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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
tlie

form part of

volume

entitled Aristotle s

Theory

of Poetry and Fine Art, second edition (Macmillan

and

Co., 1898).

In this edition the Critical Notes

care-

are enlarged,
fully revised.

and the Translation has been

The improvements

in the Translation

are largely due to the invaluable aid I have received

from

my

friend

and colleague. Professor W. R.

I

Hardie. thanks,
Tyrrell,

To him
and
also

would express
another

my

warmest
Professor

to

friend.

who

has most kindly read through the

proof-sheets,

and

talked

over

and

elucidated

various questions of interpretation and criticism.

In making use of the mass of

critical material

which has appeared

in recent years, especially in

it

Germany,
strict

have found

necessary to observe a

principle

of selection,

my

aim

still

being

to keep the notes within limited compass.

are not intended to form a complete
Criticus,
I trust,
still

They Apparatus

less to

do duty

for a

commentary,

however, that no variant or conjectural

VI

THE POETICS OF ARISTOTLE

emendation of much importance has been overlooked.

In the

first

edition I admitted into the text

conjectural emendations of

my own
xxiii. 1
:

in the following

passages
4
:

iii.

xix. 3

xxiv. 10

xxv.

xxv. 14

xxv. 16.

Of

these, one or

two appear
3

to have carried general conviction (in particular,

xxiii.

1);

two

are

now withdrawn,

iii.

and

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

In the
a
certain

first

edition, moreover, I bracketed, in

number
1

of

passages,

words which

regarded as glosses that had crept into the text,

viz.
:

iii.

vi.

18

xvii.

xvii.

5.

In

vi.

18
for

now

give Gomperz's correction tmv

/xev

Xeyo/juevcov,

the bracketed words tmv

\6ycov of the

MSS.,

and in

xvii.

By water's

conjecture

rt? avTO'? for

[Ttya9 avTo<f\.

There remains a conjecture which

relegated
to

previously
I

the
text

notes,

but

which

now
It

take

into

the

with

some

confidence.

has had the good fortune to win the approval of

many
refer
ix.
5.

scholars, including the distinguished

names
I

of Professor Susemihl to
ov
(^ovrco

and Professor
13
Bekk.),
at

Tyrrell.
ovo/xaTa

MSS.) ra Tv^ovTa
(

in

1451
'

b 14

=b
ix.

where the
For

Arabic has

names not given

cf.

random.'
(

the copyist's error

2.

1451 a 38

= a 36

Bekk.), where A" has

ovrco,
'

though
:

ov to rightly for

appears in

the

'

apographa

and

a similar

PREFACE
omission of ov in A
Bekk.), ov
7roi7]crec

Vli

cf. vi.
rjv

12.

1450 a 32

= a 30
the

r?}?

rpaywSia'i
'

epyov,

indispensable negative being added in

apogr.'

and

found in the Arabic.

The emendation not only

but also
I

gives a natural instead of a strained sense to the

words Ta rv^ovra

ovofiara,

fits

in better

with the general context, as

have argued at
of Poetry and
I

some length
Fine Art
to

in Aristotle s Tlieory

(ed. 2) pp.

367-9

(note).

Another conjecture of
admit into the
vi.
6i<i

my own
In the
(

have ventured

text.

much

disputed
I

passage,
<'TrdvT6<i>

8.

1450 a 14
eiTreiv

=a

12 Bekk.),
avrwv w?

read
elirelv

for

ovk

oXiyot

of the MSS., following the guidance of Diels and

of the Arabic.
I

regard ovk okiyoi avrwv as a gloss

(see

which displaced part of the original phrase

Crit. Notes).

As

a parallel case I have adduced

12,

Rhet.

i.

1.

1354 a

where

ovhev

&)?

elirelv,

the

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

substituted in the text for the accepted reading
6\iyov.

The word
&)?

oXlyov

is

natural gloss
co?

on on

ovSev
oXiyov.

elTvelv,

but

not

SO

ovhev

elirelv

In two other difficult passages

the Rhetoric

may

again be
(

summoned

to our aid.
I

In

xvii. 1.

1455 a 30
edition)

=a

27 Bekk.)

have

(as in the first

bracketed rov

Oearrjv,

the
I

object

to
it,

l^e

supplied with ixdvdavev being, as

poet, not the

take

the

audience.

This

have now

illus-

B
4-4-1

6%

vm
trated

THE POETICS OF ARISTOTLE

by another
i.

gloss of a precisely similar kind

8,

in Rhet.

2.

1358 a

where Xavddvovalv
being

re \Tov<i

uKpoarail has
reading,

long been recognised as the true

suppressed
object

the

not

the

audience but the rhetoricians.

Once more,

in

xxiv.

9.

1460 a 26

= a 23
Se,

Bekk.), where A gives the meaningless aXXov

I

read (as in the

reviser

first

edition) aX?C ovSe, following

the

of

A.

This

reading,

which

was
either

accepted long ago by Vettori, has been strangely

set aside

by the

chief

modern
Se

editors,

who

adopt a variant

dWo

or resort to conjecture,

with the result that

sentence
is

irpoaOelvat at the

end of the

forced

into impossible meanings.

i.

passage in the Rhetoric,

to

2.

1357 a 17

ff.,

appears

me

to determine the question conclusively in

.
. .

favour of dXV ovhe

avdyKT]
37

Trpoadelvai.

The passage runs thus

jMOV,

eav yap

rt

rovrrov 'yvdopi'jrpocrTLOrjcnv

ovSe

Bel

Xeyetv

avTO<;

jap rovro

dKpoaTr]<;, olov

on
ort

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

Ixavov

elirelv

^OXvfXTria

jdp

veviKriKev,

to

S'

otl

aTe(f)aviTrj<i

rd ^OXvpurta, ov8e
iravre';.

Sel

TrpoaOelvai'

yiyvai-

(TKova-i

yap

The general

idea

is

closely

parallel to

our passage of the Poetics, and the

it

expression of

similar

even to the word

ovSe

(where the bare ov might have been expected) in

the duplicated phrase ovSe
delvai.

Bel Xeyetv, ovBe Bel irpoa-

One
i)

difficulty still
is

remains.

to

elvai

yeveaOat

omitted.

The subject To supply it in

PREFACE
thought
is

ix

not,

perhaps,

impossible,

but

it

is

exceedingly harsh, and I have accordingly in this

edition
avariKif)

accepted
<KaKeivo>

Professor
etvai,
rj

Tucker's

conjecture,

yeve(r6at.

The two conjectures of

ought to add, that in
generally I have

my own

above mentioned

are based on or corroborated

by the Arabic. I the Text and Critical Notes

a freer use than before of
see
p.
4).

made

the Arabic version (concerning which

But

it

must be remembered that only detached

passages, literally rendered into Latin in Professor

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

are as yet accessible to those like myself

who

are

not Arabic scholars

and that even

if

the whole

were before us
safely be used

in a literal translation, it could

not

by any one unfamiliar with Syriac

and Arabic, save with the utmost caution and

subject to the advice of experts.

Of the
criticism

precise

value of this
text,

version

for

the

of the

no

final estimate

can yet be made.

But

it

seems clear that

in several passages it carries us

earlier

back to a Greek original

existing

than any of our

MSS.
:

Two

striking instances

may

here

be noted
(1)
i.

6-7. 1447 a 29

ff.,

where the Arabic

confirms Ueberweg's excision of eVoTroa'a and the

insertion

of

avaivv^o<;

before

rv^yavovaa^

accord(see

ing

to the

brilliant

conjecture

of Bernays
p.

Margoliouth, Analecta Orientalia,

47).

X
(2) xxi.

THE POETICS OF ARISTOTLE

1.

1457 a 41

= a 35 Bekk), where
by

for

fiejakcwTcov of the

MSS.

Diels has,

the aid of

the Arabic, restored the word MaaaaXicorcov, and

added a most ingenious and convincing explanation of '^pfioKalKo^avOo^

(see
Crit.

Notes).
first

This

emendation

is

introduced for the

Professor

time into
tells

the present edition.

MargoHouth
eVev^a/iez/o?

me

that Diels' restoration of

is

in

this

passage

confirmed by the fact that the same

Aristotle's

word

is

employed in the Arabic of

result of

Rhetoric to render evx^adai.

Another
established.

great importance has been

fifty

In some

instances where

the

Arabic points to a Greek original diverging from

the text of
A*",

it

confirms the reading found in

'

one or other of the

apographa,' or conjectures

made
a

either at the time of the Renaissance, or in

period.
It

more recent

would be too long to

;

enumerate the passages here

noted as they occur.

they will be found

In most of these examples

the reading attested by the Arabic

commands our
no longer

undoubting
claimed for
I

assent.

It

is,

therefore,

possible to concede to A*' the

it

unique authority

have

consulted

by Vahlen. by the

side

of

Professor
it, e.g.

Margoliouth's book various criticisms of

by

Susemihl in Berl. Phil. Wochenschr. 1891,

p.

1546,

and by Diels
1888,
p. 49.

in

Sitzungsher.
I

der Berl. Akad.

enjoyed the special

But

have

also

'

PREFACE

xi

benefit of private

communication with Professor

difficulties

Margoliouth himself upon a number of

not dealt with in his Analecta Orientalia.

He has
disposal,

most generously put

with a
Arabic

his learning at
it

my

and furnished me, where

was

possible to do so,

literal translation.
is

In some instances the

light on

itself obscure,
;

and throws no

the difficulty

frequently, however, I have been

enabled to indicate in the notes whether the existing text

is

supported by the Arabic or not.

I

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

3.

vi. 7.

1448 a 15, 1450 a 18

/cat

loanrep ot
(

Tovs
8e /3tos>,

a 17 Bekk.), <6
r]

omitting

evSaLiMovias koI

ei'Sat/iOi/ta
.
.

of the

MSS.

xi. 6.

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
.

xviii. 6.

transis

lation

of

the Arabic
of

is

'and

of

this

some
in

compounded
noun 1. 1457 a 41
above,
p. xv.)

significant
it
is

and

insignificant,

only not in so far as

significant

the

xxi.

= a 36

Bekk.), Mao-o-aAtwTwv (see

XXV. 17. 1461 b 14, <Kal

I

icnas

a.8vvaT0V>

hesitate to

add to
1459 a

this

list

of corroborated

conjectures that of Dacier, text of xxiii.

1.

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

THE POETICS OF ARISTOTLE

icrTopiai<;
Ta<; Ta<;
crvv6e<Ti<i,

: :

Xll

ofioi.a<i

for

/cat

/u-r)

6fxoia<i

icrropia^

(7vvr}6ei<i

of the
note,

MSS.
p.

(In defence of
of Aristotle's

the

correction

see

165

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

stories

do not enter) into these compositions

resemble.'

which
There
of the

This version appears to deviate both

from our text and from Dacier's conjecture.

is

nothing here to correspond to

;

a-wqOet'i

MSS.
it
is

on the other hand, though

in the

awdeo-ei^;

may

in

some form have appeared

translation
implies.

Greek

original,

not easy to reconstruct the text which the

Another

conjecture,

comchange

municated privately to
deserves mention.
of
6/ji,o[a<i

me by

Mr. T. M'Vey, well

It involves the simpler

to om9.

The sense then

' ;

is,

'

and must

not be like the ordinary histories

TocovTovi being

the demonstr.
attraction, olac

sunk

in otaf, and,

by

Icrropiai at (7vvrj6ei<i

becoming

oJa? icrTopia<; ra? avvrjdL<i.

I subjoin a

few other notes derived from corres:

pondence with Professor Margoliouth

{a) Passages

where the Arabic confirms the

as against proposed

reading of the
tion
:

MSS.

emenda-

iv. 14.

Arabic,

1449 a 27, iK/JaiVovre? ttJs AeKxt/CTjs apfjbovbas 'when we depart from dialectic com(The meaning, however,
is

position.'

obviously

misunderstood.)
vi.

18.

1450 b 14

= b 12 Bekk), twv ph

Aoywi/

PREFACE
Arabic, 'of the speech.'
sented, but,

xiil

The

/xev

is

not repreof

owing
'

to the Syriac

form

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

Arabic,

'

to prepare the suflferings.'

More doubtful
dirb
tt;?

is xvii. 2.
<pv(T(o<;
:

1455 a 33
Arabic,
'

= a 30

Bekk.),

aur?}?

in

one and the

is

same

nature.'

The Arabic mode of translation

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

conjecture
a7r' avTrj<;
Trj<i

(^ucrect)?,

but rather favours

the former.
(6) Passages

where the conjectural omission of

:

words

is

apparently supported by the Arabic

1451 b 34
(

ix. 9.

= b 31
:

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

Kal SwaTo. yevkcrOai

Arabic,

'

there

is

nothing to

prevent the condition of some things being therein like those

which are supposed to

be.'

But we

can hardly say ^vith certainty which of the two

phrases the Arabic represents.
XVi. 4.

1454 b 34
is

=b

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

l(jityevLa dveyviopLcrev

on Opccm^s:
it

Arabic, 'as in
is

that which

called Iphigeneia,

and that
of

whereThis
first

by Iphigeneia argued that

seems
to

was

Orestes.'

point

to

the

omission

the

'Opf(rTr]<;.

XIV

THE POETICS OF ARISTOTLE

neither
of

In

these

passages,

however,

have

altered the
(c)

MSS.

reading.

Passages on which the Arabic throws no

light

:
i.

9.

1447 b
emerges

22.
is

The only point

to call
is

of

interest that
('

that in the Arabic rendering

of all
is

the metres

we ought
Kal,

him poet

')

there

no trace of
X. 3.

which

found alike in A and

the 'apographa.'

1452 a 22

= a 20
(

Bekk.).

The words

yiyvea-dai

Tavra are simply omitted in the Arabic.

XXV. 18. 1461 b 20

=b

17 Bekk),

oxttc Kal

avrhv
is

MSS.

The

line containing

these words

not

represented in the Arabic.

XXV. 19. 1461 b 22
ovcrrj<;

(
.

=b

19 Bekk.), orav

fii]

dvdyKrj^

fxriSkv

The words

in the Arabic are

partly obliterated, partly corrupt.

In

conclusion,

desire

to

acknowledge

my

obligations to friends, such as Mr. B. Bosanquet

(whose History of Aesthetic ought to be in the hands

of
all

students of the subject), Dr. A.

J.

W.

Verrall,

Mr.

W.

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

W.

Lock,

who have

written

me

notes on particular
criticism I

points,

and to many reviewers by whose

In a special sense
I

have

profited.

am

indebted to
edition

Professor Susemihl for his review of

in

my first

the Berl. Phil. Wochenschr., 28 th September

1895, as well as for the instruction derived from his

numerous

articles

on the Poetics, extending over

many
where.

years in Bursian's Jahreshericht and else-

Among

other reviewers to

whom

feel

PREFACE
grateful, I

XV

would mention Mr. Herbert Richards

in the

Classical Review,
vol. iv.

May
15
;

1895; Mr. R. P.

Hardie in Mind,

No.

and the authors

of the unsigned articles in the

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
1

Analysis
List of Abbreviations

4
6

TEXT AND TRANSLATION

EDITIONS, TRANSLATIONS, ETC.

The
order

following

is

list

of the chief editions

and translations

of the Poetics,

and of other writings

:

relating to this treatise, arranged in chronological

Valla

(G.),

Latin translation.

Venice, 1498. Venice, Aldus, 1508.

of Averroes
{ob.

Aldine text, in Rhetores Graeci.

Latin translation, with the
Arrivabeue, 1515.

summary

1198).

Venice,

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

Alexandrum Paccium,

]jatri-

tium Florentinum, in Latinum convcrsa.

Trincaveli, Greek text.

Venice, Aldus, 1536.

Venice, 1536.
Aristolelis

Robortelli

(Fr.),

In librum

de Arte Poetica explicationes.

Florence, 1548.

Segni

(B.),

Rettorica e Poetica d' Aristotcle tradotte di Greco in lingua

vulgare.

Florence, 1549.
Aristotelis

Maggi (V.) [Madius], In

Venice, 1550.

librum de Poetica

explaiiationes.

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

Arte Poetarum.

Florence, 1560.

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

1576.

Vienna, 1570

Basle,

Piccolomiui (A.), Annotationi nel libro della Poetica

traduttione del medtsivio libro in lingua volgnrc.

d' Aristotcle,

con la

Venice, 1575.

Casaubon (L), edition of

Heinsius (D. ) recensuit.

Aristotle.

Le3Hlen, 1590.

Leyden, 1610.

Goulston
Dacicr,

(T.),

Latin translation.

London, 1623, and Cambridge, 1696.

La

Poitiqnc tradnitc en Franqais, avec des remarques critiques.

Paris, 1692.

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

Vida, de Des-

priaux, avec
Paris, 1771.

les

traductions

et

des remarques

par I'Abbi Batteux.

XX
Winstanley
Reiz,
(T.),

THE POETICS OF ARISTOTLE

commentary on
Liher.
Poetics.

Oxford, 1780.

De Podica
),

Leipzig, 1786,

Metastasio (P.

Estratto dclV Arte Podica d' Aristotele e considerazimii su

Paris, 1782.

la medcsima.

Twining

(T.), Aristotle's

Treatise on Poetry, translated with notes

tJie

07i

the

translation

and on

original,

and two

dissertations on poetical

and
Pye (H.

imisical imitation.

London, 1789.

J.),

Commentary

illustrating the Poetic oj Aristotle hy examples

taken chiefly from the modern poets.

To which

is

corrected edition of the translation of the Poetic.

prefixed a neio and London, 1792.

et

Tyrwhitt

(T.

),

Be

Poetica Liber.

Textum

recensuit, versionem refinxit,

animadversionihios illustravit TJiomas Tyrwldtt.

Oxford, 1794.

Buhle

(J.

T.

recensuit.

Gottingen, 1794.
Leipzig, 1802.

Hermann

(Godfrey),
(E. A.

Ars Poetica cum commentariis.

etc.

Grafenham

W.), De Arte Poetica lihrum denuo recensuit, commenLeipzig, 1821.

tariis illustrai'it,

Raumer
Spengel

(Fr. v.),

Ueher die Poetik des Aristoteles

Berlin, 1829.

und

sein VcrMltniss zu

den ncuern Dramatikcrn.

(L.),

Ueher Aristoteles' Poetik in Abhandlungcn dcr Munchener

philos.-philol. CI. 11.

Akad.
Ritter
(Fr.),

Munich, 1837.
rccognitam,
latine

Ad

codices

antiquos

conversam,

com-

mentario illustratam edidit Franciscus Ritter.

Cologne, 1839.
les Grecs,

Egger (M.

E.),

Essai sur Vhistoire de la Critique chez

et

sidvi de

la PoMiqiie d'Aristote

d'extraits de ses Problemes, avcc traduction Paris, 1849.

frangaise

et

commentaire.

Bernays (Jacob), Gruiidziige der verlorenen Abhandlung des Aristoteles

iiber

Wirkung der
(J. B.),

Tragodie,

Breslau, 1857.
et

Saint-Hilaire

Podtique traduite en frangais

Paris, 1858.

accompagnde de notes

perpituclles.

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

Berlin, 1859.

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

gart, 1860.

Stutt-

Liepert

(J.), Aristoteles ilber

den Zweck der Kunst.

Passau, 1862.

Susemihl
zig,

(F.),

German

translation, with Introduction

and

notes.

Leip-

1865 and 1874.

),

Vahlen
Spengel

(J.

Beitragc zu Aristoteles' Poetik.

Vienna, 1865.

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

Studien IV.

Munich, 1866.

Vahlen

Berlin, 1867.
I.

Teichmiiller (G.), Aristotelische ForscMtngen.

Bcitrage zur Erkldrung

der Poetik des Aristoteles.

Halle, 1869.

II.

Aristoteles' Philosophic der

Kunst.

Ueberweg

(F.),

German

translation and notes,

Berlin, 1869.

EDITIONS, TRANSLATIONS, ETC.

Reiiikens
(J.

XXI
iiber

H. ), Aristoteles

iiber

Kunst,

besonders

Tragodie.

Vienna, 1870,

Doring

(A.),

Die Kunstlehre des

Aristoteles.

Jena, 1870.
codicis antiquissvmi

Ueberweg
Bywater
Vahlen

(F.),

Ars

Poetica

ad fdem potissimum
Berlin, 1870.

A'
ff.

{Parisiensis 174i)(I.),

Aristotelia in Journal of Philology, v. 117

ff.

and

xiv. 40

London and Cambridge, 1873 and

(J.)

1885.
Berlin, 1874.

iterum recensuit

et

adnotatione critica auxit.

Oxford, 1875.

Moore

(E.),

Vahlen's text witli notes.

Leipzig, 1878

Christ (W.) recensuit.

and 1893.
ilbcr die Aristotelische

Bernays (Jacob), Zwei Ahhandlungen

Thcorie des

Drama.

Berlin, 1880.
critical

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

notes and cm-

Wharton

(E. R.), Vahlen's text

(D.),

with English translation.

Oxford, 1883.

Margoliouth

Analecta Oricntalia ad Poeticam Aristoteleam.

Lon-

don, 1887.

Benard (C), L'EstMtique

d'Aristote.

Paris, 1887.
I.

Gomperz

(T.),

Zu

Aristoteles' Poctik,

(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.

Lecture with two

La

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

Nationale.

Preface de

M. Henri Omont.

Photolithographic de

MM.
Carroll

Lumiere.

Paris, 1891.

(M.), Aristotle's

Poetics

in the Light of the Homeric Scholia.

Baltimore, 1895.

Gomperz Gomperz

(T.), Aristoteles' Poetik.

Uebcrsetzt

tnul

eingcleitet.

Leipzig,

1895.
(T.),

Zu

Aristoteles' Poetik, II., III.

Vienna, 1896.

