eireLaoBiOi'i, ol<;

TroXvfjbeprj,

21. avveardvaL coni.

iv n^rpcfi codd.

24.

A'^.

31.

1449 b

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

Heinsius

rj

TroLKiXia.

rr}

Ke^prjrac

eTreLcroBioc^

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

19.

(^avelr} 3

tov irokepiov Kaiirep

TToWol^, olov veSiv KaraXoyw Kal dWoL'i

1459 b

ivlore

ovk evavvoino'i efjueWev eaeadai,

fxeyedei fxerptd^ovra
8'

ev

t]

ev ovSev yiverat,

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

yap dv

koX

kol ravrrj 6ea7reaio<; dv

dWov;,

co?

Tov<i avrov<; 2

vavfia'^ia

ddrepov, ef ojv

eiTro/juev rjhr],

irapd tou9

Ofxrjpo<;

evb<i

e^e^i)^

rol';

yiverac

wairep

/mtj

dvdjKT} ovj(l

ovSev Trpo? to avro avvret-

fid-y^r}

30 vovaat reXo^, ovrco kol ev

hio,

Kol

aU

7rX,e/oy?,

?)

dWrjXa.

ev

BijXov

<TvvdeaeL<i elvat, ev

iroieladai,

iV cdairep

TeA.09,

oiKecav rjSopijv,

TTjv

avve^r} irepl

erv^ev e^eo

koX fxeaa kol

o.p'^rjv

TTOLrj

eva-ivoTrros

posito

A''.

34.
.

ry
.

commate

avroO Heinsius.

ARISTOTLE'S POETICS XXIII. 13

XXIII

As

poetic

that

to

imitation which

89

narrative

is

in

form and employs a single metre, the plot manifestly

ought, as in a tragedy, to

be constructed on dramatic

have

should

It

principles.

for

subject

its

single

whole and complete, with a beginning, a middle,

action,

and an end.
picture

It will thus resemble a single

proper to

It

it.

compositions,

from historical

will differ in structure

which of necessity present not a single

but a single period, and

action,

and coherent

and produce the pleasure

being,

living

of

all

that happened within

that period to one person or to many, little connected

together as the events

may

be.

For as the sea-fight at 2

Salamis and the battle with the Carthaginians in Sicily

took place at the same time, but did not tend to one

sequence of events, one thing sometimes

result, so in the

foUows another, and yet the two

any common end.

most

Such

Here

poets.

observed,

the

manifest.

He

is

then, as

again,

transcendent

not work up to

we may

say, of

been

already 3

has

excellence

never attempts to

Troy the subject of

may

the practice,

make

of

Homer

poem, though that war had a

his

beginning and an end.

It

would have been too vast a

theme, and not easily embraced in a single view.

he had kept

again,

it

within moderate limits,

it

If,

must

have been over-complicated by the variety of the

As

cidents.

it

is,

admits as episodes
of the

others
1459 b

war

such

is

the whole war of

in-

he detaches a single portion, and

many
as

events from the general story

the Catalogue

of

thus diversifying the poem.

the

ships

and

All other poets

take a single hero, a single period, or an action single

indeed, but with a multiplicity of parts.

Thus did the

4 XXIV.

XXIII.

90

rotyapovv 4

l^virpia irotrjcra^ koX ttjv fiiKpav 'IXtaSa.

TO.

eK fxev ^Vkidho^ koI 'OSucrcreia<i f^la

eKarepa<;
5

226

1459 b

4.

8uo fiovai, eK he ^VTrpiwv iroWal koI

rj

'IXtaSo?

fXLKpd<;

[TrXeov]

'IXtou

koL

irepcn^

oirXwv

olov

okto),

EupvTTuXo?,

^eoirroXe^o'i,

^ikoKTrjT'r}^,

KUivai,

rpwycpSia TTOLelrai

aironfkov^

tj";9

KpLcn<;,

Aa-

Trrw^eia,

koi

Xlvcov

[al

TpwaSe?].

XXIV
10

[en

ert he
rfj

rpayayhla,

yap

koi

iraOrjTLKrjv

ravrd' koi yap

ra

yap Kal

<f)epet

20 Kal

Kal

Ke'^prjTai

Kara

at

Tcov

el<;

elr)

juilav

TO

iKavQs apogr.
sup.

ovv

ixev

av tovto,

elev,

aKpoacrtv

ev

/xev

1459 b 2. KvTrpia Tyrwhitt

TpydSes seclus. Hermann.
Arabs.
scr. Ac.

12.
:

Kal

t/cavw?. 2

/xrJKO'i

he

jxev

to

Tpaywhla

iKavo^

KvwpiKa A^.
9.

Set

apogr.

5.
:

dpy^aiwv iXdr-

Tpaywhioiv
%'
tj

evhi'^eaOai

irXiov et Kal

Stj A<=.

5^

apogr.

Fort. KadLe/jL^vuv Richards.

17.
:

18.

dfia

Zivwv Kal

10. tjOiktjv

dvayvaipiaeis Christ.

yap A".

he 4

eTToiroila

Kal rjOwv post dvayviapiaeuu add. Susemihl.

Uavos A=.

Kal

rrjv dp'^rjv

7rXrj6o<i

/irj

hta- 3

eiroTToda

1)

opo<i

Tidejxevwv iTapijKOLev.

Tjj

he

Trpo?

tjOlkt].

[xrjKOV';

twv

el

Trpb'i

fiev

rj

v7rep/3e/3XT]Kev.

eireKTelveaOat to jjieyedo^ ttoXv ti

hid

chiov

rov

(TvcrTdaet<;

25 Trpo<i TO

irdvTa

hvvaaOat yap hel awopdadai

TO reXo<;.

7)

o-v^ew?

he ^Ohvcrcreia ireirXey-

r)

re tt}? (TvaTdcre(o<i to

fxerpov.

elpriixevo'i'

Tov<i

irpS)ro<i

yap hcoXov) Kal

hiavola

Kal

Xe^et

he

TO

'^dcKtjv

koX

rSiV 'TroLrjfMaTcov eKarepov crvvecrrrjKev

(dvayvwpiai'i

TOVTOL<i

i)

fjie\o7roua<;

hel Kal dvayvcoplaecov Kal

irepiTrereioiV

'iXta? ciTrXovv Kal iraOrjriKov,

ixevov

hel e^ett' ttjv eiroTrodav

TrenXeyfievriv

r)

e^co

fMepr]

airacriv "0/jL7}po<i

15 Kal

ravra

ethr)

aTrXrjv

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

TraOrjixcLTOdv

ot?

ra

he]
t]

Trdirar Aid.

om.
14.

TjOiKbi' rec.

24.

4 XXIV.

ARISTOTLE'S POETICS XXIII.

author of the Cypria and of the Little Iliad.

reason

the

and

Iliad

or,

For

this 4

Odyssey each furnish the

the

subject of one tragedy,

91

two

at most, of

while the

Cypria supplies materials for many, and the Little Iliad

eight

Award

the

the Arms,

of

the

Philoctetes,

the

Neoptolemus, Eurypylus, the Mendicant Odysseus, the

Women,

Laconian

the Departure of

the Fall of Ilium,

the Fleet.

XXIV

Again, Epic

Tragedy
or

'

The parts

pathetic'

and

song

poetry must have

must be simple,

it

are

scenery,

same

for

these respects

Homer

is

'

ethical,'

must be

requires

it

Eeversals, Eecognitions, and Tragic Incidents.

the thoughts and the diction

kinds as

with the exception of

also,

the

many

as

complex, or

or

Moreover,

artistic.

In

siifficient

model.

our earliest and

Indeed each of his poems has a twofold character.

Iliad

at

is

complex
at the

once simple and

(for

is

is

it

being

run through

we have

As regards
down an adequate

the beginning and the end must be capable of

epics,

and

This condition

a single view.

by poems on a smaller
answering in

poetry

has,

capacity for enlarging

reason.

and

metre.

its

already laid

length

to

tragedies presented at a single sitting.

Epic

it),

IMoreover, in diction and

from Tragedy in the scale on 3

differs

brought within

will be satisfied

old

ethical.'

constructed, and in

scale or length,

limit

'

The

and the Odyssey

supreme.

Epic poetry

which

pathetic,'

Eecognition scenes

same time

thought he

'

all 2

however,
its

great

dimensions, and

scale than the

the

group of

special

we can

see the

In Tragedy we cannot imitate several actions

1I II

U .I1JII

I.

XXIV.

92

Bia

iiroTTOLba

30 iroLelv

Tov

llll lll

to

olKeicov

diro

r]p(OLKov

aXXw

Ttvl

irelpa'i

T)]<;

fieprj

ovtmv

av^eTut 6

dv (jjaLVOtTC

7roA.Xoi9, ttTTpeTre?

to he fieTpov 5

yap

ev

tj

ev

aTaat-

i)p(OiKov

y\(OTTa<i Kal fjbeTacpopd'i Se^^^eTai fjudXiaTa'

40 Kal <TavTr]>

Biriyrj/xaTtKr)

?;

fj,ifMT](Ti(;

TrepiTTT]

tmv dWcov).

kov

yap
to

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

TO he

irpaKTLKOv.

dTOiroiTepov,

Be

ctc

avTd, wcnrep Haip^/Jbcov.

dWo)

ev
5

rt?

ttolocto

fjLi,/ji7](nv

to

<ydp

el

Kal oyKCoSecTTaTOV tmv fxeTpwv ecTTiv (Sto

/jbcaTUTOV

1460 a

apba

tov aKOvovTa koX

ripfioKev.

StTjyri/jbaTiKrjv

f^eTpu)

Trj

iroWa

TrXrjpovv iKirlirTeLV TTOiet Ta<; Tpa<y()hia<i.

35 TO

tt)?

he

ev

to <yap ofiocov Ta'^if

eVetcroStot?'

dvo/xoioL'i

eVl

to

e^et to dyaOov et?

aiaTC tovt

Kol to /xeTa/3aX\eiv

fjbeyaXoTrpeTreiav
iTTeicroBLOvv

wv

v^'

a 10

/jlovov

jjuepo^i

elvai ecTTC

htrj'yrjcrLV

07/C09.

^^fci^^t^ji^m^^^^jyy^^

dWa

fii/xelaOai

n^eprj

irepaivofxeva,

TTOitjfjuaTO'i

il

1460

1459 b 27

7.

rwv inroKpLTWv

Kol

aK7}vf]'i

ttoWo,

irpaTTOfxeva

lltll

avTrj

7re7roL7]Kev

aipelaOai.

Kal

(xOat
Set

"O^ripo'^
hrj

eXdyiCTTa
10 ol

jMev

Kal

40.

apogr.

Kal otl

ovv

codd.

dXkoi

Vahlen
apogr.: ixrtyvit] A"
2,

cf.

A*^

Arab,
seclus.

'si

Kiv-qriKa, el

(fuit

et

(xt),

1.

fxev

o\ov

ficfMrjTij'i.

dycovi^ovTai,

Kav ravrais Bywater.

Kivr)TLKal A<=

extremum

aipelffdai.