ARISTOTLE'S POETICS

ANALYSIS OF CONTENTS
I.
'

Imitation

'

{iJ.ifj.Tiais)

the

common

principle of the Arts of Poetry,

Music, Dancing, Painting, and Sculpture.

These Arts

dis-

tinguished according to the

Objects,

Medium

or material Vehicle, the

Imitation

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

taken singly or combined.

II.

The Objects
Arts.

of Imitation.
tj'pes are represented in all
is

Higher or lower

the Imitative

In Poetry this

the basis of the distinction between

Tragedy and Comedy.

III.

The Manner
Poetry
narrative

of Imitation.

may

be in form either dramatic narrative, pure

Ijric

(including

poetry),

or

pure

drama.

digression follows on

the

name and
of Poetry.

original

home

of the

Drama.
IV.

The Origin and Development

Psychologically, Poetry
instinct
of

may

be traced to two causes, the

instinct of

Imitation,

and the

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
ated.

successive steps in the history of

Tragedy are enumer-

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
VI. Definition of Tragedy.
Six elements in Tragedy
(6
ttjs
:

three external,
or
oi/'is).

namely,
Lyrical

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

6^ws
;

Kdcrfios

Song

Diction

(X^^s)

three internal,

namely, Plot
ance

Character

{rjdos),

Plot, or the representation of the action,

;

and Thought {dLavoLa). is of primary import-

Character and Thought come next in order,

itself,

VII. The Plot must be a Whole, complete in

and of adequate

magnitude.
VIII. The Plot must be a Unity.
of Hero, but in

Unity of Plot consists not in Unity Unity of Action.

The

parts

must be organically connected.

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

Poetry
ticular.

is

an expression of the Universal, History of the Par-

The

rule of probable or necessary sequence as applied

to the incidents.

Certain plots condemned for want of Unity.

The

best Tragic effects depend on the combination of the

Inevitable and the Unexpected.

X. (Plot continued.)

Definitions

of Simple {air\ol)

and Complex

{ireirXeyfiivoi) Plots.

XI. (Plot continued.)

n-^reia),

Sudden Reversal

or Recoil of the Action {irepi-

Recognition

(dvayvdipLo-Ls),

Incident XII.

(Trddos) defined

and Tragic and explained.

or disastrous

The

'quantitative parts'
:

{/J.ipT]

Kara t6 irocbv) of Tragedy de(Probably an interpolation.)

fined

Prologue,

Episode,

etc.

XIII. (Plot

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.
continued.)
' '

XIV.

(Plot continued. )

The
is

tragic emotions of pity

itself.

and

fear should

spring out of the Plot

To produce them by Scenery

designed
to

or

Spectacular effect

entirely against the spirit of Tragedy.

Examples
emotional

of

Tragic

Incidents

heighten the

effect.

XV. The element

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
XVI.

'

Deus ex Machina
is

'

(a

passage out of place here).

How

Character

idealised.

(Plot continued.)

Recognition

its

various kinds, with examples.

ANALYSIS OF CONTENTS
XVII. Practical
(1)

rules for the Tragic Poet

To

place the scene before his eyes,

parts himself in order to enter into vivid

and to sympathy

act the
A\ith

the

dramatis personae.
(2)

To sketch the bare

fill

outline of the action before proceed-

ing to

in the episodes.

The Episodes
>vith those of

of Tragedy are here incidentally contrasted

Epic Poetry. Poet

XVIII. Further rules

(1)

for the Tragic

To be

careful about the Complication {Uais)

;

and D^-

nov^ement (Mens) of the Plot

(2) (3)

especially the Dinouement.

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

to Epic Poetry.
(4)

like the Dialogue an organic

and Diction
in

part of the whole.

XIX. Thought

(Stdj'ota),

or the Intellectual element,

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.

Diction, or
speech,

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

XXI. Poetic

Diction.
:

The words and modes

of speech

admissible

in Poetry

including Metaphor, in particular.

XXII. (Poetic Diction continued.)

XXIII. Epic Poetry.

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

language with perspicuity.

with Tragedy in Unity of Action

herein

contrasted with History,

XXIV.

(Epic Poetry continued.)

Further points of agreement with

Tragedy.
trated,

The

points of difference are enumerated

(1)

and

illus;

namely,

the length of the

poem

(2)

the metre

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

XXV.

Critical Objections

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

reality.

XXVI. A

general estimate of the comparative worth of Epic Poetry and

Tragedy.

The

alleged defects of Tragedy are not essential to

it.

Its positive merits entitle it to the higher

rank of the two.

ABBEEVIATIONS IN THE CEITICAL NOTES

A<=:

the

Parisian
:

manuscript (1741) of
generally,

the
too

11th
con-

century
fidently,

but

perhaps

supposed to be the archetype from

other extant

which

all

MSS.

directly or in-

directly are derived.

Apogr.

= =

one or more of the MSS. other than

A*^.

Arabs

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

of the middle of the 10th century, a version

independent of our extant MSS.

directly taken from the Greek, but

It is not
is

a trans-

lation of a Syriac version of the Poetics

by an

unknown

author,

now

lost.

(The quotations

in the critical notes are from the literal Latin

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

Mar-

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

longer extant, which was used by the Syriac

translator.

(This
I

symbol already employed

of
therefore,

by Susemihl
brevity.)
It

have taken for the sake

must be remembered,

that the readings ascribed to

are those

which

we
Aid.

infer to

have existed in the Greek exemplar,

from which the Syriac translation was made.

the Aldine edition^of Bhetores Graeci, published

in 1508.

Valilen

Vahlen's text of the Poetics Ed.

3.

Vahlen

coni.

a conjecture of Vahlen, not admitted

by him

into

the text.

words with manuscript authority (including

A*^),

which should be deleted from the

text.

< > =
* *
f

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

I

Uepl
BvvafjLiv

7rot,r}T{,K'f]<;

avrrj^;

re Kal rcov elScov avrrj^,

rjV

rcva

GKaarov

e^6i, koX ttw? hel crvvicrTaadat rov'i fivOovi

rj

lo el fieWec /caXco? e^eiv

TTOLcov
avTrj<;

iroi7]aL<i,

en

he eK Troacov Kal

earl fiopicov, ofiOLw; he Kal irepl twv

dWcov oaa

t?}?

iari fieOoBov, \ey(o/j,ev ap^d/xevot Kara ^vaiv irpoiTrpcoTcov.

Tov airo Twv

7rol7jcrt<;
1 5

eiroTTOLia hrj Kal

rj

r]

Trj<i

rpa'ywhia'i 2
Trj<;

en
77

he Kco/xtphia Kal
ifKeicxrri

hiOvpa/ji/BoTroLrjnKT] Kal

avXr^nKTi^
ovcrac
;7

Kal KiOapicrnKrj'i iraaai rvy^dvovaiv

fxi/jitjaetf;

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

erepoi<;
/jULfxelaOat
rj

jdp tS
Kal
fMrj

ev

tw erepa

rj

tm

ere-

pa)<;

tov avrov rpoirov.

wcrirep <yap Kal '^pwfiacn 4

(ol fxev
(J3C0VT]<i,

Kal
20 hia

(T'^ijfiaaL
Tep^i/77? ol

ttoWo, jiipLovvTai nve^ direiKai^ovre^

he htd <7vvrj6eia<;), erepoi he hid t?}?
elpr)fxevai,<;

ovTco Kav Tat<i

rrjv
rj

re^yat?- aTraaat

fjuev

iroiOVvraL

fjLifj,r}cnv
rj

ev pvOjxcp Kal \oya> Kal dp/jLovta, TovToi<i S'

')(wpl<i

fxefityfievoi'^'

olov dpfiovla jxev Kal pvdfiM

XP^'
Xiyofiev
17. to!

A'^

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

12.

"K^yu/j-ev

apogr.

et

dicimus' Arabs.
:

iv

Forchhammer
: '

'imitatur rebus diversis' Arabs

rcDi yevei.

A.'^.

20.

(pijivris

per sonos
:

21.

/cat

iv apogr.

Arabs (piaeus Maggi koL A kKv Aid.

'

5t'

avrrts r^s ^i^crews

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
into

poem

the
is

number and nature

;

of the

parts of which a
else falls

poem

composed

and similarly into whatever

within the same inquiry.

nature,
first.

Following, then, the order of

let

us

begin

with the principles which come

Epic poetry and Tragedy, Comedy also and dithyrambic 2

poetry,

and the music

of

the flute and of the lyre in

most of

their forms, are all in their general conception

of

modes

imitation.

They

differ,

however, from one 3

another in three respects,

the medium, the objects, the

manner
distinct.

or

mode

of

imitation,

being

in

each

case

For as there are persons who, by conscious

art

or 4

mere
the

habit, imitate

and represent various objects through

and form, or again by the voice

medium
is

of colour

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

imitation

produced by rhythm, language, or

'

harmony,'

either singly or combined.

8
jjbevai

I.

49.

1447 a

241447 b
rj

22
rcve'i
rj

fiovov

rf

re avKrjriKrj koi

KLdapcaTiKr) kclv el

25 erepat

Tvyydvovatv

ovcrat rotavrac ttjv Bwafitv, olov

rayv

avpLyycov, avTa> Se
77

tw

pvdjxu) \^ixLfxovvTai\ %&>/5t9 app.ovla<i 5

T03V op')(7}aTwv, Kol

jap ovTOi
tjOtj

hiQ,

Toiv cr'^7]/jiaTi^ofjievo3v
irpci^ei'^'
r)

\^\^^,
1447 b

pvOjxwv fiL/xovvrai koI

koL iradr] koX

-v|ri\ot9
i)

he

<o

[eVoTTOi/a] fiovov rol'i \070t9

rot'?

fxerpoL^ koX tov-

Tot9
tS)v

e'lre

payvvaa

pier ctXki^Xwv

eW^ evi tlvl yevei '^pwp.evT)

p^e-^pt

fierpcov,

<ava)vv/iio<s>
')(OLpiev

rv'y')(^dvovaa

rod

vvv
kol

10 ovSev <yap

av

ovop^daat kolvov tov<;

S(0(f)povo<i

aevdpyov

p,ip,ov<;
i)

koX tou? %a)KpaTiKov<i \070f9, ovBe et

eXeyelcov
rj

Tt9 Bid TptpLerpcov

roiv

dWcov

TivoiV rSiV rotov-

r(ov TTOioiTo TTJV p^lpbrjcnv' ifkrjv ol dvOpcoirolye avvd7rTovre<;

T(p p^irpo)
I c

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

^ovaiv, ov'^ 0)9

Kara

rrjv pblp^rjaLV ironjTa^

dWa Koivfj
i]

Kara

TO fieTpov 7rpo(7a<yopevovTe<;.
Tt Bed

Kal yap dv laTpuKOV

(fjvcrcKov 8

Twv pberpwv eK^epwcnv,

ovtco KoXecv eldoOacrcv ovBev

Be KOLVOV eaTLV 'OpLrjpw kuI 'E/xTreSo/cXet irXrjv to pceTpov Blo

Tov
20 ^

p^ev TTOLijTrjv

BiKaiov KaXeiv, tov Be (pvcrioXoyov

p^dWov
pbtyvvcov 9

7rotr]Tr]V'

op.olw'i Be
pLLp,7](Ttv

Kav

et

Ti9 drravTa

Td pbeTpa
eTToirjcre

TTOLOiTO Trjv

Kaddirep ^aip7]p,Q)v
e'f

Kei^raw-

pov

pbiKTrjv pa-drcpBlav

d'TvdvTCOv tCov p,eTpa)v, Kat

tovtov
habuit

25. Tiryxdi'ouiTij' apogr.

rvyxo^viocTLv A'^.

ToiavraL add. apogr.

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

<xa.pi-icTepoi>

Gomperz
:

ol

<xapt^j'Tes> Zeller.
seclus.

6pxv<^TpQiv

male (Margoliouth).
\pCko2s

29.

iivoTvoda

Ueberweg,

cm. iam S.

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

15.

Karh,
'

ttjv

apogr,
'

ttjv

Karot

A=.

16.
'

(pvaiKbv

Heinsius
:

'

re

physica
codd.

Arabs.
22.

Idem
om.
A<=,

praestat

Averroes

(Margoliouth)

fiovaiKdv

IJ.LKTTJV
:

pllkttjv
:

pafqiSiav delere voluit Tyrwhitt.

:

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

ofJLoiios

5^

TUP

ixiTpusv

post 12

Toio{)T(j}v

collocat,

commate ad tolo^tuv

ARISTOTLE'S POETICS

I.

49
lyre,

Thus

in the

music of the

flute
;

and the

'harmony'

and rhythm alone are employed

as

also in other arts, such

that of

the
these.

shepherd's

pipe,

which are essentially

alone
is

similar to

In dancing, rhythm
'

used 5

without

'

harmony

for

even dancing imitates character,

There
6

emotion, and
is

action,

by rhythmical movement.

another

art

which imitates by means of language

either in

alone,
1447 b

and
again,

that

prose

or

verse

which
or

verse,

may

either

combine

different

metres

consist

of

but

one

kind

but this has hitherto been

without a name.

For there
the

is

no

common term we
hand
on

could apply to 7

mimes

of Sophron and Xenarchus and the Socratic

dialogues
poetic

on

the

one
in

and,

the
or

other,

to

imitations

iambic,

elegiac,

any
'

similar
'

metre.
*

People
to the

do,

indeed, add
of

the

word

maker

or

poet

'

name
is,

the metre, and speak of elegiac

if
it

poets, or epic (that

hexameter) poets, as

were not

the imitation
entitles

that
all

makes the

poet, but the verse that

them

indiscriminately to

the name.
is

Even
brought
to the

when

a treatise on medicine or natural science

out in verse, the

name

of poet

is

by custom given

author

and yet Homer and Empedocles have nothing in

but the metre, so that
it

common
call

would be

right to

the one poet, the other physicist rather than poet.

On

the same principle, even

if

a writer

in

his

poetic 9

imitation were to combine all metres, as

in his Centaur,

Chaeremon did

which

is

a medley composed of metres

10
TToiTjTTjp

I.

II.

4.

1447 b 23
irepl
Tiv6<;

1448

a 15
Bi(opL(r6co
Tot<; elprj-

Trpocrayopevreov.

fjLev

ovv tovtcov

TovTOv TOP rpoirov elal Be

25
fjbevot<;,
ri

at iraai, '^pSivrai

10

Xeyo) Be olov pvdfiS Kot fieXei koX fxerpw, wcrirep

Bcdvpafju^cKcov
1)

re

rwv

7roLr)crc<;

Kal

77

tojv voficov Koi

rj

T TpajoyBla Kal
a/xa iraaiv al Be
Bta(f)opa<;

KcofMcpBla'
fiepo'i.

Bia^epovcn Be

on

al fxev

Kara

ravra^

fiev

ovv Xejco ra?

puijjb'qcnv.

rwv

Te')(yS)V, ev

oh

iroLovvrat rrjv

II

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

TOVTOvi

rj

cTTTOvBalovi

rj

(f)av\ov<; elvat

{rd yap

r]6r)

a'^eBbv
ridrj

del Tovroi^ dKoXovdel

fjL0V0i,<;,

KaKca yap Kal dperfj rd

rj

Bia^epovcn
5 rj

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

ypa(f)ei<i'

Ka6'

r}fjbd<i rj

'^eipova'i

Kal roLOvrovi, coaTrep ol

TLoXvyvforo'i [xev

yap

Kpelrrov;, Uavcrcov Be
BrjXov Be

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

e'lKa^ev
e^ei 2

on

Kal

rwv Xe-^detawv
Kal ydp ev

eKdcrrr]

jjLiixrja-eoiv

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

rovrov rov rporrov.

10 KiOaplaei
irepl rov<i

op'X^rjcrei

Kal avKrjaei Kal 3 Kal [ro]

'

ean yeveaOaL ravra^

Xoyov; Be Kal

rd<; dvo/xoLorrjra'i'

rrjv y^ikoiierpiav, olov

Op,rjpo<i

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

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

%dcno<i o
rrjv ArjXo-

Kal l^iKO'^dpr)^

dBa
15

')(eipov<;'

ojjloiw^ Be

Kal irepl

rov'i Bi6vpdfj,/3ov^

Kal irepl 4

rov^

v6/jL0v<i, oiCTTrep

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

^4X0-

posito, deleto 13 ttoloito tt^v

fj.i/j.7i(nv

et 22 Kal

ttoltjttjv

sic

efficitur

ut

verbis ovK
'

(pvaioXoyov
Kal

ijdr]

Aid.,
'

/xdWou ^ Bekker.
29.

iroLy]rT}v

TrpocrayopevTeov concludatur locus

24. at

Gryph.
a?s A<=.

at

apogr.

ol

A<=

homines qui Arabs.

:

26.

diOvpafx^wy apogr.
:

28. wacrai apogr.

odv apogr.
.

ov A^.

oh Vettori
.

1448 a
7.
St]

3.

Kadq.
8.

dper^ apogr., 2:
:

KaKia
12.
6

dperr] A^.

Morel.

T<f

apogr.

to
'

A<=.

ante rds add. apogr.

'

13.

rpayipSlas ut
A<=

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

15.

ibcrirep

oi toi>s
:

coni.

codd.

ilxTirep

Margoliouth 'Apyas Castelvetro

:

iocnrep ovrcos
:

ut videtur
:

&(nrep ya.%

ws Il^po-as Vettori

Hxrirep

yap

coni.

Vahlen.

ARISTOTLE'S POETICS I
of all kinds,

9 II.

H
general

term poet.
There

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

are,

some

arts

which employ
rhythm,

all

the 10

means above mentioned,

metre.
also

namely,

tune

and

Such are dithyrambic and nomic poetry, and

and
that

Tragedy
is,

Comedy
in

but

between

them the

difference

the

first

two cases these means

are all employed in combination, in the latter,

now one

means

is

employed,

now

another.

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

to the

medium

of imitation.

II ^^^ *

Since the objects of imitation are

these
(for

men

in action,

and

men must

be either of a higher or a lower type

moral character mainly answers to these divisions,

badness being the distinguishing marks
it

goodness and
of

moral

differences),

follows that

we must

represent

men

either as better than in real

It is

life,

or as worse, or

as they are.

the same in painting.

Polygnotus
as
less

depicted

men
it is

as

nobler

than they
to

are,
life.

Pauson

noble, Dionysius

drew them true

Now
come

evident that each of the modes of imitation 2

above mentioned will exhibit these differences, and bea distinct kind in imitating objects that are thus
Sucli diversities

distinct.

may

be found even in dancing, 3

flute-playing,

and lyre-playing.

So again in language,

whether prose or verse unaccompanied by music.

for example,

Homer,
Cleophon
of

makes men
;

better than they are

as

they are

Hegemon

the

Thasian,

the

inventor

parodies,

and Nicochares, the author of the Deliad, worse

are.
;

than they

The same thing holds good

of

dithyrambs 4

and nomes

here too one

may

portray dilfereut types, as

12

II.

4111.

3-

1448 a

1637
rj

^vo<i[, fjLifi7](TaLT0

av

Tt?]'

iv rrj avrfj he 8iac})opa kul

TpajfoSla
/30V9
?;

7r/3o<?

rrjv Kco/MOiSlav

SieaTrjKev,

rj

fiev '^/ap

p^^et-

8e ySeA-Tiou? /jLLfxeladat
he tovtcov
civ

^ovkerat tmv vvv.

to
g)?

Ill

en

rpLrrj

Bt,a(f)opa

eKaara rovrcov
kol ra avra

20

fJajJuy'icraiTO

Ta.

koI yap iv
fxev

roi<i avTol<;
(?)

/jit/j.ei(T6ai

eariv ore

aTrayyeWovra
rj

erepov

n yiyvofir)

fievov, cocTTrep "Ofi7jpo<; iroiel,

eo?

rov avrov kol

fiera-

^aXXovTo),

i]

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

fit/Jbov/jbivovi].

iv Tpial

hrj

ravraci

Bia(f>opat<;

r)

/xi/jirjai'i

25 icTTLV, &)? eiTTOfiev

TT] fiev

KOT

dpya<i, iv

oh

re kol a koI

c5<?.

ware

6 avTO<i

av

ecr) fiLfxrjrr}^ '0/jirjpfp

So^o/c\?}?, jJupbOvvTaL

yap

dfi(f>co

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

yap

fiLfiovvrac Kal hp(t)VTa<i dficpco.

66ev Kal hpa/iara KaXec- 3

hpa)vra<i.

aOal

TLve<;

avrd

c^acnv,

on

/XL/Jbovvrac

hto Kal

30 dvTLiroiovvTaL t^? re rpaywhla^ Kal

ptet? (tj}9 ixev
ft)9

rrj<;

KWfi(phia<i ol Atao'i

yap

Kcofiq)hLa<i

ol

Meyapet'i

re ivravOa

eVt

Tr;?

Trap"

avToh

Bi]/jbOKpaTia<i yevo/u,evr)(;,
^Ei7rL'^ap/uL0<i

Kal ol iK

%iKe\la<i,

iKeWev yap

rjv

TrotT/r?)?
rrj^;

ttoWS
cnj/jbeLov

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

Tpay(phla<i

35 evioc

rwv

iv UeXoTTovvijcra))

TTotovfxevoL

ra ovopLara

avTol

fiev

yap

K(i)/jLa<;

Td<i irepiOiKiha^.

KaXelv ^aaiv, ^Adrj-

vaiov; he

hijfxov^, (09 Kcoix(phov<;

ouk dirb tov Kcofid^etv \e-

16.

[pLifirjaairo

dv

tis]
'

secl.

coni.

Vahlen.

rrj

aiV^ 5^ Vettori
:

'in

eadem discrepantia Arabs:

18. TWJ' w;'

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.
.

Margoliouth.

tl

seclus.
:

Zeller,

Spengel.

23.

iravras

fort,

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

tovs
25.

/xLixov/xevov^
&.

Pro Kal
35.

xal

aij,

<o'>
:

^vioi

Bywater.