Siatpeladai A".

TroirjTrjv

KaTa TavTa

Gomperz.
t]

ovk dyvoel o
tov

hel

St'

[Si-]

eiraivel- 7

d^to<;

TrotrjTMV

yap

quis nesciret' (Margolioutli).

Gomperz.

(Margoliouth)

Twiuing

1460 a

tl^ 6

etrroixev

\avTff\

iroWd

re

icTTL

avTol

Kal Taiirri

kLvt)(7i.s A'^.

KivTjTiKa Kal

ydp

ov

dpfxoTTOV

tmv

fiovo'i

avTov

\eyeiv'

dXlC coairep

'r]pcp(p,

to

dXKa

he

avTov.

TTOiecv

tc5

rj

BiBdcTKei

^vcTL'i

T)

pnyvvoi

el

ovBeh fjuaKpdv crvaTacnv

hco

Boiiitz,

kivtitlko.

2.

ij.I/x7](tis

/xiyutjoi

Aid.

in litura corr.)
5.

Bekker

Aid.,

/j-iyvrjei

/a?;

7^0^77

avr^ apogr.: avTrj

confirmare videtur Arabs

ARISTOTLE'S POETICS XXIV.

and the same time

carried on at one

47

93

we must

confine

ourselves to the action on the stage and the part taken

by the

But

players.

can be presented

an

these, if relevant to the subject,

The Epic has here

poem.

to the

diverting the

mind

of the hearer

episodes.

Eor

incident soon produces satiety, and

makes

the

story

on the

As
fitness

in

with

varying

and relieving
sameness

of

tragedies fail

stage.

for the metre, the heroic

by the

measure has proved

test of experience.

its

poem

If a narrative

any other metre or in many metres were now com-

posed,

it

measures
massive

would be found incongruous.

the

heroic

and hence

the

is
it

metaphors, which

and

stateliest

For

and

of

the

all

most

most readily admits rare words

another point in which the

is

narrative form of imitation stands alone.

1460 a

the

to

and one that conduces to grandeur of

advantage,

effect, also

owing

poetry,

events simultaneously transacted

and

add mass and dignity

Epic

in

many

form,

narrative

On

the other

hand, the iambic and the trochaic tetrameter are stirring

measures, the latter being akin to dancing, the former
expressive of action.

mix together

Still

more absurd would

different metres, as

Hence no one has ever composed a poem on a

in

any other than heroic

have

said, teaches

Homer, admirable

imitator.

Nature

great scale

herself,

as

we

in all respects, has the special merit 7

he should take himself

him an

be to 6

the choice of the proper measure.

of being the only poet

as possible in his

verse.

it

was done by Chaeremon.

own

who

rightly appreciates the part

The poet should speak

person, for

it is

as little

not this that makes

Other poets appear themselves upon

...........

ev9v<i

(Ta./juevo'i

ovv
5

8'

raU

ev

elcrd'yeL

ovhev

Kol

[rj6o<;]

6\i<ya Kol

Be

fjLifiovvrai

7 lo-

XXIV.

94

ev

1460 a 1132
6

dvhpa

yvvatKa

i)

aXX'

arjOrj

e'^ovra

rb

iroielv

irpaTTOVTa'

eTrel

Trepl

tcl

ovTa 'yeXola av

(TK7]vrj<i

Si(OK0PT6'i,

/xaXXov

hiw^iv

iirl

koI ov

ecTTcoTei;

XavOdvei.

eireatv

TOL<i

avfM-

opav eU tov

firj

ol fxev

ri
fiev 8

8l

'^KTopo<i

Trjv

(pavelr],

Se avavevcov, ev he

Set

Oavfiaarov,

ixaXiara to OavfiaaTOv, Sta to

jBaivei,

dWo

i)

tjOtj.

dXojov,

to

eTTOiroLLa

rfj

Se oXlya (ppotfiia-

oXtyaKL^;'

rpa<y(phLai<i

evSe'^erai

::

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

aTrayyeWovacv

OevTe'i

eaTi

tovto

he

OTav Tovhl

dWovi

Toh\

25 vcTTepov ecTTiv, Kal to irpoTepov elvat

he eaTi

hcb

yjrevho'i.

TovTov

ovhe,

TrapaXoyi^eTaL

yap to tovto

Tjjxoiv

\oyov<i

avvicTTaadai

jxr)

iam S

^dos om. Reiz, habuit

13.

ovUva.

Toh

A=.

fjd-r)

iireaiv

Vettori
apogr.

Kal> Christ,

dvdXoyov codd.,

iireiTa

rd A,

fort, recte
"2.

dXX' ov8i rec.

Vahlen
ovdi

dXXo,

edv yap

-g

dvdyKt]
ti

corr.

tovtwv

drjaiv 6 dKpoaTTjS, et 18,

28.

?)

fiXXo

Christ

t?

5t?

t)

5t6

apogr.

codd.

i^v

add.

Bonitz

Tucker.

Cum

if

15.

dXoyov

17.

eirei

A=, rec.

Robortelli,

apogr.

< Kal

Post oSf add.

Se2 Bonitz, Christ.

5^ cod.

KdKeivo

oiidev' d-ridr]

14.

Tov'i

dXkd

ra

corr.

yj.

dWov

di

&\\o

verbis

5'

ypibpifj-ov,

t6

5'

TovTuv apogr.

on
:

dXX'

contulerim Rhet. i. 2. 13, 1357 a 17,

ovd^ del Xiyeiv avrbs yap tovto irpocTlaTeepavhrjs rd 'OXty/iTrta, ov8^ Set irpocdeivai.

ivpoadetvai

seclus. Bonitz, Christ

TOVTO A=

Bursian.