36.

aiirol et 'Adijvalovs
:

Spengel

(cf.

1460 b 38)
: '

'Adrivaiovs

iam editio Oxoniensis 1760 Wilamowitz, Gomperz.

odroi et

dd-qvaloi codd.

Adijvawi tuentur


ARISTOTLE'S POETICS
II.

4111.

13

Timotheus and Philoxenus differed in representing the

Cyclopes.

The same
for

distinction

marks

off

Tragedy from

Comedy
Tragedy
Ill

Comedy aims

at representing
life.

men

as worse,

as better
is still

than in actual

There

a third difference

the

manner

in

which

each of these objects

may
in

be imitated.

For the medium

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

another personality as
person,

which Homer unchanged may

by narration
or he

may
own

case he can either take

does, or speak in his

present

all

his characters

as living

and moving before

us.

These, then, as

we

said

at

the

beginning, are

the 2

three differences \vhich distinguish artistic imitation,

the medium, the objects, and the manner.

So that from

one point of view, Sophocles

is

kind

as
;

Homer

character

from another point

for

as Aristophanes
doing.
to

an imitator of the same

higher
types
of

for

both

imitate

of view, of the

same kind

both imitate persons acting and

say, the

Hence, some

name

of

'

drama

'

is

given 3

such poems, as representing action.

For the same

reason the Dorians claim the invention both of Tragedy

and Comedy.
the Megarians,
allege that
it

The claim

to

Comedy

is

put forward by

not only by those of Greece proper,

who
by
is

originated under their democracy, but also

the Megarians of Sicily, for the poet Epicharmus,

who

much
the

earlier

than Chionides and Magnes, belonged to that

is

country.

Tragedy too

claimed by certain Dorians of

case

Peloponnese.

In

each

they appeal

to

the

evidence of language.
called K(o/xat,

Villages, they say, are

Bijfioi
:

by them

by the Athenians

and they assume

Kcofj,d^eiv,
'

that Comedians were so

named not from

to

U
')(6evTa<i
1448 b

III.

3 IV.
rf]

6.

1448 a
K(ofia<;

381448 b

23
e/c

aXka

Kara

ifkavrj dTCfu,a^o/xevov<;
fxev

Tov aaTew<i, koX to

iroueiv

avTol
irepl

hpav,

Ad7)vaiov<; 8e

TTpaTreiv irpoaa/yopeveiv.

fiev

ovv

twv Siaipopwv 4

Kal iToaaL koX

TLV6<i rrj'i

/jLi/xi](Teoi<;

elprjaOco ravra.

lY
5

eoUacn
TLve<i
Tol<i

Se yevvrjcrat

/juev

oXo)? rrjv "TrotTjTiKijv alrlaL Svo

Koi avrai ^vaiKaL

dv6pco7rot<?

to re yap
ecTTi,

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

eK

Tralhcov

koI tovtm Siacpepovcrc

Ttav
crei?

aW(ov

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

iroielTai

Sea

/jbtfJi^(Tco<i

ra?

irpoiTa'i,

koX to yaipeiv

Tot? imLi^jxacn 7rdvTa<;.

10 eVt
T(t)V

arjixelov he

tovtov to av/M/Salvov .3
tovtcov Ta<;\
I

epycov a yap avTo,

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

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

OripLwv re

/xopcftd'i

twv dTC/moTdToov Kal

veKpoiv.

a'cTiov Se;4
'
i

Kal TovTov, OTi jxavOdvecv ov /xovov

dXA,a
15
KOA, T0t<;

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

aXXoi<;

oyu-otcu?,

dXX,

iirl

/Bpa'^v Koivcovovaiv'
elKOva'? 6po)VTe<i,

avTov.

Sid

yap tovto '^aipovac ra?

OTcb

avji^aivei,

dewpovvTa^ p,av6dveiv Kal crvWoyi^eadai

ovTO^
eKelvo<i,

tl 6Ka-

(JTOV, olov OTi

inel idv
rjhovrjv

firj Tii'^rj

TrpoecopaKco'i,

ou^

97

fji[fM7)/j,a
rj

7roci]creL
i)

ttjv

dXkd

Sid ttjv drrrep-

yacriav

t7]v

'^poidv

Scd TOiavTijv Tivd

dWrjv
Trj<i

aiTiav.

20 KaTa

(f)V(TLV Srj

6pto<; rjfxcv

TOv

fiLfxeicrdac

Kal

dp/xovia<i 6
pvd/juojv

Kai TOV pvOfjbov, Ta yap /xeTpa otc

iaTC (J3avp6v, ef
dp'^fj'i Trec^u/core?

fxopia

tcov

Kal avTa fjbdXtaTa KaTa

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

1448 b
Arabs.

1.

Kal TO Tvoieiv
5.

Trpoaayopeveii'
:

om. Arabs.
13.

4.
:

oXcos

om.

avrai apogr.
:

ai^rat A'^.
:

tovtov apogr.
:

confirmat
codd.

Arabs
rriv

tovto A"^

[kuI toijtov] Zeller

18.

Kal [tovtov] Spengel

Kal <:\6yos>
:

To^jTov Bonitz,
TjdovTjv

ovx V Hermann, iaru S, ut videtnr

20.
,

oi'xt
:

om. Arabs.
:

5??

coni.
:

Vahlen
avTO, Kal

(Beitr.)

5^
:

codd.
aiiTcc

22.

Kal airra

irpbs

avTa Aid.

Bekker

els

Gomperz

Kal

post yudXtcrra traiciendum esse coni. Susemihl.

ARISTOTLE'S POETICS HI.

revel,'

3 IV.

15

but because they wandered from village to village

K(o/xa<;),

{Kara
144S b city.

being excluded contemptuously from the

also that the

They add

Dorian Nvord

for

'

doing

'

is

Spdv,

and the Athenian,

irpdrrecv.

This
various
lA"

may

suffice as to the

number and nature

of the 4

modes

of imitation.

Poetry in general seems to have sprung from two

causes, each of

them lying deep

in our nature.

First, the 2

instinct of imitation is implanted in

man from
;

childhood,

one difference between him and other animals being that

he

is

the most imitative of living creatures

learns
his earliest
felt

and through

imitation he
universal
is

lessons

and no

less

the pleasure
of
this

in things imitated.

We

have

evidence

in

the

facts

of

experience.

Objects which in themselves

delight
to
:

contemplate

we view with pain, we when reproduced with minute

of this again

fidehty

such as the forms of the most ignoble animals

and

of

dead bodies.

The cause

is,

that to 4

learn gives the liveliest pleasure, not only to philosophers

but

to

men
is

in

general

whose capacity, however, of

learning

more

limited.
is,

Thus the reason why men

that in contemplating
it

enjoy seeing a likeness

they

find themselves learning or inferring,

'

and saying perhaps,

to

Ah, that

is

he.'

For

if

you happen not

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.

'

Xext, 6

there

is

the instinct for

harmony

'

and rhythm, metres

Persons, therefore,

being manifestly sections of rhythm.

starting with this natural gift developed

by degrees

their

16
^laafMarcov.

IV.

II-

1448 b 24

1449 ^

SieaTrdcrdr} 8e

Kara ra oiKela

ijOrj

rj

iroliqaL'i- 7

25 ol fiev

yap ae/xvorepoL ra? /caXa?

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

ra? T(yy tocovtcov,

Tov

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

\lr6jov<i 7rocovvre<i,

wcnrep arepoc v/xvovi Kol ijKcofMLa.

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

TTOiTjfia,

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

iv

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

oh

kol

TO dpfxoTTOv

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

koX la/x^elov KadXX.i]\ov<i-

\etTai vvv, OTi iv

tm

i^erptp

tovtw Idfi^i^ov

koI 9

iyevovTO tcov irdXaccov ol fxev

rai.
oio-irep he

rjpcoiKcov ol Be Id/ji/Scov iroirj7rot7]Tr}'i"Ofji,r)po<;

koL

to,

crTrovSata /xdXcara

35 ^v, fi6vo<;
TiKa<i

yap

ov'^

on ev dW<d>
ovTCt)<;

[pri] Koi fxt/Mtjaea Bpafiat?}?

KOiix(phia<i

i'TToirjcyev,

Kal

ra

(X'yfjixaTa

irpwTO'i
irotrjcra'i
1449

vTTeBeL^ev, ov -^oyov

dWd

to yeXoiov hpafxaroe^ei, wairep

yap Map-ytT?;? dvdXoyov

7r/3o?

'IXta9
7rpb<i

Kal

rj

^OBvaaeia

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

T7]<;

Ta9

KO)ix(phla<i.

'Trapa^aveicrri'i he

Tpay(ph[a<i Kal kco- 10

6p/ji(0VTe<i

/x,(phia<;

ol

i(f>^

eKarepav
fjuev

rrjv

Troirjcriv

Kara

rrjv

OLKelav (f>vcnv ol
5

dvrl twv Id/m^cov KWfjbwhoTToiol iyeeiroiv

vovTo,

ol

he

dvrl rwv

TpaywhohthdaKoXoi hid to
elvat
rj

fiel^ova Kal evn/xoTepa

ra a'^^p.ara
el

ravra eKelvwv.
Tpayaihla rot? 11

TO fiev ovv iiTiaKO'irelv

dp"

e'^^et

rjhrj

27.

drepoL
:

Spengel

erepot

codd.

30.

Kal

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,
to Poetry.
till

6 il

17

their rude improvisations gave birth

Poetry
the

now

diverged in two directions, according to 7

character
of

individual

the writers.

The graver
actions of

spirits

imitated

noble

actions,
trivial

and

the

good men.
of

The more
persons,

sort imitated the actions

meaner

at

first

composing

satires,

as

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

though

many

such writers probably there were.

cited,

But

from Homer onward, instances can be

Margites, for

his

own

example, and other similar compositions.

also here introduced
;

The appropriate metre was

the measure
is
still

hence

called

the

iambic or lampooning

measure, being that

another.

in

which people lampooned

one
as 9

Thus the older poets were distinguished

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

imitations, so he too first laid

down
a

the

main

lines

of

Comedy, by dramatising the

His Margites
Iliad

ludicrous instead of writing personal satire.

1449

bears the same relation to

Comedy

that the

and

Odyssey do to Tragedy.

But when Tragedy and Comedy 10

still

came
their

to

light,

the two classes of poets

followed

natural bent:

the lampooners became writers of

Comedy,

and

the

Epic

poets

were

succeeded

by

Tragedians,

since

the drama was a

larger

and higher

form of

art.

Whether Tragedy has

as

yet

perfected

its

proper

18
elBecTLv iKava)<;

IV.

II 15-

1449 a

828
i)

?)

ov,

avro re Kad^ avro Kpiverat

Xo<yo<;.

[val]

Kol TTpo^ ra Oearpa, aWo<i

10
ap'^rj'i

yevo/jievT}
rj

< S' > ovv

rj

air
fxev

avToa'^ehiaariKri, koX avrrj koL

Si,dvpa/x/3ov,

Kcoixwhta, koX

uTTo
Xlkcl

Twv i^ap'^ovTcov Tov

a

rj

Se airo

twv ra

(fioX-

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

ixi^ofjieva,

Kara

/xtKpov

rjv^i'jdrj

irpoa'yovrwv ocrov iylyvero

rj

(j)avepov avrr}<i, Kal

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

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

Kal to 13

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

eh Svo

tt/owto?

AtV^u-

X09

Yj'ya'ye

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

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

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

ert

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

o^\re

20

^eco<; <ye\oLa<;

Sia ro eK aarvpiKov jxerajBaXelv

arre-

(jeiivvvdrj.

ro re fjuerpov eK rerpafxerpov lapLJBelov ejevero'

(xarvpiKrjv
jevofMevr]';

ro

/J,ev

yap irpwrov rerpafierpa> e^pf^vro hia ro

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

avrrj
rj

(J)V(tl<;

ro oiKelov fxerpov evpe, fMoXicrra yap \eKri-

25 Kov roiv fMerpcov rb lafi/Selbv

TrKelcrra

eariv
ev
rfj

a-tjfjbelov

he

rovrov
rfj

yap

lafi/Beta Xeyofiev

StaXeKro)

7rpo9

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

rcKrj<i

t?}? Xe/c-

dpjxovia^.

en
Kal A<=
[yal.'\
:

he eTTeKTohicov rrXtjOrj.

Kal ra
Kpivai

aXV
Forchrj

15

8.

KpLverai.
:

vai.

Kpiverai dvai Kal apogr.

/cat

Kal
elvai

hammer

Kplverai ^

Bursian

fort.

leg.

Kpiverat

Kal.

Habuit S, ut videtur,
goliouth).
oSv Bekker.
9.

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

(Mard'

-yevofiivr)

odf apogr.

yevo/jihTjs

odv A<=

yevo/ji^vr)

10.

avToa-xeSLaa-riKri apogr.,
:

A.
Siafjihei

11. 0a\Xt/cd apogr.

(pavWiKo. A'^
19.

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

:

apogr.:
:

diafjL^veiv

A.

X^^ews

'orationes' Arabs,

i.e.

\e|ets

<
:

r/

X^^ts iK

>

X^^ews Christ.

Omissum

vocab. collato Arabe id

esse

e^d/j.Tpa

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

Rbet.
ttXtj^i?

8.

arifieiov

28

1408 b 32)
apfxovias

punctum

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

fiXXa

oh Hermann.

ARISTOTLE'S POETICS IV.

types or not
in
relation
;

ii 14
itself,

19
or

and whether
to

it is

to

be judged in

also

the
it

audience,

this

raises

another

question.

Be

that as

may, Tragedy

as also

Comedy

12

was
our

at first

mere improvisation.

The one

originated

with the leaders of the dithyramb, the other with those

of the phallic songs,
cities.

which are

still

in use in

many
;

of

Tragedy advanced by slow degrees

each

new element

that showed itself was in turn developed.

it

Having passed through many changes,

form, and there
it

found

its

natural

stopped,

Aeschylus

first

introduced a second actor; he dimin- 13

ished the importance of the

Chorus, and assigned the

leading part to the dialogue.

of actors to three,
till

Sophocles raised the number

It
for

and added scene-painting.

plot

was not 14
one of

late

that the short

was discarded

greater compass, and the grotesque diction of the earlier

satyric

form

for the

stately

manner

of Tragedy.

The

iambic measure then replaced the

trochaic

tetrameter,

which was originally employed when the poetry was of

the satyric order, and had greater affinities with dancing.

Once dialogue had come

appropriate measure.

in,

Nature herself discovered the

is,

For the iambic

:

of all measures,
fact

the most colloquial

we

see

it

in the

that

con-

versational speech runs into iambic form

more frequently

than into any other kind of verse

rarely into hexameters,

and only when we drop the colloquial intonation.

The

number
other

of

'

episodes

'

or acts

was
of

also increased,

and the
tells.

embellishments

added,

which

tradition

20
ft)?

IV. 15

V.

4-

1449 ^ 29

1449
earco

b 11
rjfMLV

CKaara

Kocrfir]6r]vat
to-o)?

Xeyerai
eir}

elprjjxeva'

30 TToXv 'yap av

epjov
icrrlv

Bie^ievat

KaO^ eKaa-rov.

1^

Se

KcofimSla
/xev,

wcnrep

eLirojxev

fiifirjcnf;

<pav-

Xorepcov

ov fievroi Kara iraaav KaKtav,

<y\otov fMoptov

aXXa tov

alcT'^pov iarc to

to yap yeXolov iaTtv

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
St'
1449 b

6Svvr)<;.

al

fjuev

ovv

Trj<i

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

tj

wv iyevovTO ov

XeX-qdaaiv,

Be Kco/xcpSia Bed to

firj

(TirovBdi^eaOai i^
o-x^re

dp'^fj<i

ekaOev Kal yap

')(ppov KcofjiaiBwv
rjcrav.
7]8r]

TTore 6 dp'^^cov eBcoKev,

dW'

edeXovTol

Be

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

p,vrifiovevovTat.
5
7j

Ti<;

Be irpocrunra direBwKev

rj

irpoXoyov^ 3
to Be
dp')(fj<;

irXrjdrj

vwoKpiTOiv Kal oaa TOiavTa, rjyvorjTat.

fjuvdovi TTOielv ['E7rt^ap/i09

/c

Kal

^6p/jLL<;]

to

fxev

ef

ScKeXla'i rfkOe,
t7]<;
r]

tmv

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

lBea<;

d<pefjbevo<;

lafiBifC7]<i

KaOokov
tj}

iroielv \6yov<i
/^ep^/Oi fJ^ev

Kal

fiv6ov<;.

fxev

ovv eiroiroua

TpayutBia

tov 4

10 fieTa fieTpov [/leydXov]

fiifiTjcrif;

elvac arirovBaioiv rjKoXov-

6r]aev
29. irepl

T(f

Be to jJueTpov dirkovv e-^eiv Kal dirayyeXiav

/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
:

dW

'

etridicula' Arabs
aiffxpoO
lect.

(Margoliouth),
ioTt.

i.e.

dXXd

[j.6vov

fibpibv

Kal

Tb

ye\o?ov
(1)

(Susemihl),

conflatum esse censet Susemihl

oXiyoi p-h
:

TOV aiffxpov, (2) dXXd tov alcrxpov

ol \ey6fievoi
:

fj.6pi,6v

dXXd /xdpiov {cm Kal Tb yeXolov.

:

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

rb yeXoiop

1449 b

3. 4.

ol

Castelvetro
:

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

6.

TTpoXbyovs A'^
#6p/its seclus.

irpbXoyov Christ

\6yovs

Hermann.

''Ewlxo-pp-os Kal

Susemihl

< iKeWev

yap

TJcrTT]v

>

'E-n-LxO'pt^os

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^
:

< iv

prjKei.

TOV M^Tpij} Tyrwhitt

10.

m^XP'

P^bi'ov

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

Ueberweg.

Pro p.eydXov codd.,

p.eTd

Xbyov Aid.

et,

ut videtur, 2.

ARISTOTLE'S POETICS IV.

These we need not here discuss
;

15 V.

21

to

enter into

them

in 15

detail would, doubtless, be a large undertaking.

Comedy

is,

as

we have

said,

an imitation of characters

of a lower type,

or

not, however, in the full sense of the

word bad, the Ludicrous being merely a subdivision of

the ugly.
is

It consists in

some defect
To

or ugliness

which

not

painful

destructive.
is

take

an

obvious

example, the comic mask

not imply pain.

ugly and distorted, but does

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

at first

treated seriously.

It was late before the Archon granted

;

a comic chorus to a poet

the performers were

till

then

voluntary.

Comedy had

already taken definite shape

are heard
of.

when comic

poets, distinctively so called,

Who

introduced masks, or prologues,

of actors,

or

increased

the 3

number

As

these and other similar details refor the plot, it

main unknown.
Sicily
;

came

originally
first

from
who,

but of Athenian writers Crates was the

'

abandoning the
his

iambic

'

or

lampooning form, generalised

themes and

plots.

Epic poetry agrees with Tragedy in so

far as it is

an 4

imitation in verse of characters of a higher type.

differ, in

They

that Epic poetry admits but one kind of metre,

narrative
in

and

is

form.

They

differ,

again, in

the

22
elvat, TavTT)

V.

4 VI.

4.

1449 b
'in he

1235
jxi^KeL,

hia^epovcnv

tm

<e7re\>

-q

fiev
rj

OTC fMoktcrra 'Treipdrat fiLKpov i^aXkaTTeiv,

15 Koi
r]

viro fjiiav

irepiohov rfkiov elvat

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

TOVTO) hia(f>epef

Kairoi to irpwrov
rol<i

6fMoioo<;

ev

ral^
S'

Tpaya>hiai<;
ecrrl
6crTL<;

rovro eTroiovv koI ev

ravrd,
to,

enreaLv.

fjiepv

ra

jiev

he

chta t^? Tpa'ywhia^;.

hionrep
<^av\r]<i,
ep^et,

irepX

rpaywhia^
irepl

olhe

airovhala'^
fiev

koi

olhe

KOI

eiroiv

a a

jap
ov

eiroTroda

20 virdp'^et
eTroTToua.

Ty

rpajwhla,

he

avrfj,

iravra

ev

rfj

VI

irepl

ovv

TYjq

ev

e^afieTpoL<i
irepi

/xifiijrtK'P]';

Kal

Trepl

Kcofiwhla^i

varepov

epovfjbev,
e'/c

he rpajcphla'^ Xeyco/J^ev

ava\a^6vre<i avrrj^
25
T7]<;

roiv

elprjfxevcov

rbv ytvofievov opov

Trpd^eco^ ctttou- 2

ov(Tla<;.

eariv ovv rpajwhla

/xifJbrjaL'i

\
,,.

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

^yxp

')(^a)pl<i

]:.

eicdcnw tcov elhojv ev roU

dTrayyeXla'i,
he

fiopi,oi<i,

hpoovrcov

Kal ov St!

'Si

eXeov Kal

(po/Sov

irepaivovcra ti]v

twv
to he

'"y

X ^>'{"

"^ocovTcov TraOijfidTcov

KdOapaiv.

Xeyoi he rjhvafxevov jxev 3

/jLeX.o<i,

'''-

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

^&)/3t9 rot? etheao

to hta jxeTpaiv evta fxovov irepaiveaOai,

eVel he 7rpdTT0VTe<; ttolovv- 4 i^ avdyKiq'^ dv
etrj

%^

<C

'^^1'

TrdXiv Tepa hid fjueXovi.

fil/jLTjcnv,

TaL T7]v

trpwTov

fiev

tl fjboptov
\e^i<;,

Tpaywhiaf; 6
35 iv TOVTOt<i

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

euTa ixeXonrqua Kal

/xlfirjcnv.

yap TroiovvTat

ttjv

\eya) he Xe^cv

V
-- ">

\^^iw
''"^

^
^\
,

12.

di.a<pepei.
ij

<-^>
20.

fjL^v

coni.

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

:

<:^trel>
15.

i]

fxh

Gomperz
Arabs.
:

dtacpepovaiv Christ.

.^^'^16.

iireaiv
avTrjL

et

airaai.
:

var.

lect.
:

(Diels),

'in

omnibus

epesi'

^
'

aiiTT]

apogr.

aCri;

Reiz.

24.
:

a.vaKa^bvT% Bernays

v|^ Vj

il\

"^
^

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

27. eKaffTtp
,

TjTwliitt

eKaarov codd.
30.
ju-bvov
:

29.
/neXos
:

corr. apogr.
:

habuit iam
seclus.

fxadri/j.dTwv A<=.

Vw
""^^--^

i4l*<''<;

Mtro"

"Vettori

/cat

/xeXos

Tyrwhitt.

31.

fjLopia,

('partes' Arabs).

' ;

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

4 YI.

23
far as

4
-^

i
^
-

^
""^

for

Tragedy endeavours, as

confine itself to a single revolution of the

;

cT'^^'v^
,

>
<=^
j4

sun, or but slightly to exceed this limit

whereas the
then,
is

y
-^

Epic action has no limits of time.

second point of difference
;

This,
first

A
^
r*

though at

the

same

*si

freedom was admitted in Tragedy as in Epic poetry.

j
3

Of
what
poetry

their constituent parts

to

some

are

common

to both, 5

some peculiar
is
:

Tragedy.

Whoever,

therefore,

knows

"^

good or bad Tragedy, knows also about Epic

for all the

^^'^
r"

elements of an Epic poem are found

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

^
'^

^^^
'

'

found in the Epic poem.

^
jSs,
,

"5

VI
of

Of the poetry which imitates in hexameter

verse,

and

j
*>

^
^

Comedy, we

will speak hereafter.

its

Let us

now

discuss

Tragedy, resuming

formal definition, as resulting from

said.

H5

what has been already

Tragedy, then,
serious, complete,
is

an imitation of an action that

;

is 2

"Vs^^v

and of a certain magnitude

kind
of
artistic

in language

>^^3--

embellished with each

ornament, the

several kinds being found in separate parts of the play

in the

form of

action, not of narrative

through pity and

<

fear effecting the proper purgation of these emotions.

By

'language
'

embellished,'

mean language
enter.

into

which
.

rhythm, harmony,' and song

By

'

the several kinds

are rendered
.

^
<^

in separate parts,' I mean, that

some parts

through the

medium
tragic

of verse alone, others again with

1
'

the aid of song.

Now
ment
for

as

imitation implies

persons

acting,

it 4

necessarily follows, in the first place, that Scenic equipwill be a part of Tragedy.

> o
-

Next, Song and Diction,

imitation.

these are the

medium

of

By

'

Diction

to^ -U^

i.^^

,iXr.

^ io-,.v^

iPCfc:;^

xLv.^AA^.^^

24
/iev

VI. 4
avTTjv Trjv

9-

1449 ^ 36
fierpoov

1450 a

16
o 5

rwv

crvvOeaiv, /xeXoTToiiav Be

TTjv BvvafMCV (})avepav

filfi7]ai<i,

e'^eL Trdacv.

eVet Be Trpa^ew?
01)9

e'crTt

TTpaTTerac Be vtto tlvmv irparrovTcov,

rLva<i

avdyKij
B idvoia v
Troid'i

ttowik;
1450 a

elvat

Kara re to
koI
Ta<i

^6p<;

koX
elval

Tr)v

{Bta
Tiva<;,

<ydp

TovTcov

Trpd^ei,^

(^afxev

7re(f)VKv

Be

alrlwi

Bvo

tmv

wpd^ecov
Kal
tt}?

elvat,

Bidvoiav

Kal

7J9o<i,

kui

Kara Tavrat
Br]

rvy^dvovai
fxev

Kal aTTOTvy^dvovai
5

Trai/re?), ecTTiv

irpd^ewi 6

fxv0o<i

T}

fii/jiijcri^'

\ejco yap fivdov rovrov rr]v crvvOeaiv

Be
r^Or],

roiv TTpay/jbdroyv,

tcl

KaO' o ttolov^ riva<i elvai

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

diroBeiKV-uaa-iv

ri

r]

Kal diroc^aivovTai
elvai
e^,

yvcofjurjv.

dvdjKr} 7
iroid
tjOt]
Ti<i

ovv

irdarj<i
r)

rpaya)Bia<; fiepr]

Kad

a
Kal

10 eariv
Xe^i<;

rpaycoBla'

ravra
Kal

earl

fiv9o<i

Kal
/xei''

Kal

Bidvoia

oi/^i?

Kal fxeXoTroda.
o)?

oh

yap

/xifiovvTai,

Bvo

fMeprj

ecrriv,

Be fxifiovvrai,

ev,

Be fiifiovvrai, rpia, Kal irapa

ravra ovBev.
roc<i

Tovroi<i fxev 8

ovv <irdvre<i>

6i<i

eiirelv
rjdo'i

Ke'^prjvrai

eiBecriv

Kal yap
p,e\o<;
f)

15 oi^et? ep^et Trdv

Kal

Kal fivOov Kal Xe^iv Kal

p,eyiarov Be rovrcov ecrriv
16.

Kal Bidvoiav

a)(ravra><i.

rwv

36. fihpwv: ^vo/xdrwv

irdcrav

Hermann, coUato 1450 b

Sta 5^ Zeller. 8ia
2.

37.
.

Trao-t;'
.

Maggi
K'^.

codd. Christ

40.

yap tovtuv
8e

navTes in

parenthesi Thurot.

1450 a
3.

ire<pvKev
. , .

apogr.

ivicpvKev

aMas
rovTov

atVta codd.

Kal Kara

Travres nescio

an post

iroidi
5.

TLvas transponere praestet (Christ).

:

4.

5??

Eucken

5^ codd.

to Oro

Maggi
:

seclus. Christ (of. Arab.).

6.

KaObk'^: Kad' A
ovk 6\iyoL airCiv
:

apogr.

9.

KadoTTola

A^

Kad' & Trotd apogr.

14.

ws

elireiv

codd.

oKlyov avrOiv

< iLwavrei >

:

u>s

diretv

By water

ovk oKlyoi
"2,

avrOiv

<d\Xd

iravTes> ws eiweiv Bursian

ovk oXiyoL avrCov om.

sed

Trdi'Tws (?

iravTes)

add.

(vid.

Margoliouth).

Deleto igitur tanquam

cf.

gloss. OVK dXlyot avrQv, scrips!

12,

<irdvTes> ws

eiire'iu:

Rhet.

i.

1.

1354 a

suspicor,

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.

dXlyov codd.,

dW

ARISTOTLE'S POETICS VI.

I

49

25

mean
'

the mere metrical

it is

arrangement of the words

as for
stands.

Song/

a term whose sense every one under-

Again, Tragedy
action implies

is

the imitation of an action

and an

personal agents,

who

necessarily possess

certain distinctive qualities both of character

1450 a

and thought.

It is these that determine the qualities

of actions

them-

selves

these

thought

and character
actions

are
:

the

two
these
6

natural

causes

from which

spring

on

causes, again, all success or failure depends.

Hence, the
I here

Plot

is

the imitation of the action

for

by plot

mean

the arrangement of the incidents.

that in virtue of

By

Character I
qualities

mean

which we ascribe certain

is

to the agents.
is

Thought
it

required wherever a statement

a

proved,

or,

may

be,

general truth

enunciated.
parts,

Every Tragedy, therefore, must have six

parts

which

determine

its

quality

namely.
Two

Plot,

Character,

Diction, Thought, Scenery, Song.

stitute the

of the parts con-

medium

of imitation, one the manner,

and three
list.

the objects of imitation.

And

these complete the

These elements have been employed,

the poets to a

we may

say,

by

man

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
7rpa<yiJidTU>v

VI. 9

14-

145 ^ ^7
'yap

4
/At/i-r/o-t?

o-vaTacn-i'

i)

Tpa<y(pSia

icrriv

ovK avdpcoTTcov

dWa
[xev
r)

Trpd^eco';

Kol

^iov <6

he /3lo<;> ev
'iroiorr]'^-

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

2o

elcrlv

Se

Kara

rd

rjdr]

irotol

Tive<i,

Kara

he

rd^ 10
ijOrj

7rpd^ei<;

ev8aifxove<;

rovvavriov.

ovkovv oirw^ ra
r^drj

fjbt/xijawvrac

Trpdrrovcriv,

dWd
he

rd

crvfiTrapaXafi^a/jiv6o<;

vovatv Bid
TeA,09
tt)?

Td<; 7rpd^et<i'

coare rd Trpdy/j^aTa Kal 6

TeA-o?

rpajwhiaii, to
fxev

fxejiaTOV

drravTcov.

25 eTi he

dvev
'r)d(av

Trpd^eax; ovk dv
dv.
elcrlv

<yevoiTO

Tpaywhia, dvev 11

^yevoLT

al

<ydp

tmv

vecov

twv

TrXelcTTcov

dr]6eL<;

Tpafywhiai

Kal

6\o)<; TrocTjTol

ttoWoI

tocovtol,
ireirovrj

olov Kal

Twv
fxev

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

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6ev

ydp

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riOoypdc})o<;,

he

30 Zev^Lho<; ypacprj ovhev

07}

e^et

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12

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Kal Xe^et Kal hiavola ev

Trjt

ireTTOLrjfieva'i,

ov

7roi7]at
rj

rjv

Tpaywhla';

epjov,

dWd

ttoXv

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e')(ovcra

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fivOov

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Tpayayhia,
7rpo<i

he

Kal

(Tvaracnv

TrpayfiaTcov.
rj

13

3S he

T0VT0t<i

rd

fieytara
ecrTLV,

oh
aX
OTi

ylrv^aycoyei

Tpajmhia,
Kal

Tov

fivdov

p^epT]

re

irepiireTeiat
01

dva-

yv(opiaeL<;.

eTi

crrjpielov
ttj

Kal

iiy^eipovvTe^ iroielv 14
rjOecnv

TrpoTepov hvvavTai
rj

\e^ei

Kal

Toh

uKpi^ovv

Td irpdypbaTa crvviardvai, olov Kal

a/5%r/ fiev

ol irpwTOi irotrjTav
"v/^vx^

40 a')(ehov diravTe^.
18.

ovv koI olov

l]

}xvdo<i
codd.,
est in
Trpd^ei,

aWa
;

irpd^ecoi Kal ^iov Kal evSai/xovlas Kal

('

KaKoSai/movla if

irpd^et.

sed alio spectat Arabs

opere')

sed in

operibus et vita.

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

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>
22. wpdTTovinv
:

supplet Vahlen,
i]

KaKoSaifiovla.

Trpdrrovras iroiovcnv coni. Vahlen.

(rvfiirapaXafi^dvova-L
A<=.
:

Guelf.

(TviJLivapa\afjLdvov(Xi.

Spengel

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

29.

dyadQv A\d.
diavoias codd.

31.

X^fet Kal Siaj/o^i?

32.

da/xQi Margoliouth.

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

Kal
ov-

'

'

ARISTOTLE'S POETICS VI. 914

incidents.

27

For Tragedy
life,

is

an imitation, not of men, but

life

of an action and of
its

and

consists in action,

and
10

end

is

mode

of

action,

not

quality.
it is

Now

character determines men's qualities, but

actions that they are
action, therefore, is not

by their
Dramatic

happy

or the reverse.

with a view to the representation

of character
action.

character comes in as subsidiary to the

incidents and the plot are the end of
is

Hence the
;

a tragedy

and the end

the chief thing of

;

all.

Again, 11

without action there cannot be a tragedy

without character.
poets
fail in

there

may

be

The

tragedies of

most of our modern

;

the rendering of character

is

and of poets in

general this

often true.

It is

the same in painting

and here

lies

the difference between Zeuxis and Polygnotus.

:

Polygnotus delineates character well

is

the style of Zeuxis

if

devoid

of

ethical

quality.

Again,

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,

Eeversal or Eecoil of the Action, and

are parts of the plot.

further 14

that novices in the art attain to finish of diction

of portraiture before they can construct the

and precision
plot.

It is the

same with almost

the
first

all

the early poets.

it

The

Plot, then, is

principle, and, as

were,

) :

28
T?}?
1450 b

VI. 15
Tpa<yoi)hia<;,

19-

145 ^ 41

145 b

21

Sevrepov 8e ra

7]6rj.

irapairX'^a-iov

jdp 15

icTTLV

Koi eVl

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

ei

yap

re? ivakelyjreie rol'i

6nola><i

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(f)app,dKOt<;

'^vhr^v,

ovk av
eariv re

evcppdvecev
7rpd^eQ)<;
rj

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fJLifJbrjaa

KoX hid ravT7]v /judXicrra tmv TrparTovrcov.

5

rplrov Se

Sidvoia.

TovTO 8e

icTTtv to

Xeyeiv BvvacrOai, rd ivovra 16

t?}?

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

pr)ToptKrj<;

7ro\cTiKrj<;

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ol

fiev

yap

dpj(aloL irokc-

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eTTolovv Xeyovra^, ol Se vvv prjropLKOi^;.

ecrnv Se 17

^^09

i^ev

TO TOLOVTOV o BijXot TTjv TTpoaipeacv oirold

rj

ra
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10 {irpo^atpelrat

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iv

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6
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iv

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77

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elvac

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[Trei're]
rj

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twv

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fiev,

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dre'^vorarov

Be

koI rjKtcrTa

olKelov

20

T^
41.

iroLriTLKr)<;-

<tcr>a)<;

ydp t^9 TpaywBia^

Bvva/j,i<;

koi

dvev dycovo^ kol viroKptToyv eariv,

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. .
.

en

Be Kvptcorepa Trepl

eMva
owoTd

vetro.

1450 b

3.

re codd.

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

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.

rts iu

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

Xiy^f X^yuv A<=.

^v

rj

(pevyei et iv
:

oh

fi-qd'

6'\ws ^ariv

(peiyeL var. lect. esse.

:

12.

S ti

apogr.

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.
:

ARISTOTLE'S POETICS VI. 1419

the soul of a tragedy
1450 b
:

29

Character holds the second place,

similar fact

is

seen in painting.

The most beautiful

Thus Tragedy

colours, laid

on confusedly, will not give as much pleasure

is

as the chalk outline of a portrait.

the

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

view to the

action.
is

Third in order
saying what
stances.
is

Thought,

that

is,

the faculty of 16

possible

and pertinent in given circumis

In the case of oratory, this

the function of
:

the political art and of the art of rhetoric

the older poets
of civic life
rhetoricians.
;

and

so indeed

make

their characters speak the language

the poets of our time, the language of the

Character

is

that

which

reveals

moral 17

purpose, showing
avoids.

what kind

of things a

man

chooses or

Speeches, therefore, which

or in

do not

make

this

manifest,

which the speaker does not choose or

avoid anything whatever, are not expressive of character.

Thought, on the other hand,

is

found where something

or

is
is

proved

to

be

or

not

to

be,

general

maxim

enunciated.

Fourth
Diction
;

among
I

the

elements

enumerated

comes 18
said, the
is

by which

mean, as has been already

;

expression of our meaning in words

and

its

essence

the same both in verse and prose.

Of the remaining elements Song holds the

chief place 19

among

the embellishments.
its

Scenery has, indeed, an emotional attraction of

own, but, of aU the

parts, it

is

the least

artistic,

and

connected least with the art of poetry.

of Tragedy,

For the power

even apart from

we may be
and

sure,

is

felt

representation

actors.

Besides,

the production

of

30

VI. 19

VII.
tmv

5.

1450 b 221451 a 4
rj

rrjv aTrepyaa-Lav

o-sjrecov

tov a-Kevoiroiov rexv] t^?

T(OV TTOirjTMV icTTLV.

VII

BicopLCTfiivcov

Se

tovtcov, Xeycofxev fjuera

elvai
tcov

ravra

ttoluv

25 TLva

Set

rrjv

crvaraaLV

Trpayfj.drcov,

eVetS^

TOVTO Kol TTpMTOv Kol fjLeyKTTOv

Kelrai
hrj
t)fjbiv

Trj<;

rpay(phia<i

icmv.

rrjv

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

rt fieyeOo';'
ecTTiv

elvai fiifX7]cnv
fxrjhev

i'^ovar]';

<ydp

okov Kai
dp'^rjv koX 3
[juev
/xr]

eyov fieyeOof.

o\ov he eartv to e'^ov

dp'^rj

30 jjieaov Kol TeXevTrjV.

dvdyK7]<i
fjber

Se icrriv o
S'

avro

i^

dWo
elvai

iaTiv, /xer' eKclvo

erepov
o

'7re(}>VKev

elvai

rj

yiveaOaL,

reXevrr]
?)

Be

rovvavrlov
rj

avTO
rrb

fier

dXXo
/lerd

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e| dvdjKTj'i
ovBev,

fo)9

eVt

ttoXv,

Be

rovro
[ler

dWo

/xeaov Be o Kal avro fier

Bel

35

dXKo Kal
ev

eKeivo erepov.
oiroQev

dpa

tov<;

avve(n5)Ta<i
/Ji7]6'

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fx-qO'

erv^^ev

ap'^^eaOai
Tal'i

oirov
iBeai<i.

eVf^^e reXevrdv,

dXkd Ke^prjaOai
KaXov Kal
TivSiv

elprj/jievaif;

en
40

8'

eirel

to
e'/c

^Sov Kal dvav

fxovov

Trpdy/jia

o 4

avveaT7]Kev
'^X^iv

ov

TavTa
jxr]

TeTayyukva

Bel

dWd

Kal fieyeOo'i virdp'^eiv

to

tv^ov
yap

to yap

KaXov ev
av
Ti

fieyeOei

Kal rd^ei eanv, Bio ovTe

^mov,
avy')(elTai

TrdjijJiiKpov
rj

yevoiTO

KaXov

Oeoopia

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

1451 a

ov yap

afjia

17

OecopCa ylverai

aW'
eirl

ot-^eTai toI'^ decopovai

TO ev Kal TO okov eK
e'irj

T779 deoopta'i, olov el fxvpicov CTTaBlcov

^<pov'

ware
')(eiv

Bel KaOdrrep
fxev ixeyedo<i,

tcov acofxdrtov Kal eirl 5

Tcbv ^(f>wv
27.

tovto Be evavvoivTov elvai,

^^

5tj

Bywater
41.

5'

A^.

30.

/xt;

dvd7K?7S codd.

ii,
:

dvdyKrjs

/at]

Pazzi.

Trdv ixLKpbv

A^
:

Trdfi/xiKpov

Riccardianus 16 Riccardianus 16
:

irdvv /MKpbv
:

Laurentianus
Arabs.

Ix.

16.

43. xp^j'ou seclus.

Bonitz, Spengel
:

tutatur

Trdv

/^^yeOos

A^

ira/j./j.iyedes

trdpv jxiya

Laurentianus

Ix. 16.

1451 a

3.

awiidroiv

avffTTjiJLdTuv

Bywater.

ARISTOTLE'S POETICS VI. 19

spectacular effects depends

VII.

31

more on the

art of the stage

machinist than on that of the poet.

VII

These principles being established,

let

us

now
is

discuss
first

the proper structure of the Plot, since this

the

and most important part of Tragedy.

Now, according

to

our

definition,
is

Tragedy

is

an

imitation of an action that

of a certain magnitude;
is

complete, and whole, and

for there

may
is

be a whole that
that which has 3
is

wanting in magnitude.

whole

a beginning, a middle, and an end.

A
is

beginning

that

which does not

itself

follow anything

by causal
or

necessity,
to be.

but after which something naturally

comes

An

end, on the contrary,

is

that which itself naturally

necessity, or as a rule, but
is

follows

some other thing, either by

it.

has nothing following

middle
thing

that which follows

it.

something

as

some

other

follows

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

for

beauty depends on

magnitude

and

order.

Hence an exceedingly small

;

picture cannot be beautiful

for the

view of

it

is

con-

fused, the object being seen in an almost imperceptible

moment
1451 a

of time.
;

Nor, again, can one of vast size be

beautiful

for as the

eye cannot take

it

all

in at once,

the unity and sense of the whole

as for instance long.
if

is lost for

the spectator

there were a picture a thousand miles

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

is

pictures a certain magnitude

necessary,

and a magni-

32
5

VII.

5 VIII.

3.

145 1 a
'^LV

527
/jL7]K0<;,

ovTco

Kol

eVt

Twv

fivdoiv

fiev
6po<i
Tr]<i

tovto
/xev

Be

evfMvrjfMovevTOV elvat.
Tov<}

rod ^rjKOV<i

<o>
Te^i/779

tTjOO? 6

dycova'i koX rrjv atadr](Tiv ov

icnlv

el

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

av
10 /car

i^ycovL^ovTo, axTTrep Trore koI

aWore

elcodacriv.
opo<;,

Se 7
fiev

avTTjv rrjv (f)vcnv tov Trpdyfiaro'i

P'^xpi'

del

fiei^oiv

TOV avv8ri\o<; elvac KaWicov

o)?

earl
ev

Kara
oa(p

TO

fj,e'yedo<;'

Be

a7r\w9
rj

Biopicravra^

elirelv,

fiejedeo

Kara to

et/co?

to dvajKalov
e/c

i(f>e^i]<;

'yLyvofievoiV

avfi^alveL et? evTv^iav

1

BvaTv^lai;

?)

i^ evTv^ia';

eh

BvaTV^cav fieTa^dWeuv,
f^vdo<;
S'

lKavb<; 6po<{ iaTiv

tov fieyedov?.
eav TrepX

VIII

ecTTlv

et?

ov-^

axTTrep

Tive<i

olovTai

va

57"

TToXka yap koL aireipa rw

ovBev
elcnv,
ea-Tiv

evl

avfi/Salvet, ef a)v

[ivLoov]

ev
fiia

ovtco<;

Be

koI

irpd^et^
irpd^i'i.

evo<;

iroWai
20 TrdvTe<^

i^

wv

ovBep,la

ylveTai

Bib 2

eoLKacnv

dfiapTavetv
to,
rjv
3'

oaoi

tmv

ttoctjtmv

'Jipa-

K\7)lBa rjcTTjlBa Kol

ToiavTa

'TTOiij/JiaTa

ire'iroi'qKacnv'

otovTat ydp, eVel

elvat
7rpoai]KeLv.

eU
6

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

"0/u,i]po(;

wcnrep

Kal

to,

aXka
Te'^vrjv

Bia(f>epei

Kal tovt

eoiKev /caXw? IBetv

tjtoi,

Bid

25

Bed

^vcnv

^OBvaaeiav
crvve^r],

yap
olov

ttolmv

ovk

iTrolrjaev

diravTa oaa avTw

'TrXrjyrjvac

fxev

ev

tco

Uapvaaao),

ixavrjvav

Be TrpoaTrocrjaaadat ev

tm

dyepfxw,

6.

add. Bursian

irphs
: '

fiiv

apogr.