6 Vettori

24.
26.

Trpoatpetadac 10

Kav rah Gomperz.

5t'

S.

25. 'yeviadai coni. Christ.

A<=

etSos

6v,

ov.

co?

dXoycov,

jxepoiv

^^"^ coni. Christ.

^x<"''r-

d\T]de<i

hvvaTa aTTiOava'

rj

e'/c

dX>C

yevecrdat

?)

TrpwTov

to

tcov ^iiTTpwv.

e/c

dhvvaTa eiKOTa fidWov

re hel

to

el

\^evho<i,

elhevat

Kal

'yjrv'^r)

rj

30 irapdheiyfia he tovtov

re

av to TrpwTov

hi],

hid

TrpoaOelvac'

\.v\

ylvrjTai,

yivecrOaf tovto

rj

dvdyKt] <KdKelvo> elvat

6vT0<;,

he 9

het

o)?

yap dvOpwiroi,

ytvofxevov

rj

-p

Xeyeuv

1/reuS?}

o'iovTai

7rapd\oyi(7/j,6<i.

6vT0<i

hehlha^ev

x^apt^ofievoi.

<U9

p.aXi(TTa "OyLiT/po? Kol TOV<i

^ Vahlen.

30.

ToiTov codex Robortelli

ARISTOTLE'S POETICS XXIV. 710

the scene throughout, and imitate but

Homer,
a

and

little

rarely.

few prefatory words, at once brings in

after a

man, or woman, or other personage

wanting in

95

characteristic

none of them

but

qualities,

with

each

character of his own.

The element of the wonderful

The

admitted in Tragedy. 8

is

on which the wonderful depends

irrational,

for its

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

the person

acting

not seen.

is

Hector would be ludicrous

if

still

them back.

passes

pleasing

as

be

telling a story, every

the

But

The

secret

of

lies

it

one thing

if

is

in

that,

likewise

or becomes.

But
thing

in

telling

fallacy.

this
is

second

is

is,

the

lies

For,

or becomes, a second

is

that, if the

first

Homer who

of

art

men imagine

is

fact

It is

it.

or becomes,

Hence, where the

the

one adds something startling of his

has chiefly taught other poets the

assuming that

poem

wonderful

the

from the

inferred

own, knowing that his hearers like

skilfully.

the pursuit, and

in

in the Epic

Now

unnoticed.

may

of

and not joining

Greeks standing
Achilles waving

absurdity

Thus, the pursuit

placed upon the stage

is

first

a false inference.

untrue,

it

is

quite un-

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

first

is

or

has

Eor the mind, knowing the

become.

second to be true, falsely infers the truth of the

There

is

an example of

this in

first.

the Bath Scene of the

Odyssey.
Accordingly,
possibilities to

the

poet

improbable

must not be composed

should

prefer

possibilities.

probable

The

of irrational parts.

im- 10

tragic plot

Everything

XXIV. lo XXV.

96

fjudXiara

fMTjSku

fiev

aKo<yov,

e')(eLv

wairep OtStTrou? to

/jLvdev/xaro'i,

dWa

35 aireOavev,

tm

ev

[xrj

CK Teyea'i et? rrjv M.vaLav

dv

dvyprjTO

40 repwi,

1460 b

dveKrd

dv

SrjXov

vvv he

TTOirjaete'

Kol

ridrj

XXV

10

TO

JT

<j)av\o<;

7rot7}Trj<;

dcpavl^ei

7roir}Tr)<i

Tol<i 11

iv

Stavor]TCKOi<;'

fxijTe

Xap.irpd

ydp

icrTt

Td re

Xeft?

dv Oewpovcnv yevoiT dv

dpcdfiov

ev

Tt

cocnrepavel

TTotT^r^?

fMifjLr)T7](;

Ti9 dX\o<i elKovo7roio<;, dvdyKr)

"^^^

iv
r^v

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

irepl

r;

rd

Kol

&)?

SiuTrovelv

Sec

Xtav

7)

Bel

hLavoia<i.

Td<i

TTOicov elScov icTTLv, <u8

7ret

avrd

rj0iKol<;

ixrjTe

yap irdXiv

dTroKpvTTTei,

on

ov

ovk dv

iirel

CKdeaiv

he Xe^ei

TT]

dcjxjovof;

kol (^aivrirat evXoyco-

drj

el

yap

dp'^f]<;

dWoif; dyaOol'i 6

Kol

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lo XXV.

ARISTOTLE'S POETICS XXIV.

irrational

should,

events,

should

it

be

possible,

if

lie

excluded

death)

Laius'

not within

drama,

the

Electra, the messenger's account of the

or, as

once

it

first

manner

Pythian games;

is

irrational

Odysseus

is

left

incidents

is

the poet invests

diction

veiled

As

should

be

elaborated

is

respect to critical

be drawn

artist,

objects,

may
must

and their

of the sources from

solutions,

which they

be thus exhibited.

of

imitator,

like a

necessity

imitate

of expression

is

painter or any

one

of

three

as they ought to

language,

may be, rare words

many modifications of

or, it

also

over brilliant.

things as they were or are, things as they are

The vehicle
terms

is

diflficulties

said or thought to be, or things

are

in the pauses of 11

no expression of character

For, conversely, character and- thought are

The poet being an

other

is,

it.

number and nature

may

it

by the poetic charm with which

merely obscured by a diction that

the

in-

might have been would be apparent

the action, where there

or thought.

where

How

of Ithaca.

an inferior poet were to treat the subject.

the absurdity

With

But

be tolerated.

the Odyssey,

in

upon the shore

tolerable even these

XXV

to

Such a plot

ridiculous.

instance be constructed.

absurdity itself should

the

it,

Take the

The

in the

as

has been framed and an air of likelihood im-

parted to

1460 b if

The plea that otherwise the

would have been ruined,

should not in the

all

man who comes from Tegea

in the Mysians, the

JMysia without speaking.

plot

at

or,

outside the action of the play (as,

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

of

97

either

or metaphors.

language,

be.

current 2

There

which

we

nn

^A^p ^

'T /^

r^

15

V ^t<^

7p ravra toi^
opOorrjq

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25 Bel

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el Tvy-^dvei,

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irepl

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TO

'

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rj

5ia

add.

ei

27.

ra

A<=, e^

ry
22.