8.

KXe^vSpav apogr.

9.

eiiliOacrtv

aliquando

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

1447 a

17).

18.

Muv

seclus. Spengel.

ARISTOTLE'S POETICS
tude which
the
plot,

VII.

5 VIII.

33
so in

may

be easily embraced in one view

length
is

certain

necessary,

and a length

which can be

easily

embraced by the memory.

The
and
For

limit of length in relation to dramatic competition-

sensuous presentment,

is

no part of

artistic theory.

had

it

been the rule

for a

hundred tragedies

to

compete

together, the performance

would have been regulated by

is

the water-clock,
other contests.
of the

as indeed

the practice in certain

fixed

But the

limit as
:

by the nature

drama

itself is this

the greater the length, the

more beautiful
on
to
size,

will the piece be, so far as beauty

depends

provided that the whole be perspicuous.

the

And
the

define

matter
is

roughly,

we may

say

that

proper magnitude

comprised within such

limits, that

the sequence of events, according to the law of probability

or necessity, will

admit of a change from bad fortune

to

good, or from good fortune to bad.

VIII

Unity of plot does

not, as

some persons think,

consist

in the unity of the hero.

For

infinitely various are the

incidents in one man's

life,

which cannot be reduced

to

unity; and

so, too,

there are

many

actions of one
action.

man
2

out of which
error, as
it

we cannot make one

Hence the
a
kind.

appears, of all poets

who have composed

Heracleid, a Theseid, or other

poems of the

They

imagine that as Heracles was one man, the story of

Heracles must also be a unity.
else

But Homer,

as in all 3

he

is

of surpassing merit, here too

art or natural genius

seems
D

whether

from

to

have happily discerned

the truth.
all

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

'

34
o)v

VIII.

3 IX.

5.

145 1 a

281451 b
ava'yKalov

13
rjv

ovhev

Oarepov

<yevoiievov
irepl

rj

ei/co9

Odrepov yeveadac,

aWa

filav
6p,oico<;

Trpa^tv oiav \i<^o^ev

Se Koi rrjv ^\\tdha.
rj

30 Trjv ^Ohvacreiav crvveaTTjaev,

^pr)

ovv KaOdirep Kol iv

ev6<;

Tal<i

dX\,ai<; fXiH7]TiKal<i

/ila 4

fMLfirja-i^
fiifJLTjcTL'i

ia-riv

ovro) koX

tov p,v6ov,

eirel

irpd^eco'^
to, f^epr]

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

rcov
rj

o\r]<;

kol

o-vveaTCbvai,

irpay/jidTcov

ovTw<i, wcrre /xerarLde/jLevov

35 rivb^

fj,epov<i

d(paLpovp,evov Bca(ppecr6ai, Koi Kcvelcrdat

i)

TO

oXov

yap irpoaov

fxr)

irpoaov

fXTjSev

irotel eVt-

BijXov, ovSev fjLopiov

tov 6\ov eariv.

roiv
elpr/fievcov

IX

ipavepov

Be

etc

Kal

ore

ov

to

to,

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

40 yevotro koX ra
1451 b
rj

Bvvard Kara to
7rotr]Tr]<i
e'lrj

et/co<?

rj

to dvayKoiov.
efXfieTpa Xeyeiv 2

yap

[aTopcKO<i Kal 6

ov

tc3

^
to,

d/xeTpa

Bta^epovaLV,

yap

av
eXrj

'UpoBoTOV
Ti<;

ei?

fieTpa TeOrjvai, Kal ovBev tjttov av

laTopia
Bia<f)epi,

fXCTa

/xeTpov
5 fiev TO,

7]

dvev pueTpwv, dXkd tovtw

tc3

tov

yevofieva Xeyeiv, tov Be ola av yevocTO.

Bib kol 3

^L\oao(^(jOTepov Kal cnrovBaiOTepov

7]

iroirjcn'i l(TTopia<i
/;
B""

eaTLV
to,

fxev

yap

'7roL7)cn<i

fjbdWov

tcl

KaOoXov,

laTopia

KaG' cKaaTOV \eyet.

"TTola

eaTiv Be KadoXov
rj

fxev,

tS

iroiw tcl 4

cLTTa crvfM/3aLvec Xeyeiv

irpdTTeiv KaTa to eiKO^

rj

10^

TO

dvayKaiov,

ov

crTO'^d^eTai
^

7roirj(ri<i

ovop-aTa

i7riTi9ep,evr],
rj

to Be KaO^ eKaaTov, Ti
eirl

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

Ti

eiraOev.

p,ev

ovv

Tr]<;

Kcop.q)Bia<;

tovto 5

Brjkov
28.
Tjv
T)

yeyovev
apogr.
:

crva-TrjaavTe<i
A<=.

yap tov fxvdov Bid twv

apogr.
Kal
: :

^c

29.

"K^yofMev
:

Xiyoifxev

A^

&v
35.

X^yoififv

Vahlen.
:

33.

Kal
cf.

TavTT]s

ratjTrjs

Susemihl.
et

Sia(p4pea0ai

?
:

5ia(f>ope?crdai,

de Div.

2,

464 b 13
'

8t.a(pdelpea-dai coni.

Margoliouth
Arabs.
40. [Kal
. . .

habuit
36.

fort,

utramque

lect. S,

corrumpatur
38.

Trotet, iirlbriKov

ws apogr.

ov rb apogr.
. . .

confundatur oCrw A^.

:

TO,

Suvard] Maggi.
.
.

1451 b

4.

TOVTCfi

tcJj
:

apogr.
A<=.

tovto

TwA'=: TOVTO

rd Spengel.

10.

to apogr.

t6v

ARISTOTLE'S POETICS VIII.

the host

IX.

35

incidents between
:

which there was no necessary

or probable connexion

but he made the Odyssey, and

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

sense of the word

is

one.
is

As
one,

therefore, in the

other 4

imitative arts, the imitation

is

when the

object imitated
action,

one, so the plot, being

an imitation of an

must

imitate one action and that a whole, the structural union

of the
parts

being such that,

if

any one of them

is

displaced or removed, the whole will be disjointed and

disturbed.

For a thing whose presence or absence makes

difference,
is

no

visible

not

an organic part of the

whole.

IX

It

is,

moreover, evident from what has been said,

not the function of the poet to relate what

s
yj
;

that

it

is

has happened, but what

may

happen,

what

is

possible

^
i

according to the law of probability or necessity.

1451 b

The

/^

poet and the historian differ not by writing in verse or

in prose.
verse,

The work
it

of Herodotus
still

might be put into

and

would

be a species of history, with

it.

metre no

less

than without

The true

difference

is

that one relates

what has happened, the other what may

is
:

happen.

Poetry, therefore,

a more philosophical and 3

for poetry tends to express

a higher thing than history

the universal, history the particular.

I

By

the universal 4

mean how

a person of given character will on occasion

speak or
necessity
;

act,

according to
it

the

law of probability or

and

is

this

universality at which poetry

aims in the names she attaches to the personages.

particular
suffered.
is

The
or

for

example

what

Alcibiades
:

did

In Comedy
first

this is already apparent

for here 5

the poet

constructs the plot on the lines of prob-

36
s

IX. 5

lo-

1451 b 14

36
oy^
ttoloxxtlv.

eiKOTWv ov ra rv^ovra ovofxara virortOeaaLv, koI

wcrrrep
iirl

01

lafx/3o7roLol

Trepl

top Ka6^ eKacrrov

yevofxivcov

8e

Tr]<;

Tpay(pSia<;

rwv

ovo/xdrcov

dvr- 6

^^(ovTai,.

aXnov h
fir)

otl

iriOavov

iart

to Svvarov.

rd

fiev

ovv

yevo/ieva ovttco irKnevofiev elvai

Sward, rd
ijevero, el

Be yevofieva (f^avepov ore

Sward, ov yap dv
Kal ev
rat<;

20

riv

dhvvara.

ov
rj

/nrjv

dWd

rpa'ywBlac'i ev 7
ovofidrfov,

eVtat9 fiev ev

hvo rwv

fyvoipifjioiv

icrrlv

rd
rat

Se

dWa

TreTTonjfieva,

ev eviat'i

he

ovS'

ev,

olov ev

^AydOcova dvOei'
Kal rd ovofiara
25 axrr

ofiolco'?

yap

ev rovrtp

rd re irpdyfiara
ev(f)pal,vei'

ireirolriraL,

Kal ovSev rjrrov

roiv

ov

7rdvro)<;

elvat

^rjrrjreov

TrapaSeSofievcov 8

fivd(ov,

rrepl

ou?

at

rpayaBlac

elalv,

dvre'^ecrdai.
jvcopifjia

Kal

lydp yeXoiov

rovro

^Tjrecv, iirel
6)Jbco<;

Kal rd

0X17069

yv(opifid eartv dXk'

eixppaivec 'jrdvra<i.

BrjKov ovv 9

eK rovrojv

on

rov

Troirjrrjv

/xdWov

rcov fivOcov elvat Bee

30

TTOLTjrrjv

rj

ro)V fierpcov, oaco

7roirjrr)<i

Kard

rrjv fiifirjalv

eariv,

fiifiecrat

Be rd'i 7rpd^et<i.
7roti]r^<;

kolv

dpa avfi^y yevo-

jxeva rroielv,
ixevcav

ovOev rjrrov
ovBev

ea-rc
elvat

rwv
ola

<ydp

yevoetKO'i

evia

KwXvei

rotavra

dv

yeveaOat
35
7roLrirr)<i

Kal
eariv.

Bvvard

yevkdQai,

KaO^

eKelvo<i

avrwv

roiv

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

14.

oi5

(vel ovxl) scrips!

'nequaquam' Arabs:
Bekker.
iviais A<=.

oiiTu
:

codd.,

cf.

1451 a
20.
:

38.

^jTiTi^e'ao-tapogr.,

15.

r^y A'=
22.
^j*

twj'
r(^

apogr.

iv ivlais apogi'.,
'

Susemihl
si

'Aydduvoi dvOei
:

quemadmodum

quis

unum

esse

bonum

statuit

'

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

(dat. 'Avde6s), cf.

Arabs male Syrus Pro dvdeL coni. 'Avdel

25.

Parthenius
Ka.1

irepl

ipwTiKQv iradTjfidTwv, Mackail.

at

elmt

seclua.

Spengel.
34.

26.

<evSoKt/j.ovcrai>

rpayuiSiai
/cai

coni.

Vahlen.
8^ d-n-Xwp codd.

<o^k fiXXws> dward Susemihl:

36. tCiv

dward

yev^:

adai seclus. Vorlander, om. Arabs.

:

U dWuu Tyrwbitt

tQv

aTrXwj 5^ ruiv Castelvetro.

'ARISTOTLE'S POETICS IX. 510

ability,

37

and then

inserts

characteristic

names;

unlike

the lampooners

who
still

write about particular individuals.

to real
:

But tragedians
that

keep
is

names, the reason being 6

what

is

possible

credible

what has not happened

:

we do not
happened

at once feel sure to

is

be possible

but what has

it

manifestly possible; otherwise

Still

would not

have happened.

there are some tragedies in which 7

there are only one or two well

known names,

the rest

being

fictitious.

In others, none are well known,

as

in Agathon's Flower,

where incidents and names alike

less pleasure.

are fictitious,

and yet they give none the

We
it

must

not, therefore, at all costs

keep to the received 8

Indeed,

legends,

which are the usual subjects of Tragedy.

to

would be absurd

attempt

it

for

even familiar sub-

jects are familiar only to

a few, and yet give pleasure that

to

all.

It

clearly

follows

the poet or

'

maker

'

should be the maker of plots rather than of verses

since

he

is

a poet

because he imitates, and what he

,

X
"^

imitates are actions.

And
he
is

even

if

he chances to take
less

an

historical
is

subject,

none the

a poet; for

there

no reason

why some

events that have actually

to the

happened should not conform and

possible,

law of the probable

and in virtue

of

that quality in

them he

is

their poet or maker.

Of

all

plots

and actions the epeisodic are the worst. 10

38
elcrlv

IX. lo
'^elpLarai.
fxer

X.

3.

1451 b 37
S'

1452
out

a 20
ev

Xeyo)

iTretaoSLcoSr]
et/co?

jjuvOov

w ra
elvat.

iTreLCToSia

oKkrfka

ovr
jxev

avdyKij

Toiavrat Se Trocovvrat viro

twv

(paiiXoyv

ttoctjtcov

Sl

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

1452 a

fydp

TToiovvre'i

Kot irapd

rrjv

Bvva/MLV irapaTei-

vovTe<i
(f)e^r]<i.

fMvdov

TToWaKL'i

Siaarrpe^eiv

dvayKd^ovruL
rj

to
11

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

(f)o/3p(ov

/^tytiT/crt?

dWd
5

Kol

Kol ekeeivoiv, ravra he ylveraL

\^KaX\

fidXiara

orav
81'
rj

yevrjraL

irapd
to

rrjv

So^av,

Kol

/judWov
e^et 12

<0Tav>
fidWov
T(ov aTTo

dWrjXa'

yap

OavfJiaaTov

ovTOi<i
iirel

el

aTTo tov avTOfiaTOv Kol

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

koX

TV'^7]<i

TavTU davfiaaiMTaTa SoKel oca wcnrep

yeyovevai,
olov
o)?

eVtTT^Se?

(palveTat

dvSpcd<;

tov

MtTt/09 iv "Apyei direKTeivev tov aiTiov tov OavaTOV

10 M.LTVL,
elKrj

tm

OecopovvTi

efM7r(T(i>v'

eoLKe

yap Ta ToiavTa ovk

tolovtov^
elvat

yevea-Qai.

(ocrTe

dvdyKrj

tou?

KaXKiov<i /Mv6ov<i.

X
15 CTLV
ri<i

etcrl

Be

twv

fivOcov ol
oiv

jjuev

difkol ol 8e TreirXey/Mevoi,
ol /xvdol elatv virdp'^ov[juev

Kal yap al irpd^eL'i

ev6v<i

fJiL/j,'^crei<;

ovaai TocavTai.
wairep
rj

\eyco 8e aTrXrjv
cruz/ep^oO?
77

Trpd^Lv 2

yivofjbevq^

wpicrTat

Kal

fitd<i

dvev

TrepLireTela'i

dvayvoiptcrfjiov

fieTd^aai<;

ylveTai,
r)

ireirkeyfievr]

S'

ecnlv
rj

r)^

fieTa

dvayvcopca/xov
eaTCV.

nrepL-

Trere/a?

d/ji(f)OLV

fieTd^aal<i

TavTa
fjtvdov,

Se

Set 3
e'/c

20 ytveadat i^

avTrj<;

t^9

(rvarTdcre(o<i

tov

cocrre

40, viroKpiras A<=

Kpiras apogr.

41. wapareivovTei apogr.,

17

Bekker
seclus.

vaparelvavres A^.

1452 a
lect.

2.

seclus.

Gomperz.

3.

/cat

Susemihl.
correxit Reiz
:

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

codd.

tuetur Tucker, Kal kclXXiov scripto pro Kal fiaWov

18.
5' ^o'TtJ'
:

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

\4^is

^s

SusemiM

5^

A"
:

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

e.

5^

-/l

e^Tys)

Valilen

Se e^ ^y vel 5^ Trpa^ts

apogr.

Ueberweg.

ARISTOTLE'S POETICS IX.

I call a plot
'

lo X.

39
acts suc-

epeisodic

'

in

which the episodes or

ceed one another without probable or necessary sequence.

Bad

poets compose such pieces

please

by
for,

their
as

own

fault,

good

poets, to

the

players

they write show

pieces for competition, they stretch the plot

1452 a

beyond

its

capacity,
tinuity.

and are often forced

to break the natural con-

But
an

again,

Tragedy

is

an imitation not only

pitiful.

of

all

complete action, but of events terrible and

effect
is
;

Such

best produced

when
is

the events come on us

by

surprise

and the

effect

heightened when, at the

same

time, they follow from

will then

one another.
if

The

tragic 12

wonder

be greater than
;

they happened of

themselves or by accident
striking

for

even coincidences are most

air

when they have an

of design.
fell

We may
upon
his

instance the statue of Mitys at Argos, which

murderer while he was a spectator at a

him.
Plots,

festival,

and

killed

Such events seem not

therefore,

to be

due

to

mere chance.
are

constructed

on

these

principles

necessarily the best.

Plots are either

in real
life,

Simple or Complex,
plots are

for

the actions

of

which the

an imitation, obviously

show

a similar distinction.

An

action

which

is

one and 2

continuous in the sense above defined, I call Simple,

when

the change of fortune takes place without Eeversal (or

Eecoil) of the Action

and without Eecognition.

is

A
by

Complex

action

one in which the change

or

is

accompanied
both.

by such Eeversal,
last

by Eecognition,
from the

or

These

should

arise

internal 3

structure of the plot, so that

what follows should be the

40

X. 3

XL

4.

1452 a 21

1452
7)

TMV
TO

irpo'ye'yevriiievwv

avfi/Salveiv

i^ avdyKrjii

rj

Kara

Iko<;

yiyveadat ravra'
tj

Biacj^epec

yap ttoXv to yiyve-

trdai,

rdSe Bca rdSe

fierd rdSe.
rj

XI

eari Se TrepcTrereLa fiev

pbTaj3o\rj,

et9

to ivavTLOv tmv irpaTetpr^Tai,']

77

25 TOfievcov
coa-irep

{^Kaddirep

kuI

tovto

Be

Xeyofiev kuto,
eX9ci)u

to

etVo<?

civayKalov
tov

wairep iv

To5

OISlttoSi

w?

evcppavMv
jxrjTepa

OlSiirovv
S7]'kcoaa<;

koI
09

diraWd^ayv tov

Trpo?

Tr)v

(po^ov,

^v, TovvavTLOV eTTolrjcrev'

kol iv tcS KvyKel 6

6

puev

dyo&)?

30

P'^vo'i

6i<i

dTrodavovjjbevo'i,

he
e/c

Aavao'i

uKoXovdcov

diroKTevoiV, tov /xev

avve^rj

tmv

Treirpayfievcov
he,

diro-

davelv,

TOV

he

aadrivai.

dvayv(iipLaL<;

wcrirep

koI 2
rj

Tovvo/xa
et?

a7}/j,aiveL,
rj

i^ dyvoia<;

eh yvwcnv
evTV^iav

p,eTa^oXrj
r)

(piklav

elf

eyjdpav TOiV
he

7rp6<i

hvaTv^iav
irepi-

35 wpccrfxevcov
TreTetat
fiev

KaXKla-Trj

dvayv(apLcri<;,
77

oTav d/xa
OlhiTrohc.
7rpb<;

yivoyvTai,

olov

e')(L

ev

tc3

elalv 3
d-yjrv^a

ovv Koi

dWai
r]

dvayvcopia-et';'
&>?

koX yap

Kac Ta Tv^ovTa ecrTiv

ec

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

Treirpaye Tt9

firj

ireirpayev eaTiv dvayvcopicrat'

dXX'
7)

40

p,a\taTa tov jxvdov

icTTLV
r)

Kal

rj

fidXiaTa t^9 Trpd^eca

dvayv(opia-c<?

et,p7]fMevr)
1452 b

yap
rj

ToiavTrj

Kal irept- 4

TTCTeta

i)

eXeov e^ec

(jjo^ov, o'iwv

irpd^ecov

rj

Tpaywhia

fxcfXTjaa

vTroKecTac ert he Kal to aTvyeiv Kal to evTv^elv

22, ravra

ravavria Bonitz
delete

to.

varepa Gomperz.
seclus. Zeller,

25.

KadaTrep dpr)Tai,
:

tanquam
jrpoypTjTai

gloss,

ad wdTrep X^yonev

Gomperz

< >
^

Kad' &

commate

post /xera^oXri
TL

Essen,
35.

probante
ecrrLv

Susemihl.

34. 36.

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

Fort, otav
:

Gomperz.
38.
i<XTlv

a/ta nepLveTdq.

Gomperz.

By water.
ws
:

uxnrep A<=:
:

6t ucrirep Ric-

cardianus
cvfi^aivnv

^(ttiv

<6>Trep Spengel
39.

eanv

66'

<6>irp Gomperz.
:

a.])ogr.

avpLpaivei A.

^M^^apogr.
apogr.

el ixt)

AP.

41.
TreptTr^reta
2.

Kal TrepLirireLa seclus.

rj

Susemihl.

/cat

</j.d\LaT' eav
:

Kal>

fKeov coni.
:

Vahlen.

1452 b

1.

oioji'

olop A^.

Iri

5^

(ireidr]

Susemihl, pos, commate post

v-n-bKeirai.

ARISTOTLE'S POETICS X.

3 XL

41
It
is

necessary or probable result of the preceding action.

makes

all

the difference whether any given event

case of propter hoc or post hoc.

XI

Reversal (or Recoil)

is

a change by which a train of

action produces the opposite of the effect intended, subject

always to our rule of probability or necessity.

Thus

in

the Oedipus, the messenger comes to cheer Oedipus and

free

him from

his alarms about his mother, but

by

reveal-

ing

who he

is,

he produces the opposite

is

effect.

Again in

the Lynceus, Lynceus

being led away to his death, and

to

Danaus goes with him, meaning

outcome of the action
is,

slay

him
is

but the

that

Danaus

killed

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

.3

(or Recoil), as in the Oedipus.

There are indeed other forms.

Even inanimate things

of the

most

trivial

kind

may

some-

times be objects of recognition.

Again,

we may

recognise

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

But

the recognition which the plot and action

persons.
1452 b
is,

is

most intimately connected with

as

we have

said, the recognition of

This recognition, combined with Reversal, will 4

;

produce either pity or fear

effects are those

and actions producing these

which, by our definition, Tragedy repreit is

sents.

Moreover,

upon such

issues that fortune or

42
eVfc

XL 5-XII.

3.

1452 b

3-27
hrj
r)

TOiV TocovTcov (TVfji^rjaeTaL.

iirel

avayvdopiai^i 5

Tivoiv iariv avayvcopLatii, at fiev

5

Oarepov

7rp6<;

tov erepov
afji<j)OTepov^

fiovov,

orav y

Srj\o<i

arepo^ rt? iarLV, ore Be

t]

Set

avayvcoplaai,

olov

fxev

'l(f)Lyev6La
t?}?

to5

^Opecnrj

dveyvcopLcrdr] eK

Trj<^

7rp,-\frea)<i

i7riaro\r]<;, eKeivov he

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

hvo [xev ovv TOV fivOov

10 nreTeia koI avayv(t)pLac<;,

fMepi]

jrepl

ravr

iart,,

irepi- 6

rpirov he

irdOot;.

[jovtwv he
he
ecrrt

TreptTrereta fxev Koi dvayvciipicn'i

7rpd^L<i

etpT^rat,] 7rd6o^ tc3

cf)6apTLKr)

i)

ohvvqpd, olov ot re ev
koi
Tpd)aeL<;

(pavepoi
ocra

OdvaroL
Toiavra.

koi

at

Trepccohvvlat

kuI

XII

[f^^PV

he

rpaywhia'i

ol?

/xev

to?

ethecTL

hel '^prjcrdac

16 irporepov eoiro/xev,
Ke^oopicr/jbeva

Kara

he rb

irocrov koI

eh a hiaipelrai
e^oho<i

rdhe

ecrriv,

irpokoyo'^
fxev

eireLaohtov

"^opiKov,

Koi

TOVTOV TO

Trdpoha TO he crrdaifMov
rrj^;

KOLvd
20 Kol

fiev

d'rrdvrojv

ravra, thia he rd diro

fxepo<i

crKrjvrj^

Ko/xfjioi.

earcv he 7rp6\oyo<; fxev

o\ov rpayw- 2

Sta? TO irpo
Tpayrphla'i
lxepo<i

to

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

oKov Tpaywhia'i
he
he
irdpoho'i
yu,eA,o?

ovk

eaTt

xopov
oXtj

/ieXo?,

'X^optKov

irpcoTTj
'^^

\e^L<;

xopov,
Koi

25 CTTdaL/jLov
Tpoxct'i'OV,

X^P^^
dprjvo<i

dvev

dvairaiCTTOv
x'^P'^^
fiev
i^^^

KO/jip,o<i

he

KOivo<i

<TOiV>
hel 3

diTO
3.

crKrjvrj<i.

fiept]

he Tpay(phia<i
iird

oh

co?

ethecri,

7ret 57}

T)

AP'-.

eireLbr)

apogr.

2, ut videtur.

5.

arepo^
9.

0' 77 Bekker. Bernays grepos

:

4.

irepov

eraipov
eKeivov

codd.
:

7.

Bywater
videtur
seclus.

iKeivcp

codd.
:

-rrepl

seclus.

Maggi

trepl

non habuisse

(Margolioutli)

Trept

raiVd Twining.
12.
di

10. tovtwv di
:

eipyjraL

Susemihl, om. Arabs.

del.

re apogr.

dire

A<=.

15.

Totum hoc
K6/J,fjLoi

cap. seclus. Ritter, recte, ut opinor.

19.
A<=.

kolvo,

fih

Susemihl.

24.

oXrj

AVestphal

6\ov

26.
:

tQv add.
8ei

Christ praeeunte Ritter.

27.

oh

fj.h

wj

e'ideai dei

apogr.

oh fih

A".

ARISTOTLE'S POETICS
misfortune will turn.
persons,
it

XL 5 XII.

43

Eecognition, then, being between 5 that one person only

is
is

may happen

recognised

by the other

when

the latter

already

known

or

it

may
sides.

be necessary that the recognition should be on both

Thus Iphigenia
;

is

revealed

to

Orestes

by the
is

sending of the letter

required to

but another act of recognition

make

Orestes

known

to Iphigenia.

Two
tion

parts, then, of the Plot

Eeversal and Eecogni- 6

is

turn upon surprises.

A
is

third part

the Tragic

Incident.

The Tragic Incident

on the

a destructive or painful

action, such as death

stage, bodily agony,

wounds

and the

like.

XII

[The parts of Tragedy, which must be treated as

elements of the whole, have been already mentioned.

We

now come

to

the quantitative parts

is

parts into

which Tragedy

divided
;

the separate

namely, Prologue,
being divided

Episode, Exodos, Choric song

into Parodos

this

last

and Stasimon.

These are

common

to all

plays

peculiar to

some are the songs of

actors from the

stage and the

Commoi.
is

The Prologos
precedes
the

that entire part of a tragedy which 2

Parodos of the Chorus.

.

The Episode

is

that entire part of a tragedy which

choric songs.

is

between complete

The Exodos

is

that entire part of a tragedy

it.

which has no choric song

the

after

Of the Choric
utterance
of

part

Parodos
:

is

the

first
is

undivided

the

Chorus

the Stasimon
:

a Choric ode without anapaests

is

or trochees

the

Commos

a joint lamentation of Chorus

and

actors.

The

parts of Tragedy

which must be treated 3

44

XII.

3 XIII.

3.

1452 b

281453
Be

a 12
et?

^pija-dac Trporepov

etirafiev,

Kara

to ttoctov koI

a Siaipelrat

Ke'^copcafiiva

ravr

icrrlvJ^

XIII

MV

Se

Sel

aro'^d^ecrdaL Kol

Bel evKa^elaOai crvvt?}? Tpa'y(pBla<i

iireiBr)
fir]

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

koI iroOev earat to

TOL<i

epyov,

icjie^rj'i

av

eir]

\eKTeov

vvv

elpTj/jbivoi'i.^

ovv Bel
dirXijv

Trjv crvvdeacv elvat

Tr]<i

KaWiaTTj'i Tpa'y(pBia<i
TavTrjv

dWd

TreirXey/Jievrjv
fit,fL7]TLKJ]V,

koX

(po^epMV
Tr}9

kol

35 iXeeivcov elvat

tovto jdp tBiov

ToiavTT)<i

fxifiriaeoi^ ecTTiv,

irpwTov

fiev BfjXov otc

ovTe tou9 e'meiKel<;

avBpa<i

Bei

BvcTTV^^iav,

[xeTa^dWovTa^ (patveadac ef evTv^la^ eh ov <ydp ^o^epov ovBe iXeecvov tovto dWa

ovtc
tov<;
p,0')(6T]poi)^

fiiapov

ea-TiV

e^

aTV^ia'i

eU

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

1453 a

ovBev

7a/3

e;^ei

wv

Bel,

ovTe yap ^CkdvOpwTrov

oils'

ovTe

ekeeivov
e|

ovT

<f)o/3ep6v

ecTTiV

av tov

crcfjoBpa

Trovrjpov

evTv^ia<;

eh BvaTv^iav
rj

fieTaTTLTTTecv'

to

fiev

yap ^l\ovTe eXeov

Bvcttv-

dvOptoTTov e^OL dv
5

ToiavTrj crvcrTa(TL<i

dW

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

X^ovvTa, 6 Be irepl
(f)o^o'i

tov o/xolov, eXeo?

fiev irepl

tov dvd^iov,
ovTe
3

Be

irepX

tov

o/jlolov,

&crTe
6

ovTe
fieTa^i)

ekeeivov

(j)o/3epov
X.ot7ro9.

ecTTai
ecTTt

to avfi/Satvov.
Be

dpa tovtoov
Bca<f)epcov

TOtovTa

6 firjTe dpeTrj

kol

10 BiicaLoa-vvr), firjTe Bid KUKiav Kol fioyOrfpiav

jxeTa^dXkwv

eh

Tr}V

BvaTv^iav
Bo^T]

dXkd
koI

Bi

dfiapTi av olov

Ttvd,

twv

ev

fjueydkr}

ovtcov

evTV^ia,

OlBiirovi

Kal

30.
2.

S}i>

apogr.

wj

A<=,
:

34. ireirXeyfxivqv seclus. Susemihl.

6.

1463 a

a5 rbv apogr.

a5 t6 A^.

?Xeos ij^v

rhv S/ioiov seclus.

Oldiirovs apogr.
:

Ritter,

quod non confirm. Arabs (Margoliouth).

12.

Slwovs A,

ARISTOTLE'S POETICS XII.

as elements of the

3 XIII.

45

whole have been already mentioned.

The
is

quantitative parts

divided

the separate parts into which

it

are here enumerated.]

XIII

As

the sequel to

what has already been

said,

we must
at,

proceed to consider what the poet should aim

and

what he should

avoid, in constructing his plots

specific effect of

and by

what means the

Tragedy will be produced.

A perfect

tragedy should, as

we have

seen, be arranged 2
It should,
fear, this
^^
'

not on the simple but on the complex plan.

moreover, imitate actions which excite pity and

being the distinctive mark of tragic imitation.

plainly, in
'
,

It follows

^
.3.

the

first

place,

that the

change of fortune '\^t'

presented must not be the spectacle of a virtuous

man\>
^^

^
'

^
3,

'''./

brought from prosperity to adversity:

fear
;

for
us.

this

moves ^^

v'
.

\^>S(^\ neither pity nor

it

merely shocks

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

^<J^
^.

to

''-i^-for

nothing can be more alien to the spirit of

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

<-
;

Nor, again,

'

1453

a possesses

no single tragic quality

calls

it

neither
or
fear.

satisfies

the

moral sense, nor

forth

pity

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

hibited.

plot of this
it

kind would, doubtless, satisfy

^^^\^'e~^
>*

the moral sense, but

would

inspire neither pity

nor^ \ ^

fear; for pity is aroused

by unmerited misfortune, fear^

^l\ ^

by the misfortune
event,
therefore,

of a

man

like

ourselves.
pitiful

Such an
terrible.

will

be

neither

nor

There remains, then, the character between these two

extremes,
just,

that of a

man who
is

is

not eminently good and

yet whose misfortune

brought about not by vice

error or
frailty.

or depravity, but

by some
highly

He must

be

one who

is

renowned and prosperous,

46

XIIL 38.
e'/c

1453 a

1339
e7ri^avel<i dvSp<;.

uearT]<; koI ol

tcov tolovtwv

jevMV

dvayKT]
15 /xaXkov

apa
rj

rov

koXm'?

e'^ovra

jxvdov
j)aai, koX

airXovv

eLvat 4

SlttXovv, axTTrep

nvh
/xr}

fxerajBaXkeLV
i^
ot

ovK

et9

evrv^lav

CK

ZvcrTV')(ia<i

aWa
rj

rovvavrtov

evTvyia';

eh

SvaTVVLav,
rj

Sia

/jbo^drjpuav

aWa

afiapriav fjbeydXrjv
rj

oXov elprjrat,

^\ti,ovo<;

fxdWov
fxev 5

'^elpovo'i.

arjfielov Se

koX to yiyvofievov vrpcorov

fiv6ov<;
aTrrjplO/jiovv,

20

7<x/3

ot

Troirjral

tou9

TV')(ovTa<i

vvv

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

[KaWcarao] rpajaySlac avvriOpecnrjv

koI
6(tol<;
rj

Oevrai, olov irepl ^AXKfialcova koX OISlttovv koI

KoX

yieXiaypov Koi
crv/ji^e/3r]Kv
i)

Svecrrrjv

koL

T^\(f)Ov
rj

aWoi<i
25 ovv
TYj'i

iraOelv heiva

7rotr]aai,.
e/c

fiev

Kara

ttjv

ri-^vv^
iari.

KaWlarr]
Bio Kol

rpaywhia

TavTr}<i

(TVcndaco<;

ol ^vpnrlBr] yKa\ovvT<; 6
Tat<;

TOVT avTO dfiaprdvovaiv, ore tovto Spa iv

hlai<i

rpaycp-

Kol

-TToWal

avrov
Mcnrep

et?

Bvcrrv^lav
opOov.

rekevrwcnv.
arifxelov

TOVTO

yap

iaTLV

e'cprjTat

Be

30 /jueyiCTTov

eVi yap tcov

al
TOcavTat,
el

crKrjvcov

Kol tcov dycovwv Tpayu-

KooTaTac
6

(palvovTai,
to,

dv KaTopdoiOwcnv, Kol
fjurj

l^vpc7riB7]f;

Kal

aXka

ev

oIkovo/xcI

dWd
8'
rj

TpayiKcoTaTO'i ye
irpoiTrj

tmv
vtto

ttoitjtwv

(palveTai.

BevTepa
rj

XeyofievT]

tlvwv eaTiv

[crycrTacrt?]
rj

BcttX^jv

35 re

Tr]v

avaTaaiv
e^

6'^ovaa,

KaOaTrep

^OBvaaeia,
Kal

Kal

TeXevTMcra

ivavTia<;
nrpoiTrj

rot?
Trjv

^eXTioac
tcov

'^elpocnv.

BoKel Be elvai

Bid

OedTpwv dadeveiav
iroLOvvTe'i

dKoXovOovcTi yap ol TTOirjTal KaT

6eaTai<i.

ev')(rjv

to?9

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

om.
1

rjBovrj 8
:

21. KdWicrraL seclus. Christ,

iatn S.

27. tout' avrb

Thurot
34.
(cf.

avrol

Reiz
28.

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

<al>

iroWai Knebel

TroXXat

<;ai> Tyrrell.

cnjaraffis

seclus.

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.
Twining.
37.

dedrpuv A^ et S, ut videtur

ARISTOTLE'S POETICS XIII.

personage
like

47
illustrious

Oedipus,

Thyestes,

or

other

men
in

of such families.

A
its

well constructed plot should, therefore, be single 4

issue, rather

than double as some maintain.

The

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

reversely,

from good

to bad.

It

should come about as

frailty,

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

in a character either such as

we have

described, or better

rather than worse.

The

practice of the stage bears out 5

our view.

At

first

the poets recounted any legend that

came

in their way.

Now,

tragedies are founded on the

story of a few houses,

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

should be of this construction.

Hence they
because
of

are in error 6

who
It
is
is,

censure

Euripides
plays,

just

he

follows

this

principle in his
as

many

which end unhappily.

we have

said, the right ending.

The best proof

that on the stage and in dramatic competition, such

if
;

plays,

they are well represented, are the most tragic

in effect

and Euripides, faulty

of his subject, yet

as
is

he

is

in the general

management

felt to

be the most

tragic of the poets.

In the second rank comes the kind of tragedy which 7

some place
good and

first.

Like the

Odyssey,

it

has a double

thread of plot, and also an opposite catastrophe for the

for the bad.

It is accounted the best because

;

of the weakness of the spectators

in

for the poet is guided

of his
is

what he

writes

by the wishes

audience.

The

pleasure, however, thence derived

not the true tragic

48

XIII.

8 XIV.

4.

1453 a

401453 b
eKec

20

v..

40 aXXa

fidWov t^?

Ka)fi(pSla<;

OLKela'

yap

ot

av

eyOtaTOL oiaiv iv
<f>tXoL <yv6/jiV0i

ra>

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

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

ovSeU

VTT

ovhev6<;.
/xev

XIV
1453b

eaTiv

ovv to (po^epov Koi ekeetvov ck

V

Trj<i 6'\jrco<i

, " sjv a ecrrtv be jLyveaaai,

/cat

e^ avTrj^

,j-

rr)^

avcna(Te(o<i

rcov

Trpajfjudrcov, oirep

iarl "rrporepov kov ttoltjtov afxeivovo^.

ovrco
avvecrrdvai, rov fivOov,
(fiplrrecv
Ti<i

hel
5

yap Kol dvev rov opdv

axrre rov aKovovra

rd Trpdy/xara yivofieva Kal

avfM/SatvovTcov
direp

Kol iXeelv

eK

rtov

dv irdOoc

aKOvcov rov rod OlhiiTov fivOov.

to Se Sid

t%

oyjrea)';

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

e<7TLV.
01

Be

firj

to ^o^epov Bid

t?}?

o-v/re&)9

dWd

to

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

TpaywBia

kolvoj-

vovaiv ov ydp irdaav

Bel ^rjTetv rjBovrjv diro TpaycoBia^

dXkd
Bid

Trjv

oiKelav.

eirel

Be ttjv utto

iXeov Kal (fyo^ov 3

ytit/iT^creo)?

Bel

r)Bovr]V

irapaaKevd^eiv

rov

ttoitjt^v,

(bavepov
15

ft)9

tovto ev rot? irpayp.acnv

irola

i/j,7roi7)Teov.

iroia

ovv Beivd
Xd^fOfiev.
rd's

rj

oiKTpd
Brj
rj

<})aLVTai

tmv

avfiTTiTTTOVToyv,

dvayKT]

rj

<^i\wv
r)

elvai

irpo^

aXXrjXovi 4

ToiavTa<; irpd^ei';
iydpo'i
ej^Opov,

e-^fdpcov

jj^eTepwv.
ovTe
ovB'

dv

fxev

ovv

ovBev

ekeeivov
irdOo'i'

irotSiv

ovts

/jueWoov,

ttXtjv

kut
8'

uvto to
ev
Tal<i

dv

jJ,r)BTpco<i

20 eyovre^;'

oTav

^iK[ai<i

eyyevr^rai

Ta

irdOr],

40.

ot

hv Bonitz
:

hv

ol

codd.
-A-*^-

Khf

ol

Spengel.
Srj

1453 b
5^ codd.

8.

drexvo18.

repov apogr.

dTX''^'''^P''

16.

Spengel

exOpov

ex^pbv diroKreivri Bekk. praeeunte Pazzi.

4\eeu>bv

< (po^epbv

oiid'> iXeeLvop

Ueberweg.

ARISTOTLE'S POETICS XIII.

pleasure.
It
is

8 XIV.

49

proper rather to Comedy, where those

who, in the

piece, are the deadliest

enemies

like Orestes

and Aegisthus

quit the stage as friends at the close,

is slain.

and no one slays or

Xiy
1453 b

Fear and pity

but they
piece,

may

be aroused by spectacular means

may

also result

from the inner structure of the

which

is

the better way, and indicates a superior

to

poet.

For the plot ought

be so constructed that, even

without the aid of the eye, he

will thrill with horror
place.

who
to

hears the tale told

pity at

and melt

what takes

This

is

the impression

we should
But
to

receive from

hearing the story of the Oedipus.

effect

produce this

by the mere spectacle means

is

a less artistic method,

and dependent on extraneous

spectacular
to create

aids.

Those who employ

a sense not of the terrible

but of the monstrous, are strangers to the purpose of

Tragedy

for

we must not demand

since the pleasure

of

Tragedy any and

is

every kind of pleasure, but only that which

to
it.

proper
3

And
is it is

which the poet should

afford

that which comes from pity and fear through

imitation,

evident that this quality must be impressed

upon the
which

incidents.

Let us then determine what are the circumstances

strike us as terrible or pitiful.

Actions capable of this effect must happen between 4

persons

who

are either friends or enemies or indifferent If an

to one another.

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

indifferent

is

pitiful.

So

again with

persons.

But when the

tragic

incident occurs between those

who

are near or dear to

50
olap el
-q

XIV.

4 S

1-5

;:

:-54

a 3

o&X^o?

eSieK/^iiov

17

vro?

vws

fjofrepa avoKrei^ei

fieXXei

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

avv
irtipeCK.'q^itevavii

^^
5

Spa, Tovra

^ifnfTeop.

Tovq ftep

IMvOovi \vetp ovK eoTor,

\eya

Se otop

t^

^^ktrraifivrjc-rpav

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

rtm *A\xftalefP09, avrop Se of^iaKew

SeBofMhmv jQtfiadai icdXa^.

Set

xal tok Trapa-

to &e icdXuf_Tl \eyofLev,

^va/tep
vpa^cp,

o-a^tetrrepop.

etrri iiep

yap

ovrto yivetrBat rijv 6

ictu

wnrep

01

vaXoioi ewolaup elSora^

^vyvda-

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

ravn
?a2ia?
"npr

Mj^Seidv.

eartp

Be

irpa^qd,

fjuev,

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

Twpf ^>iXiap,

atrwep 6

So^KXeou^ OlM-vouq' rovro

S* airry

/jl^v

aup
35

e^

rov BpdfiamK, ep

t TpaiyaBia

olov

AXxpaiav 6

'AjcrrvSofutpro^

6 TijXe^opo^ 6 ev

t^
7

Tpavpa-na, X^hvaa^eZ.

en

Be rpirop

fieXXopTa voiesp ri tAp aPfjKearap &'

vapa rtwra ro ajpouw avayvcoelhoTai;,

plaaA wplp wot^eu.

ri

Ktu vapa Tavra ovk eartv aWtot;.

ftrj
firj

yap vpa^oA opajic^ ^ 171 Koi aSoras rj 40 TouTtap Se TO pep ytwaaKopra peXXSjaai tcu
j(jdpurrapiss&z

Trpa^ai

to t yap piapop
.

ej(i,

Ktu ov rpayiKov
a, pri oXtydKi<:,

owaBih yap
Bemepop.