Diintzer

M. Sclimidt.

rec. A<=, Valilen.

TrjV

5t'

d/j.'

ovk

81'.

post
21.

[?)]

rj

KaT dXko

fii/x-^traadai
ei

T^xv-qv

to^tuv Texv^v </iv>

coni.

^ A.
^ ddivara

apogr.

TreTrolijrai

Be 6

<:a)9>

Christ.

plerique edd.

dp-qrai
evprjTai Heinsius
Ueberweg, ^ttov A: ^ firrov
Bywater, Ussing Tifiapr-qTai

28.
fjTTov

7rpb<;
laai<i

24.

aSwara
:

32. Tj/xapTTJa-daL seclus.

Trepi

Bel

ert iroTepcov

Valilen.

owoiavovi'

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Kal KaTO,
6p6(t)<;-

eypa-yjrev.

to, irpbs avTTjv ttjv

31.

etp7]Tai),

Trotel jiepo<i.

jxevTOL to TeA.09

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add.

ttjv 5
e'^^ec,

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rix^V

sup. scr.

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ws coni. Vahlen.

el

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add. Valilen ante aSvvaTa.

Tripecrat

Aid.,

iv

Ueberweg.

jreiroiTjTai seclus.

26.

5'

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avTTjv

irpo^

virdp-^eiv

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el

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el

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tovtwv

dX>C

[rjjxapTTjcrdac]

twv KaTa

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19. Ti

dWrjv

0X6)9 firjBajxy rjfiapTrjcrOaL.

Toi;Tot9 idv einTLjidTaL

Vahlen

i)

dWo

rj

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35 <TVji^e^rjK6<i

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rov

to kuO^ eKuaTrjv

el

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30 irapaBeiyjia
fj

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\rj

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<Bia> to

Be

<aiJb>

1460 b 1537

fxev <yap Kaff' avrrjv,

rj

[lev

el

7roXiTLKrj<i

Ti]<i

Kal

Sirrr) afiapria,

n-^y^

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Te^i/779

"i /St; /CO 9.

el

XXV. 36.

98

rj/xapTTjadai,

Tucker.

37.

36

ARISTOTLE'S POETICS XXV.

Add

concede to the poets.

correctness

more than

in poetry and

of poetry

itself there

which touch

to this, that the standard of 3

not the same in poetry and

is

essence,

its

any other

are

99

politics, any-

Within the

art.

two kinds of

faults,

art

those

and those which are accidental.

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

<;but has imitated

the error
is

it

incorrectly > through

want

But

inherent in the poetry.

is

if

due to the thing he has proposed to do

of capacity,

the failure

if

he has

represented a horse as throwing out both his off legs at

once, or introduced technical inaccuracies in medicine, for

example, or in any other art

we

the error

is

not essential to

These are the points of view from which

the poetry.

should consider and answer the objections raised by

the

critics.

First

we

will suppose the poet has represented things 5

impossible according to the laws of his

an error; but the error

may

be

own

justified, if

art.

It is

the end of

the art be thereby attained (the end being that already

mentioned),
part

of

if,

that

poem

the

case in point

is

is,

the effect of this or any other

thus rendered more striking.

is

the pursuit of Hector.

end might have been as

If,

however, the

well, or better, attained without

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

not justified

for every

kind of error should,

if possible,

be avoided.
Again, does
poetic art, or
to

know

the

error

touch the essentials of the

some accident

of

it ?

that a hind has no horns

than to paint
Further,

is

For example,

not

a less serious matter

it inartistically.

if it

be objected that the description

is

not 6

M'lJ lll'T'lJf ''>'>''! ''rrTTTT'"^^''''^^''^'"''''^'

Set

6 lo.

XXV.

100

40

on

^eXriov
1461

\xevy

" ey^ea

Be

tor

7)

el

airovBalov

ayadoii,
10

ra

rrjv

rj

ore

KaKo^ "

TrpoacoTTOv

CLKpaTov

ov

C09

Iliad X. 152.

lb. xxiii. Ill,

1.

Ritter.
t)

Carroll.

rb 8i

..IZ

to

AC

8.
rj

a'Koyevr]raL.

'Iva

A<=:

ra de Spengel.

Tov<i -qpuiovov^

olov

i.

distinxi

apogr.

50.

cf.

irapa.

1448 a 37
'S,evo<t>a.veL

oi/rw Spengel.

post \4yovTa
9.

ov to

41. ei coni. Valilen.

^evo(t>6,v7] A''

A"

to

evirpoa-

/5. ix. 203.

ovre A^.
:

elBo<;

to Be Kara 10

codd., tuetur Gomperz,

ov A<=, ovv rec.

Commate

quam

\eyec

dXka

Is.prJTe'i

to OaTTOv.

115 (Verrall), potius

evpLvidrjs

roc

rj

aavfifierpov

Tyrwhitt

A^.

rj

fxel^ovo^

rj

^(oporepov Be Kepaie"

dWa

40. ourw apogr.

olov
:

aw/j-a

^evo(pdveL vel ^evo(pdvris apogr.

odv

KaKov,

316.

39. Eiipnridriv Heinsiiis:

1461 a

tov 8

Be

tov TrpaTTOvTa

el<i

ov eveKev, olov

yap ov

tcr&)9

olvo(p\v^tv

{adrjvaloi codd.).

yap

ovro)

'^

irepl

elprj/xevov ^XeTTOvra,

rj

to yap eueiBe<; ol

ala'^pov,

3 lb. X.

apogr.

"

Ka\ovaf Kal to "

15 ayirov

ottXcov,

TreirpaKrat, ov fiovov

rj

Kal
rj

ov

ccrcof;

rwv

Kal tov AoXcova "09 p

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" ovprja<; fxev irpSirov "

aWa

aWa

<f)avXov,

ov

yevyrai,

'iva

7rp6<i

Be.

rj

irpo^;

Be

Trepl

vvv 'IWvpiol.

a-Keirreov et? aiiro to TreTrpay/jbivov

\eyovTa,

ra

etpijraC tlvl

i)

ra

(jjaai.

olov

eVt craypcorf;/)? "

Kal

coaTrep

/caXco?

yu-?;

ovv

ovre

'^ap

i'cr&J9

aXX <6t>

aXrjOi],

el'^ev,

"OpO^

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evojii^ov,

/caXco?

aXX'

el Be fMijBerepo)^, 7

dewv,

irepl

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aXk" oyro)?

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(f)r}

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ra

olov

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1460 b 381461 a 16

olov Kal %o(f>OK\rj<;

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''*'

rec.

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add.

7.

irpbs

5v
16.

69

ARISTOTLE'S POETICS XXV.

true to

fact,

may

poet

the

perhaps reply,

objects are as they ought to be

drew men

that he

they

'

But
'

the

just as Sophocles said

as they ought to be

Euripides, as

may

In this way the objection

are.

101

be met.

If, 7

however, the representation be of neither kind, the poet

may

answer,

'

This

how men

is

say the thing

applies to tales about the gods.

may

It

This

is.'

well be that

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

fact

they

are,

very possibly, what Xenophanes says of

But anyhow,

them.

this

'

is

what

is

description

may

the fact

as in the passage about the

upon

'

it

now

among

is

'
:

arms

still, it
'
:

was

Upright

This was the

stood the spears.'

their butt-ends

custom then, as

Again, a

said.'

be no better than the fact

the lUyrians.

Again, in examining whether what has been said or 8

done by some one

is

poetically right or not,

we must

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

whether
sider

it is

whose

poetically good or bad.

whom

by

it

is

interest, or for

We

said or done, to

what end

must

Other

difficulties

may

We may

note a rare word, as in

the sense of mules, but of sentinels.

'

ill-favoured

meant that
was ugly;

his

body was

denote a

mix

the drink

'

stronger

'

/xev

not in

Dolon

So, again, of

It is not

ill-shaped, but that his face

Cretans use the word euetSe?, 'well-

favoured,' to
Kepaie,

ovpr}a<i

ovpfja^i

indeed he was to look upon.'

for the

it

evil.

be resolved by due regard to the 9

where the poet perhaps employs

irpoiTov,

in

whether, for instance,

be to secure a greater good, or avert a greater

diction.

also con-

whom, when,

fair

Again, ^coporepov Se

face.

livelier,*

does not

as for hard drinkers, but

'

mix

it

mean
(i

'

mix

nicker.

it

'

XXV.

102

20 ofjbahov'"

8e

AvXmv

adprjaeiev,

Kara

jdp

fi6Ta(popdv, to

8e 01 "

Kal " to

olov

Staipeaei,

KKpr]TO.^^

<ydp

T?79

ii.

Be

TO,

vv^'"^ TO

Iliad

"

rot

rj

crvpuyjeov

or
6

jxev

1, fiXXot n-iv

o'lr]

tmv

S'

eXvev o daio<; to 11
o/x/Spo).^^

" aLyjra

Be

dddvaT <elvai> Zcopa re

" 7rapa>'^7]Kev

dpb^i^oXov

TrXeioy

"

to

ov KaTairvOeTai

dfKJjL/SoXia,

Xe^ea)9'

Kal

fyvoipLficoTaTov fiovov.

'Eyu.7re8o:\779

e(f)V0VT0, TO, irpXv fxdOov

TO 6^09

pa deol re koI

^rjacv

he irpocrwhiav, oicnrep 'iTTTrla^

Si,So/jiev

fiev

Se

afia

to yap irav iroXv tl'

etpijTai,

<f)0pav

25 TO,

" iravre^

TO <yap 7rdvTe<; uvtI tov ttoWol kutcl fiera-

afjifjbopo<i"^

"

TpcoLKov

TO

1729

1461 a

14.

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llli

EvSoz/ Travvv'^ioi "

avep6<i

Kara

olov

ecpTjraL,

fieTa(f>opav

69

lo

iaTLV.

Be

Be

to,

<oiovovv>

KeKpa/juevcov

Ovtjt 12
Trpcv
TrXetw 13

/cara 14

olvov

pa 6eol re koL dvipes 'nnroKopv(7Tal

eddov Travvvxi-OL.
lb. X. 1,

&WoL

dpiffTrjes

Trapa, VTjvcrlv

ixkv

Ilavaxo.i-'^t'

evdov iravvix'-'^ lb. X.