Biavep ovBels voiei opoiofi,

olap ep 'ApTtyopg top

Kpeopra 6 MpMBP.

to C irpa^ai 8

fieXriap Be to aypooupra pep

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

AffmSvTU )ih>

iamrp>i^iema.- -rk

-re

ykp

iu.a.pat'

ARISTOTLE'S POETICS XIV.

one another
kill,

51

if,

for

example, a brother

kills,

or intends to

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

his mother, or

any other deed

of the kind

is

done

these

are the situations to be looked for

by the

poet.

He may not

indeed destroy the framework of the received legends

fact, for instance,

the 5

that Clytemnestra

was

slain

by Orestes

and Eriphyle by Alcmaeon

of his own,

but he ought to show invention

and skilfidly handle the traditional material. Let

us explain

more

clearly

what

is

meant by

skiKiil handling.
6

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

manner

of the older poets.

indeed that Euripides makes

Medea

slay her

children.

Or, again, the deed of horror

tie

may

be done,

but done in ignorance, and the

ship be discovered afterwards.
is

of kinship or friendof Sophocles

is

The Oedipus

an example.

Here, indeed, the incident

;

outside

the

drama proper

but cases occur where

:

it

falls

within
of

the action of the play

one
in

may
the

cite the

Alcmaeon

Astydamas, or Telegonus
Again, there
is

Wounded

Odysseus.
is

third

case,

where some one

just 7

about to do some irreparable deed through ignorance,

and makes the discovery before

the only possible ways.

it

is

done.

These are

For the deed must either be

that wittingly or unwittingly.

done or not done,

and
for

But of
persons,

all

these ways, to be about to act

to act.
is

knowing the
It is

and then not

being

the worst.

shocking
It
is,

without
1454

tragic,

no disaster follows.

a therefore,

never, or very rarely, found in poetry.

One

instance,

however,

is

in

the Antigone, where

Haemon
way
is

threatens to kiU Creon.

tlu\t

The next and

better

the deed should be perpetrated.

Still

better, that

52

XIV.

8 XV.

3-

1454 a

425
7]

Be dvajvoopiaai'
5

to re yap /xiapov ov irpocrecrriv koI

avayvMpKTiii iKTrXrjKTLKOv.
\ej(o
vlov
Be

KpariaTov Be to reXevralov, 9
r/

olov iv

tw

Kpea(f)6vT7] Be

McpoTT?/ fxeWei

rbi'

aTTOKTelveiv,
rfj

airoKreivei
7)

ov,

aXK"

dveyvcopiaev,
rrj

KoX iv

^I(J3C'yevLa

dBeX^rj rov dBeXipov, Koi iv

'EW77
10 Bid

i/i09 Tr]v fMrjrepa

iKBiBovac fxeWcov dveyvcoptaev.

ecprjrat,

yap
at

TOVTO,

oirep

iraXai

ov

Trepl

TroWd
drro

yevq

TpayipBlaL

elcrlv.

^7]TovvTe<;

ydp

ovk

Te^i/779

dX)C diro

rv')(7}<;

evpov to tocovtov irapaa-Kevd^etv

iirl

iv Tol<i iiv9oi<i.

dvayKa^ovrai ovv

ravra^
irdOrj.

rd<i

olKLWi

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

1

'TTepl

jiev

ovv
elvat

rrj'i

roiv

TrpayfiuTcov

av(TTdaea><;
iKavci)<;.

Kal

TTOtoy?

Tivd<i

Bel Tov<i /u.vdov<i

eiprjTaL
a>v

XV

Tvepl Be

rd

tjOtj

rerrapd
oirco'^

icrrcv

Bel aro^d^ecrdai,
e^ei

v p-ev Kal TvpoyTov

'^prjo-rd

y.

Be ^do<; p,ev
rj

idv wcnrep iXej^drj

20 irpoaipea-lv
Be
iv

iroifj

(jiavepbv

\0709

tj

Trpd^a

riva

[77],

^priarbv Be idv

^prjcrrijv.

ecmv
Kal

eKoxTTW yevei'

Kal

ydp yvvq iarcv

'^pTjarr}

Bov\o<i, Ka'iTOL

ye

tcroi<i

tovtcov to p,ev yelpov, to Be oXtw?

ecrTiv

(jiavXov

iaTcv.
p,ev
r}

BevTepov Be Ta dpfioTTOVTa'
Tt
rjOo';,

ydp 2
to

dvBpelov
25 dvBpeiav

aXK"

ov'^

dpfioTTOv yvvaLKi
Be to o/xocov.

Betvr]v

elvat.

TpiTov

tovto 3

5.

Kparel

<5^

Tr\l> arov Tucker.

20.
(? cf.

9.

"EWt;

'AvtiStttj

Valckenaer.

19.

^a^epa;' Aid., Bekker.

<:T}Tt.s

Trpoalpeaiv rivaiji A'^:

vel
t)

&v>

5 coni.
:

Vahlen

Arab.)

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

tis

(pvyrjv

Diintzer

irpoaipefflv Tiva

< ^xoira,

biroia.

Siv> y

Gomperz
23. to

irpoaipeffiv Tiva, (pavXov

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

24. rt ^609

apfj.6TTovTa coni.

Vahlen, probante Gomperz,

: :

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
Teiecerit,

dvai glossema esse arbitratus quod

esse

veram lectionem

scribendum

coni.

ware

fi-qd^

<palve<76ai

ARISTOTLE'S POETICS XIV.

it

8 XV.

53

should be perpetrated in ignorance, and the discovery

afterwards.

made

There

is

then nothing to shock

effect.

us,

wliile the discovery

produces a startling

The

last 9
is

case

is

the best, as

when

in the Cresphontes

Merope
is,

about to slay her son, but, recognising

liis

who he

spares

life.

So in the Iphigenia, the

in

sister recognises

the

brother just

time.

Again in the Helle, the son

recognises the mother

up.
This, then,
is

when on

the point of giving her

why

a few families only, as has been

It

already observed, furnish the subjects of tragedy.

was not

art,

but happy chance, that led poets to look for

such situations and so impress the tragic quality upon

their plots.

They

are compelled, therefore, to have re-

course

to

those houses whose

history contains

moving

incidents like these.

Enough has now been

of the incidents,

said concerning the structure

of the plot.

and the proper constitution

XV

In respect of Character there are four things to be

aimed

at.

First,

and most important,

it

must be good.

Now
of

any speech or action that manifests moral purpose

:

any kind will be expressive of character

good
if

the character
is

will be

the purpose

is

good.

This rule

relative

to each class.

Even a woman may be

good, and also a

slave

though the

woman may
There

be said to be an inferior

being,
to

and the slave quite worthless.

at is

The second thing

aim

propriety.
to

is

a type of
terrible,

manly valour
would be
to life
:

but for a

woman

be valiant, or

infor 3

appropriate.

Thirdly, character

must be true

54
'yap erepov

XV. 37rod
-^prjcrTOV

1454 a
to

261454 b

ojdo'i

koI apfjuoTTOV iroLrjaaL

to
ofxaXov.

wcTTrep

eiprjrac.

reraprov
ttjv

8e

Kav

<yap 4

ava)fia\o<i

Ti?

/Jbifjirjcrcv

irape^cov

Kat

tolovtov
ecTTiv 5

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

dvcofiaXov Sec eivac.

ri6ov<i
firj

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

M.eve\ao<;
6

dvayKaia^ olov
Kai
fMij

iv

tw

'OpeaTrj,

rov Be

aTTpeTTOv'i
Trj

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

Tj

ZKvWrf Kat
rj

T^9 Me\avi7nr7}<;

pijai^,

rov Be dvco/xaXov
rj

iv

Av\IBl
varepa.
irpa'y- 6
eLK0<;,
rj

^ItpLyeveia'

ovBev yap
^^
'^^^'^

eotKev

iKerevovaa
rfj

rrj

35

XP^
ware

^^

'^^''

TjOecTiv

warrep Kol iv
rj

rwv
rj

fjudrcov

avarda-ei del ^Tjrelv

to dvajKalov

ro

rov

rocovrov
rj

rd
kol

roiavra
rovro

Xeyetv

i]

nrparreiv

dva<yKalov

ecKO'i,
eiK6<i.

fMerc

rovro

ytveaOai

rj

dvajKalov ^
1454 b yu.u^(uv

(f)avepov ovv

on

Kal rd<i \vaei<i roiv 7

f^rj

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

cocnrep
rrepi,

iv rfj

M?;8e/a drrb

fir]Yavrj<i
fXTj-yavfj

Kal iv

rfj

'IXtaoi

ra
e^(o

rov diroirXovv dXXd

Bpd/jiaro<i,
5
Tj

'^prjareov iirl

ra

rov

ocra rrpo ocra

rov

fye<yovev

a ou^ olov re dvOpwrrov

rrpoa'yopevcreco'i

elBevat,

rj

varepov,

d Betrai

Kai

KadSXov
(^(mi/

'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
:
;

fort,

woman, and as a secludendum

rule
:

is

not found in her at

dprirai.

all.'

27.

Cbawep

e'iprjTai

iiTrep

Hermann
30.

lacunam ante

uxrirep statuit

Spengel,

quem
:

seq.

Susemihl.
:

dvayKalou A*^: dvayKalov apogr.,

olov

Bywater
E.
33.

dvayKaias Thurot
Sus.
ed.
1,

[/xrj

dvayKa^of] Gomperz.
32.
pTJffis

seclus.

Miiller,

Christ.

<tov>

'Odvaa^ws
coni.

Bywater.
;

Exemplum

tov dvo/xoiov post

intercidisse

Vettori
38.

cf.

Susemihl, Christ.
Kal TovTo

37 et 38.
fort, recte.

rj

dvayKoiov
39.

Hermann.
:

<ws>
5. Trph

Bywater,

tQv /jlvBuv

tQv rjOQv S, ut videtur

dirXovv
A'=.
fiira

(Margoliouth).

1454 b

3.

dTrovXovv apogr., S:

Commate
refert,

post vcrrepov disting.

W.

R. Hardie, qui dyyeXlas ad

rod

wpoayopevaeus ad Saa varepov.

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

55

from goodness and propriety, as here

is

described.

The fourth point

of the
still

consistency

for

though 4

the

subject

imitation,

who

suggested the type,

be inconsistent,

he must be consistently inconsistent.

As an example
Menelaus
in the

of character gratuitously bad,

we have

Orestes:

of

character indecorous and

inappropriate, the lament of Odysseus in the Scylla, and

the speech of Melanippe

at Aulis,

of inconsistency, the Iphigenia

for Iphigenia the suppliant in

no way resembles

her later

self.

As

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

traiture of character, the poet should always

at the

aim

either
of a

necessary or the probable.

Thus a person

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

the rule either of necessity or of probability
this
;

just as

event should follow that by necessary or probable

It
is

sequence.
of the plot,
1454 b

therefore evident that the unravelling 7

no

less

than the complication, must arise out

of the plot itself, it

must not be brought about by the

in the

Deus

ex Machina,

as

Medea, or in the Eeturn

ex

of

the Greeks in the Iliad.

The Deus

Machina should

be employed only for events external to the drama,for

antecedent or subsequent events, which

lie

beyond

the range of

human knowledge, and which

require to be

56
ayyeXla'i'

XV.

7 XVI.
<yap

3.

1454 b

629
Tot<;

airavra

airoSlSofiev

60t<;

opdv.
e^co

akoyov Se
Trj<i

firjhev elvau

iv T049 Trpdyfiacrtv, el 8e

jjurj,

Tpa<y(pSLa<i, olov
/jbl/jirjai<i

to iv
1)

tw

OISlttoSc

tm

So^o/cA-eou?.
<rj

eVet Se
10
rj/j,d<;,

iariv

rpajMSla

/SeXriovcov

Kad >
Koi

Bel

fjUfietadat

tov<;

dya6ov<;

elKOvojpa(f)ov<i'

yap
Te<i

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

KaWLOV<i

'Ypd(f>ovcnv'

ovtw koi tov

Troirjrrjv
tcl

/juLfiov-

fjievov

Kol opytkov^ koI pa6vfiov<; koI

eirl

raXka

rotavra

ej(pvra<i
1

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

aKkrjpoTrjro'i]

{TrapdhetyjJba

olov

tov

'A^iWea ^Ayddoov
kol Trpo? TOVTOL<i 9
ala6j](Tei<;
ttj

Kol
Td<i

'

0/jLr]po<;.

TavTa

Brj

Set

ScaTrjpelv

irapa

to,

ef dvdjKrj<;

dKo\ovdovaa<i

TTOcrjTtKr]'
Kt,<i,

KoX <ydp KaT avTaq eaTiv d/xapTdveiv iroXkdBe

irepl

e'iprjTai,

avTOiV iv

toI<;

iKBeSofievoi,<i

X07019

20

licav(xi<;.

XVI

dvayvcapiaa Be

tl /xev

ecTTLV, e'iprjTai
rj

irpoTepov
fj

elBrj

Be dvajV(oplcreco<i, TrpcoTr) /xev

^pcovTaL Bl' dnropiav,
fiev
avfji(f)VTa,
o'iov<i
rj

uTe^voTdTT] koI
cnj/xeicov.

TrXeiaTr)

Bid TOiV

tovtoov Be Ta 2
Vrj'yevel'i

olov
iv

" Xoj^rjv
%ve(JTr)

rjv

^opovcn
to,

"

rj

25 dcrTepa<i

tw

Kap/ciVo?,

Be iTTiKTr/Ta,

KOL TOVTcov Tu

jjbev

v T&> adifxaTL, olov ovKai,

tt]
r)

Ta Be
r?/?

eKTO'^,

Ta irepiBepaca Kal olov iv

ecTTLV Be

Tvpoi Btd

cr/ca^?;?.

Kal TovTOL<i '^pr]cr6ao

ttj^
rb
:

^ekTtov

7)

'^elpov, olov 3

^OBvaaev<i Bid
8.

ov\rj<;

dX\,a)<i

dveyvccpiaOrj vtto t?)9

9.

t6 vel

tQ apogr.

A"

ra Aid.
St]

^ Kad'

iificis

Stahr, Mar-

goliouth collate Arabe

^^Ss codd.
:

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

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

A: 5 apogr.
22.

17. ras

wapa
A^.

rets A'=.

aTex'^^To-Tri apogr.
ij

pauca.
27.
olov apogr.

17

TrXela-TT)

apogr.

i)

irXeia-Tyj
:

A".

23.

apogr.

irepiUpaia Pazzi et apogr. pauca

:

irepidippea
'

A=

vepl

dipaia Aid.

ol

A".
29.

(tk6l4>7)s

'

ensis

Arabs,

a-ird6r]s

2, ut videtur

(R. Ellis).

<6>

'Odvffcrevs

Bywater.

ARISTOTLE'S POETICS XV.

reported or foretold
:

7 XVI.

57

for to the

gods

we

ascribe the

power

of seeing all things.

Within the action there must be

If the irrational cannot be excluded,

nothing irrational.
it

should be outside the scope of the tragedy.

Such

is

the irrational element in the Oedipus of Sophocles.

Again, since Tragedy

are above the

is

an imitation

of persons

who

common
form
life

level, the

example of good

portrait-

painters should be followed.

They, while reproducing

original,

the

distinctive
is

of

the

make
are

likeness

which
the

true to
in
or

and yet more

beautiful.

So too
or

poet,

representing

men who
defects

irascible

indolent,

have
type

other

of

character,
it.

should

preserve
Achilles

the
is

and yet ennoble

In this way

portrayed by Agathon and Homer.

These are rules the poet should observe.

lie

Nor should
for

neglect those appeals to the senses, which, though not

essentials, are the
is

among the

concomitants of poetry

here too there

much room
is

for error.

But

of this

enough

has been said in the published treatises.

XVI

What

Eecognition

has

been

already

explained.

We

will

now enumerate

its

kinds.

First, the
wit, is

least artistic

form, which, from poverty of

most commonly employed

Of these some are congenital,

the earth-born race bear on

his

recognition
'

by

signs.

such as

the spear which 2

or the stars

their bodies,'

introduced

by Carcinus
;

in

Thyestes.

Others are

acquired after birth

as scars
;

and of these some are bodily marks,

as necklaces, or the little
is effected.

some external tokens,

ark in the Tyro by which the discovery

Even
in

these admit of more or less skilful treatment.

the recognition of Odysseus

Thus

by

his scar, the discovery is

58 30 Tpocf)ov KoX
iricTTew'i
etc

XVI.

6.

1454 b 30
tcov

1455

^ ^^
elal

aX\ci)<;

vtto

crv^oroiv'

yap

at /xev

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

(acnrep
7)

TreyotTrere/a?,

iv

rot?

^iiTTpoi'i,
iroirjTov, hio

fieXriovi.

Sevrepat 8e al

ireiroirjixevai, vtto
rrj

rov

areyvot. 4

olov ^0pe(7Tri<; iv
35 eKeivrj fxev

\<^L<yevela aveyviopiaev

on

'Opeo-T?;?-

yap Bia
6

t?}? i7naTo\7J<i,

eKeivo^ he avro^ \eyet

/iivdo<;'

a ^oiiXerao
Tr]<;

7roir]Tr]<;

aX\' ou^
earlv,

Bcb

iyyvf rt

elpijfievrj'i

dfjiaprla'?

e^rjv

yap av evia kol

rj

eveyKelv.
1455 a (pcov^.
rj

Kal iv
TpLTT)

tm
hia

Xo(/)oA,eoi'9
fjiVT]/ji,7]<?

Trjpel

rrj'i

K6pKlBo<;

rat

alaOecrOai

ri

ISovra, 5

uiairep

rj

iv

KuTrptoi?

roU
7)

A.iKatoyevov<i, ISoov

yap

rrjv

ypa^7]v K\avaev, Kal

iv

^AXklvov a-TTokoyw, aKOVwv

ihaKpvaev, 66ev aveyvwavWoyLcrfiov,
ofioi,o<;

yap Tov KiOapiaTOv Kal

5

/jLvrjcrOel^;

picrdTjcrav.

rerdpTT}

Be

97

e'/c

olov
Be
rj

iv 6

Hor)(p6poi<;,

on

ofioto'i

n<;

iXrfKvOev,

ovOeh
Jlo\v-

dXX

77

'OpecTTT;?, ovro'i

dpa
T7]<i

eXijXvOev.
^l(f>iyeveia<;'
7]

Kal
etVo?

eiBov TOV cro<pcaTov rrepl

OpecTTTjv

yap rov
Kal

avWoyiaacrdai,

on

d8e\(pr)

irvOr)

10 avT(p av/M^aivet dvecrOat.

Kal iv to3

eoBcKTOV TvBel,
Kal
rj

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

iv

Tot9 ^cvelBaif;, IBovcrat

34.

yap rov tottov avveXoylaavro

Diels sec. Arabem.
cf.

rrjv

<6>

'OpeVrT^s

Bywater

'Opea-r-qs seclus.

dveyvu-

plcrd-q
fit

Spengel.
'
:

36. 5td ^771/s rt

A.'^.

Vahlen,

Arab, 'quam ob causam

vicinum

dioTi tyyii^

38. Alia

legisse videtur, 'haec

sunt in
;

eo

quod

dixit Sophocles se audiisse

5'

vocem
7)

radii

contempti
cpuivrj
?]

'

(Arabs)
Ati/ulos"
:

fort-

Toia{iTr]

ev

t(J5

'^ocpoKXeovs Trjpel
5'
r;

ttjs

KepKidos

"

unde
:

W.

R. Hardie coni. TOLavrr]

ey t(^ [2o0o/cXe'oiis

T-qpel

"

ttj^

dvavdov,"

4>y)(fi-,

" KepKiSos
7]

(pcovriv

kXvu)."

39.

17

Tplrr]

TpLTT]

apogr.
3.

fix^ecr^at
:

Gomperz.
dTrd X6ywi' A.
:

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

:

Ac.

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

6.

Xo7}(p6poLs

Vettori
^iveldaL^

xXo^^6pots

A<=.

IToXueiSou apogr.

UoXveldovs A.

12.

Reiz

(pLvidan

ARISTOTLE'S POETICS XVI.

36

59

made
men.

in one

way by

the nurse, in another by the herds-

The use

of tokens for the express purpose of proof

is

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

in art.

and on that account wanting

in

For example,
that

Orestes
Orestes.

the

Iphigenia

reveals
herself

the

fact

he

is

She, indeed,

makes

known by

the letter

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

not what the plot requires.
allied to the fault

This, therefore, is nearly

:

above mentioned

'

for Orestes

might

as well have brought tokens with him.

Another similar
in the Tereus of

instance

is

the

'

voice of the shuttle

Sophocles.
1455 a

The

third kind depends on

a

memory when
:

the sight of 5

some object awakens

feeling

as

in

the Cyprians of

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
:

Some
'

is

by process of reasoning.
one resembling
:

Thus

in 6
:

me

has

come

no one resembles
come.'

me
is

but Orestes

therefore Orestes has

Such too

the discovery

made by Iphigenia
It

in the play of Polyeidus the Sophist.

reflection for Orestes
to

was a natural

make,
So,
'

'

So I too must die at the

in

altar

like

my

sister.'

again,
I

the

Tydeus

of

Theodectes, the father says,

I
lose

came
in

to find

my

sou,
:

and
the

my own

life.'

So too

the

riiineidae

60
lfiap/xvr]v

XVI.

6 XVII.
evravda.

2.