11,

TOL

is irediov rb

6't'

TpuiKbv

ddp7}ffeiev,

6a)jfia^v irvpd ttoXXo. to. Kaiero 'T\i69i 7rp6,

aiiXwv (Tvplyywv t
^ lb. xviii.
*

489,

5'

oirj

dfj.fj.op6s

Jb. xxi. 297, didofj-ev 8e

quo hie agitur) Tpueaai.

^ lb. xxiii.

328, rb

fj-iv

St]

yap

Travres

Grafenhan

Christ, habuit

iam

2,

cf.

Arab.

collate Athenaeo, x. 423.

'

fwpti

Gomperz
Aid.

ceteri
:

28. irXelu

Bursian

ii.

15

(de

8'

ifdis,

om. A=.

A^

< 'ivi.a >

v{j^

^TL fjolpa XiXeiTTTaL.

linroKopvcrTal post dvepes add.

26.

et dei qui equis

elvai

fcDd codd.

ree. sup. scr.

TrXeoj A<^:

irXetov vel irXioy apogr.

<:6ffa> tQiv KeKpafiivuv Vahlen:

irdv KKpafiivov

iyyudi

quidem liomines

Athenaeus

27. KeKprjro
sec. Bergk.
Karsten ed. Empedocles.
t

5'

18.

fiXXot A'=.

dverai,

TpiTaTT]

20. toO apogr.

armati insident.

dKpTjTa

vii^

wpo^i^ifKe, TrapifixV^^" ^^ ir\iwv

tQiv Svo fLoipdwv,

17.

Sed in Iliads

ecfo^-n-Tai.

ov KaTa-n-vderai. Sfj^pip.
fj.d\a

darpa Si

iari XoerpQv 'ClKeavoio.

eSxos dpiadai.

Si KrjSe'

lb. X. 251,

**

oi

dvOpihiruiu.

ivoiri^v S/iiaSdv t'

add. Vettori
re

<a>

apogr.:

TrXe'oi'

Trpiv

KiKpiro apogr.
irXeo^v

29. olopovv add. Tucker.

<6(ra TrortDc KeKpafiivuv Ueberweg:

olim conieci ante

dtvop.

'

ARISTOTLE'S POETICS XXV. 1014

Sometimes an expression

men were

gods and

is

his gaze to the Trojan plain,

and

of flutes

for

'

many,'

verse,

pipes.'

All

'

'

metaphorical;

for the

10

while at

he marvelled at the sound

'

is

here used metaphorically

alone she hath no part

'

all

Often indeed as he turned

many.

being a species of

all

'Now

metaphorical, as

sleeping through the night/

the same time the poet says

103

best

,'

So in the
'

olrj,

known may be

alone,'

is

called the

only one.
Again,

the

accent

Thus Hippias of Thasos solved the

breathing.
in the lines,

KaraTTvOerac

Or

may depend upon

solution

BlSo/juev (ScSofxev) Se ol,

and to

or 11

difficulties
/xev

ov (ov)

ofi/Spo).

again, the question

Of
as in Empedocles,
'

may

be solved by punctuation, 12

a sudden things became mortal

that before had learnt to be immortal, and things un-

mixed before mixed.'

Or

again,

TrapM'^TjKev

Be

by ambiguity

construction,

where

vv^,

vrXetw

of

the

word

as

irXeco

in 13
is

ambiguous.

Or by the usage
drink

is

called

0I1/09,

of
'

language.

wine.'

Thus

any mixed 14

Hence Ganymede

is

said

TTTI

nn

ITITll III

XXV.

104
30

uu JLUXUJX1JJLL1-IJ3

1 1 1 1 1

atrepoio,"]

1461 a 30

17.

"

[odev TreTrobrjrat

eivat,

<j)a<7Lv

14

o9ev etprjrat 6

'^' .........

1461

II

veorevKTOv

Kvr]/ju<i

Tavv/ji,r]8r]<i

Ad

"

Kacr'

olvo'^oevei^^

ov TTivovrcov olvov, KoX '^d\Kea<; rovq top crihr^pov ipya^o/u,evov<;.

av tovto ye <Ka\> Kara fjuera^opdv. 15

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atidpT-qixa

ARISTOTLE'S POETICS XXV. 1417

'

pour the wine

to

Zeus,'

to

105

though the gods do not

So too workers in iron are called

drink wine.

or workers in bronze.

')(ciKKea^,

may

also be taken

to involve

some incon-

This, however,

as a metaphor.

when a word seems

Again,
sistency

senses

example
should

bear

The

there.'

jump

particular

true

mode

For 16

passage.

how many ways we may

in

'

we

take 'being

of interpretation is the

what Glaucus mentions.

precise opposite of
says,

the

in

15

how many

consider

there was stayed the spear of bronze

'

ask

checked
1461 b

may

it

we should

meaning,

of

Critics,

at certain groundless conclusions

he

they pass

adverse judgment and then proceed to reason on

it

and,

assuming that the poet has said whatever they ^happen

fault if a thing is inconsistent

to think, find

own

The question about

fancy.

in this fashion.

The

They think

monian.

machus should not

critics
it

imagine he was a Lacedae-

strange,

h^ive

with their

Icarius has been treated

therefore,

that

Tele-

met him when he went

to

But the Cephallenian story may perhaps

Lacedaemon.

be the true one.

They

allege that

Odysseus took a wife

from among themselves, and that her father was Icadius

not Icarius.

It

is

merely a mistake, then, that gives

plausibility to the objection.

In

general,

reference

to

the

impossible

artistic

must be

requirements,

or

to

justified

the

by 17

higher

XXV. 17 XXVI.

106

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XXVI

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12 31

461 b

^eXrlwv

Vahlen

ARISTOTLE'S POETICS XXV.

or

reality,

received

to

requirements of

art,

17 XXVI.
With

opinion.

respect

a probable impossibility

may

'Yes,'

the higher thing

To

reality.'

commonly
that the
just as

'

say,

as
is

must surpass the

we appeal

justify the irrational,

to

what

is

In addition to which, we urge

sometimes does not violate reason

irrational

probable that a thing

is

be

Again,

men such

for the ideal type

said to be.

it

we

the

to

'but the impossible

be impossible that there should be

Zeuxis painted.

to

is

preferred to a thing improbable and yet possible.

it

107

may happen

contrary

to probability.'

Things that sound contradictory should be examined 18

by the same

rules as in dialectical refutation

the same thing

same

We

sense.

tacitly

should therefore solve the question by

what the poet says

reference to

assumed by a person of

The element

whether

meant, in the same relation, and in the

is

what

himself, or to

is

intelligence.

of the irrational, and, similarly, depravity

of character, are justly censured

when

necessity for introducing them.

Such

there
is

no inner

is

the irrational

element in the Aegeus of Euripides, and the badness of

Meuelaus in the
Thus,

Orestes.

there

are

are

drawn.

objections

five

sources

from

which

critical

Things are censured either as

impossible, or irrational, or morally hurtful, or

dictory, or contrary to artistic correctness.

contra-

The answers

should be sought under the twelve heads above mentioned.

XXVI

The question may be

Tragic

mode

of imitation

raised
is

whether the Epic or

the higher.

If

the more

the higher, and the more refined in every

refined art

is

case is that

which appeals

to the better sort of audience,

20

XXVI. 14.

108

on

airavra

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av

{jbivcov

(poprcKiy

fic/jiovfievij

avTO^

fXT]

321462

1461 b

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1462 a

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1462 a

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13.

A<=.

ian

5'

ARISTOTLE'S POETICS XXVI. 14

the

which

art

and

anything

imitates

The audience

manifestly most unrefined.

109

everything

be too dull to comprehend unless something of their

own

thrown in by the performers, who therefore indulge

is

Bad

in restless movements.
if

is

supposed to

is

they have to represent

is

flute-players twist

the

'

compare the

opinion that the older actors entertained of

Mynniscus used

cessors.

twirl,

Tragedy, 2

Scylla.'

We may

has this same defect.

said,

and

the quoit-throw,' or hustle the

when they perform

coryphaeus
it

'

to

their suc-

Callippides

call

'

ape

on

'

account of the extravagance of his action, and the same

1462

view was held

Tragic

of Pindarus.

art,

then, as a whole,

stands to Epic in the same relation as the younger to

So we are told that Epic poetry

the elder actors.

addressed
gesture

to

audience,

cultivated

an

Tragedy, to

unrefined,

Now,

inferior

is

who do not need

public.

Being then 3

evidently the lower of the two.

it is

in the first place, this censure attaches not to

but to the histrionic art

for gesticulation

the

poetic

may

be equally overdone in epic recitation, as by Sosi-

stratus, or in lyrical

Next,

Opuntian.

any more than

formers.
in

also

all

all

poetry produces

of

our

elements

superior

it

fault

is,

may even

found in Callippides, as

day,

who

are censured for

Again, Tragedy like Epic

even without action

reading.

it

not to be condemned

but only that of bad per-

women.

superior, this fault,

And

is

own

its effect

power by mere

it is

action

dancing

representing degraded

its

competition, as by Mnasitheus the

Such was the

others

we

If,

it

say, is not inherent in

because
use

reveals

then, in all other respects

it

has

all

the epic metre

it.

the

with

epic 4

the

en

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5.

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rj

apogr.

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fort, recte.

seclus.
8.

Bernays tov fiirpov codd.

Post vdap^, < iav 8i irXeioi/s > Aid.,
Bekker < X^7a> 5^ olo;' * * &v 8^ fx-ri, ov jxla ij fiifiricns > supplendum
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1462 b

1462 a 181462 b 20

XXVI. 48.

110

48

ARISTOTLE'S POETICS XXVI.

music and scenic

111

as important accessories

effects

these produce the most vivid of pleasures.

and

Further,

it

has vividness of impression in reading as well as in

Moreover, the art attains

representation.
1462 b

narrower limits

concentrated

the

for

pleasurable than one which

and so

What,

diluted.

as long as the

has less unity

Iliad

if

it

would be the

worked into a unity,

Now

appear truncated
of length,

it

or, if it

the

if

will, if concisely told,

it

conform to the Epic canon

seem weak and watery.

will

poem

that any Epic

will furnish subjects for several tragedies.

story be

effect

were cast into a form

Once more, the Epic imitation

shown by this,

as is

more

is

spread over a long time

is

for example,

of the Oedipus of Sophocles,

end within

its

effect

What I mean by a story composed of several actions

may be illustrated from the Iliad and Odyssey, which
have many parts, each with a certain magnitude of its
Yet these poems are

own.

structure

each

is,

possible

in

in the highest degree attainable,

an

perfect

as

as

imitation of a single action.

then. Tragedy

If,

is

superior to Epic poetry in all these 7

respects, and, moreover, fulfils its specific function better

as

an art

for each art

ought to produce, not any chance

pleasure, but the pleasure proper to

it

plainly follows that Tragedy

attaining

its

end more

Thus much may

poetry in general
the
that

number

of

it,

as already stated

the higher

suffice

as

concerning Tragic and Epic 8

their several kinds

and

each and their differences

and the answers

art,

perfectly.

make a poem good

critics

is

or

bad

parts,

with

the causes

the objections of the

to these objections.

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