1455 a

1333
avTal<i,

on

iv

tovtw eL/xapro airoOavelv

koX

yap

i^ereOrjcrav

eariv Be ri? Kal avvderr] K 7

olov
iv
ecpT]

15 TrapaXoyta/jbov
'ylrevBayyeXo)-

rou
6 puev

Oarepov,

tm

OSvcrael

rcG

yap to ro^ov

yvoocreadac

ov'^

ecopaKGL, TO
eTTolrjae
/otfji?
97

8e,

w?

8?)

eKeivov avayvwpiovvTO^ hia tovtov,

irapaXoyia/jbov.

iraadv he

^eXTiaTrj

avayvwycyvo-

ef avTOiv tmv Trpay/xuTCOv

eiKOToov,

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

20

fjLev7)<;

Bi'

olov [6]
eiKO'i

iv

tu>

%o<^OKkeov<=;

OIBlttoBl
ypd/i-

Kal

Trj

^\<^iyeve[a'

yap ^ovXeadac
jjuovat

iTrtOelvai

fxaTa.
a-rjfieicov

at yap

TotavTat

avev twv

TreTToiTjfMevcov

Kal TrepiBepalcov.

BevTepai he at iK crvWoyia/xov.
Trj

XVII

Bel Be T0U9 fxvdov; crvviaTavai Kal

Xe^ec avvairovtco

25 epyd^eadai otl /xdXiaTa

irpo

o/xf^aToov TiOe/xevov

yap av ivapyeaTaTa

[0]

opcov Mcnrep irap

avTol<; yiyvd-

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

av XavOdvoL \to\
iireTL/jbaTO

to,

virevavTla.
6

ar^fielov

Be

tovtov o
dvrjei,
qKT}vrj<i

J^apKivo)'

yap

'A/x,(^iapao9

i^ lepov
rr}?

30

[xr]

opoiVTa \tov 6eaTriv'\ ekdvOavev, eVt Be

Bvar-^epavdvTcav

i^eireaev

tovto

tojv

OeaTOiv.

oaa

Be

BvvaTov Kal
TaTOt
15.
6

Tol<i a'^rj/xacTLV

avvaTrepya^ofxevov.
(f)vcreco'i

'TrtOava)- 2

yap
:

diro

tt)^

avTrj<i

ol

iv

Tol'i

irddeaiv
16.

Tov Oarepov Bursian, praeeunte rb

ixev

Hermann:
uis 5tj

tov Oedrpov codd.

:

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.
fih apogr.
17.
(irolrjffe
'

Ac.
:

Aid.,

Bekker

TroLrjaai

codd.

24. a-vvaTrepyd^ecrdai

dwepyd^eardai. Suseniihl.
6

26. evapyeffrara apogr.

ivepyidTara A.
^apogr.
:

om. Aid.
30.

28.
:

rb om. apogr.
bpGivr

29.

dvrjei.

hv

elrj

A''.

opGivra codd.
i.

hv Vahlen.

rbv

dearriv seclusi (simili errore

irrepsit)
:

Rhet.

fir]

bpCovr
:

a<v>Tbv
ttoltjttiu

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

2,

credo,

inscius
:

rbv

Dacier,

Suseniihl.

33.

dw'

avTrjs

rrjs

Tyrwhitt

codd. lect. confirmare videtur Arabs (Margoliouth).

ARISTOTLE'S POETICS XVI.

6 XVII.

61

women, on seeing the

place, inferred their fate

for

Here
'

we

are

doomed
is

to

die,

here

we were

cast

forth.'

Again, there

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.

man

said he

would know the bow,

This remark led

-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

recognitions, the best is that

which

arises 8
dis-

from the incidents themselves, where the startling

covery
is

made by

natural means.

Such

is

that in the
for it

Oedipus of Sophocles, and in the Iphigenia;

was

natural that Iphigenia should wish to despatch a

letter.

These recognitions alone dispense with the

of tokens or necklaces.

artificial aid

Next come the

recognitions

by

process of reasoning.

XVII
the

In constructing the plot and working

proper
diction,

it

out with
the
scene,

the

poet

should

place

as far as possible, before his eyes.

In

this
if

way, seeing he were a

in keeping

everything with the utmost vividness, as

spectator of the action, he will discover

what

is

with

it,

and be most unlikely

of such a rule is

to overlook inconsistencies.

The need
Carcinus.

shown by
his

the fault found in

Amphiaraus was on

This fact escaped the observation

the situation.

way from of one who

the temple. did not see

On

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
his
feel

power,

with

appropriate

gestures

for 2

those

who

emotion are most convincing by force of

62
elaiv

XYII. 25.
Kol
^eiixaivei

1455 a

341455 b
koI

17
'^aXeiralvei
t)

yeLixal^ofxevo^

35 opyL^o/xvo<;
icTTiv
rj

0X7)6 ivcarara.

8io
<yap

evcpvov'?
01

iroLrjriKi'i

ixaviKoi)'

tovtwv

[xev

evifKaaroi
Kol

01

8e
145
\>

eKaraTLKOi
Set

elcriv.

TOv<i

re

\6yov<;

Tov<i 3

7r7roLr]/jievov^

koI

avrov iroiovvra eKriOeadat Ka6Xejco

Be

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

ovTco<;

av Oewpelcrdai to KadoXov, olov

Tcvo<;
Koprj<;

Trj<i

^l(f)i>ypeia<i'

TvOeta-T]^
5

koI
Se et?
tt}

a(f)aviadeLcn]'?

aSrjXco'i

toI<;
vo/jio';

Ovaacnv,
^]v

iBpvvOeLar]';
^eVof<?

oXXtjv '^copav,

ev

fj

rov<;

6vetv
Se

Oew, ravTrjv eo-^e

tc3

Tr)v

lepw-

<Tvv'}]V
Tr]<;

'^pov<p

vcrrepov

aSeXcfxM
6

avve^rj

iXdecv

iepeia<;

(rb Se otl

civeTXev
eKei],

^eo? Bia rtva alriav,

ecf)^

^(o

Tov KaOoXov \e\6elv

koX

6 re Si,

e^w rod

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

picrev,

dveadai fxeXXcov dveyvo)o)?

eW

w?

^vpiirLhrj^
eirroiv

eW^

IIoA-iJetSo? rrjv
7)

eiroirjaev,
dSe\(f)7]v

Kara ro

eiK0<i

ore

ovk apa fxovov

dWa
/xera
J

Kal avrov eSei rvOrjvai, Kal evrevOev

awrTjpia.

ravra Se

77877

vrroOevra ra ovofxara eTreiaoBcovv, 4

5 OTTft)?

Se earat oiKela
Bi
7^?

ra

eTreiaoSia, olov ev
rj

rS
rrj<;

^Opearr]

7;

fjuavia

e\7](j)67j

Kal

<j(j)r7]pia

Sta

Kaddp-

aecof;.

ev p,ev ovv rot? hpdpiacnv

rd erreLaoSca

crvvrofjua, 5

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

(Diels).
roiis

37.

eKaraTLKol cod. Vettori

re apogr.
38.
:

i^eraffTiKoi

codd.

to^tovs re

vel roijs

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

coni. Vahlen.

TrapeiXTj/x/jLivovs

reiueiv A<^.

9.

KadSXov:

fort.

/jlv6ov

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

eXdelv
e/cet

irepi-

fort.

Ka66\ov Vahlen.
e'^oj

Secludendum videtur aut

17.

(Bekker

ed. 3) aut

TOV

KaddXov (Diintzer, Susemihl).

dveyvuplaOr]
:

M. Schmidt,

et

olim Vahlen.

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

apfiaatv A'^.

ARISTOTLE'S TOETICS XVII. 25

sympathy.

63
is

One who
the

is

agitated

storms,

one who

angry rages, with

most

life-like

reality.

Hence

poetry implies either a happy gift of natnre or a strain

of madness.

In the one case a

;

man

can take the mould

is

of

any character
self.

in the other, he

lifted

out of his

proper

As
1455 b

for the

story,
it

whether the poet takes

for himself,
fill

it

ready 3
sketch

made
its

or constructs
outline,

he should
in

first

general

and then

the episodes and

illustrated

amplify in

detail.

The general plan may be

by

the Iphigenia.

young

girl is sacrificed

she disappears
sacrificed

mysteriously from the eyes of those

she
is is

who

her

transported to another country, where the custom

offer

to

up
is

all

strangers to the

goddess.

To

this

ministry she

appointed.

Some time

later her brother

chances to arrive.
ordered

The

fact that the oracle for

some reason

him

to go there, is outside

the general plan of

the play.

The purpose,

again, of his

coming

is

outside

the action proper.

However, he comes, he

is seized,

and,
is.

when on the The mode of

or

point of being sacrificed, reveals

recognition
in

who he

may

be either that of Euripides

play

of

Polyeidus,
:

naturally

So
'

whose

he

exclaims

very

it

was not

my

sister
'

only, but I too,

who was doomed

he
is

to

be sacrificed

and by that remark

saved.
this,

After
to
fill

the names being once given,

episodes.
action.

it

remains 4
are
for

in

the
to

We
In

must see that they

the
case
of
Orestes,

relevant

the
is

example, there

the madness which led to his capture,

and

his

deliverance

by means

of the purificatory rite.

In the drama, the episodes are

short,

but

it

is

these that 5

64
8'

XVII.
iiroiroLla
fiUKpb'i

5 XVIII.

2.

1455 b

1838
yap
OSvaaela^

?}

tovtol<;

fxrjKvveTaL.

Tr]<;

<ov>
20

A,0709

icTTiV

a7roBr)fiovvT6<;

nvo^

errj

TToWa Kal

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

ert

fiovov 6vT0<;,
'^p-tjfJMTa

Be

tcov

ockoi

ovTco<i

eyovrwv ware ra
kol

VTTO

fxvrjarrjpcov

dva\lcrKa$ac
acfjiKvelrac

rov

vlov

eTTi^ovXevecrOac,

avTo<i

hrj

'^eifMaadel';

Kal

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

25
8'

ej^Opom

BiecjiOeipe.

to

fiev

ovv

XBlov

tovto,

ra

S'

dWa
XVII [
rd
rb
30
CLTT

iireiaoSta.
ttcio-t;?

earo Be
fiev

rpaywBia'i ro p.ev

Beai'i

ro Be \vac<i,
r)

e^codev Kal evta roiv ecrcodev TroXXa/ct?

Beai<i,

Be

XoLTTov

r]

Xutrt?.
'^o'^'^'O^

'keyw
'^^^

Be

Becnv
b

fiev

elvai

rrjv

dp^r]<;

P'^XP''

pepov<;

ea'^arov

eartv
et?

i^

ov pera/3aLveiv

<el<i

Bvarvx^av avp^aivet
'^V'^

rj>

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

P'e'xpi'

fjberal3daea)<i

reXovi'

wcrirep ev rut Av<y Kel rtG

rj

@eoBeKrov

Becn<;
X?}-v|rt9

p,ev

rd re TrpoTreirpaypeva Kal
"f* r)

rov TraiBtov

35 Kal TTaXiV
alridcreo)';
eXBr)
7]

avrojv S^ *

"f*

<.Xvat<i S' ?;> dirb

re\ov<;.

Tf;9

rov davdrov
recrcrapa,
rj

p-ey^pi' "tov

rpaycpBla'? Be 2
p^eprj

elal

[roaavra yap Kal rd

Be>
rreirXeypevri,
: '

iXe^dV']
earlv
e.

pev
fxiKpbt

<d'7r\ri
apogr.
:

rj<;

rb
'

oXov

19.

fiaKpbs A<^

sermo non

est longus
. .
.

Arabs, h.
coni.

ov

/xoKpos (Margoliouth).

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

IloaeLdwvos seclus.
St?
:

Castelvetro.
oe codd.

21.

S:
:

e-n-ei

A^.

23.

Vahlen

24. rivas avrbs codd.

ort avrbs

Bywater

riuai airrbs olim

seclusi

avrbs seclus. Spengel.

lect.

28.

iroXXd/cis

post ^^uOev collocavit

31.

Ueberweg: codd.
dvcrrvx'-o-'^ av/jL^aivei.
els Si'crri'Xtaj'

eonfirmat Arabs (Margoliouth).

<eis

^>

Gomperz,
i]

alios secutus

<(Tv/j.^aivei

^ i^ eiirvxias

>

addenda

esse coni. Vahlen.

35.

17

avrQv
d'

Brj

< dTrayujyri,

Xvffis

d'

i]> coni. Vahlen:

avTwv 8rj<\u}(ns, Xvais

7]> Christ, quod

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

et Spengel).

rd
38.

/jL^pr)
i]

fiev

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]
37.
.

de aTrX7J>

cum

definitione deesse susj).).

ARISTOTLE'S POETICS XVII.

give extension to Epic poetry.

5 XVIII.

65
of the

Thus the story

Odyssey can be stated

from home
for

briefly.
;

A
is

certain

man

is

absent

many

years

he

jealously watched
his

by
in

Poseidon, and

left desolate.

Meanwhile

home

is

a wretched plight

suitors are wasting his substance

son.

and
he

plotting
arrives

against

his

At

length,

tempest-tost,

and reveals

his true self;

is

he attacks his enemies,

This
is

destroys

them and
;

himself preserved.
is

the

essence of the plot

the rest

episode.

XVIII

Every tragedy faUs

into

two

parts,

Complication
;

and Unravelling

(or Ddnou&tnent).

Incidents extraneous

to the action are frequently

combined with a portion of

the rest
all
is

the action proper, to form the Complication the Unravelling.

By

the Complication I

mean

that

comes between the beginning of the action and the part

which marks the turning-point

to

good or bad fortune.

The

Unravelling
the

is

that

which

comes

between

the

beginning of

change and the end.

Thus, in the
of the

Lynceus of Theodectes, the Complication consists

incidents presupposed in the drama, the seizure of the

child,

and then again * *

of

<The Unravelling > extends

to the end.

from the accusation

murder

There are four kinds of Tragedy,

first,

the < Simple, 2

then> the Complex, depending entirely on Eeversal and

66
TreptTrereia
1456 a

XVIII.

5-

1455 ^ 39
1)

1456

a 20

koI dvayvMpiaL'i,
rj

Se

iraOrjTLKri,

olov

o'i

re

Ataz/re? Koi ol ^l^loveq,

8e

rjdLKrj,

olov at ^Oiwrthe^
0779 "f

Kol

XlTyXeu?.

"f*

TO

he

rerapTOV
koI

olov

at

re

^opKiSe^;
fiev

Kol

IIpo/jLT)9v<;

oaa

iv

aSov.
el

jxaXLcrTa 3

ovv

airavra
Kal

hel

ireLpdaOai

'^^lv,
tt)9

Se

jjurj,

to,

5 fJbi'yicna

irXela-ra,

aWa)<i re koI

iwv

crvKocpavp.epo<;

Tovcnv

T0v<i TTOirird'^'

jeyovoTcov yap Kad' eKacrrov

ISlov

d<yad(av ttoctjtcov,

eKaarov rov

djadov

d^covcrc

rov

eva v7rep/3dWeLV.
TT)V avTTjv

BiKacov 8e koI rpaycpSiav aXX.rjv koI

'la(o<;

Xeyecv ov8ev<l>

<&)9>

rco fjLvdq)'

rovro

10 Se,
ev
Be

&v

7]

avrii ttXokt] koX \v(TL<i.

KaKOi<i'
e'lprjTac

ttoWoI 8e
del

irXe^avre'i
'x^prj

Xvovcrc
OTrep

Sec

8e

a/x0&)

KparelaOac.
koi
/jlt}

TroXXa/ci?

/xefMV7]cr6aL

irotelv

eiroTTouKov
[8e]

avcrrruLa

rpaywZlav.
olov
et
rL<i

iiroTrouKov

Se

Xe7a)

TO

TrdXvjjbvdov,

rov

T7)9
fjLrJK0<;

'IXta8o9 oXov
Xafi^dvet,

15 TTOtol fivOov.
/xeprj

Kel fiev

yap Bia ro

ra

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

vTToXrjyp'iv

rrjv

diro^aiveL.

a-rjfielov
fir]

Be,
/u,epo<i

ocroi

irepaiv 5
Etr-

'IXtoy

oKt]v

eTTOLTjaav
Nto/37;i/

Kal
Kal

Kara

wo-irep
i)

pnrlBri'i,

<i)>
rj

firj

wcnrep Alo-'^vXo^,
iirel

eK-

20 TTLTrrovcrLV

KaK6i<i

dycovi^ovrai,,
:

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

Te2(jdai

Arabs
:

Kpo-

codd.

14.
:

5e

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

19.

?)

add. Vahlen
Valla,

t)

'locpuiu

Susemihl,
[/cat
.
. .

Spengel

pro

'Ekcl^tiv

coni.

unde

'Ekcl^tjv

AiVx^Xos,] Reinach.

;;

ARISTOTLE'S POETICS XYIII. 25

Eecognition
apassion),
;

67

next, the
as

Pathetic (where the

tragedies

motive

is

such

the

on Ajax and

Ixion

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

as the Phthiotides

such

and the Peleus.

kind>,
such
as

<'We here exclude

the
Phorcides,
is

the

supernatural

the

Prometheus, and tragedies whose scene

world.

in the lower
possible,

The poet should endeavour,

all

if

to 3

combine

poetic merits

or failing that, the greatest

;

number and those the most important

there

the more

so,

in

face of the cavilling criticism of the day.

For whereas

have hitherto been good poets, each in his own

branch, the critics

now

expect one

man

to

surpass all

others in their several lines of excellence.

In speaking of a tragedy as the same or

best test to take
is

different, the

the plot.

Identity exists where the

Complication and Unravelling are the same.

tie

Many poets
arts,

the knot well, but unravel

it

ill.

Both

how-

ever, should always be mastered.

Again, the poet should remember what has been often i

said,

and not make a Tragedy into an Epic

structure I

structure.

By an Epic
plots
:

mean one with

you were
Iliad.

a multiplicity of

as

if,

for instance,

to

make a tragedy
its
is

out of the entire story of the

In the Epic poem,

owing

to

its

length,

each

part

assumes
result

proper

magnitude.

In

the

drama

the

far
is

from
that 5

answering to the poet's expectation.

the poets

The proof

who have dramatised

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

fail

part of her story, like Aeschylus, either

utterly or

meet with poor success on the

stage.

Even Agathon

: '

68
iirecrev

XVIII.
iv

5 XIX.

2.

1456 a 211456 b

tovtw fiovw'

ev he rat? TreptTreTetat? [/cat iv

T0t9 aTrXoi? irpd'^ixacrL]

jxacnoi'i'

crro'^d^eTac

wv ^ovKovrai dav-

TpajiKov yap tovto koI (^CKdvOpwirov.

[/tiei/]

ecmv

he TOVTO, OTav 6 ao^o<i

jjueTa

irovripLa'i
dBt,KO<i

e^aTraTrjOrj,

25 Mcrirep

%Lav(f)o<;,

koX

dvSpeio<i
elKO'i

fiev

Be

rjTTrjOTJ.

<JTLv Se

TOVTO <Kal>

Mairep 'A<yd6(ov Xeyei, et09

to
Ik6<;.

jdp

ryivecrdac

iroWd Kol irapd

koI tov yopov 7

Se eva Bel viroXa^elv tcov viroKpiTOiv,

koX jiopiov elvat

^vpLirihr)

TOV oXov Kol avvaycovi^ea6at

30 &cnrep So(f)OK\l.
Tol<i
?)

firj

cocrTrep

dXV
e/x-

Be XotTTot? to, aB6p.eva

<ovBev>
Bio

fxdWov TOV
Tov.

/LLvdov

dWrj<i Tpaya)B[a<;

ecrTLV

^oXifia aBovcriv TrpcoTov dp^avTO'i

KaiTOi
et?
Tfc

A.yd6wvo<i tov tolovrj

Bia^epet

rj

efx^oKiixa aSeiv
eTreicroBiov
r/S?;

el prjcriv e'f

dWov

dXko dpfioTTOi
fiev

rj

oXov
ecpTjTai,
to,

XIX
Trjv

Trepl

ovv
koX

TOiV

dXkcov

\oLirov

Be

36 irepl

Xe^e&)9

Biavoia<i
Trepl
t?}9

elTrelv.

fxev

ovv

irepl

Bidvotav iv

TOL<i

priToptKrj<i

Keicrdco,
(tti

tovto yap

cBiov /jLciWov

KeiV7)<;

fieOoBov.

Be

KaTa

ttjv

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

40
p^eprj

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

1456 b 'jrdOrj

TrapaaKevd^etv, otov eXeov

irpdyfiaai seclus.

rj

(f)6/3ov

rj

opyrjv Kol
pro

21.

Kal iv

Susemihl
36
:

tuetur Arabs

air\o7s,

dXXots
Tois

Tucker,

collato

1451 b

diirXoU

Twining

Kal
:

dTrXaJs

iv

irpdyfjiaffi

Gomperz.
24.
(rocpbs ixkv

22.

ffToxdl^erai
fi^v

Heinsius
apogr.

(rroxd^ov-

rai codd.

Aut secludendum
fiera irovTjplas

(Margoliouth

cum Arabe)
26.
elKbs
ijTTTjdri

aut legend. 6

Si
.

cum
.

<:Kal>
coUocat
:

etVos

Susemihl,
ante
. .

qui rpayiKdv
irapd Aid.,

(pcKdvOpuTrov

post
. . .

Kal
,

elKbs

confirm. Arabs.

29. ibinrep
30.
'

wcmep
TroXXots
' :

uffTrep Trap'

(bairep

Bekker.

XotTrots

Margoliouth
5iS6fj.va
A'^.

cum
'

Arabe.
ofJSiv

^'So/uei'a

Maggi,

add.
ov

aliud

amplius
iroirjTov

Arabs)
S,

Vahlen, add. Maggi.

35.
36. Kal

quae canuntur Arabs habuit iam 2 ('nihil

.

32.

tolovtov
rjd'

'

poeta
Trddrj

Arabs,
videtur

ut videtur.

ijdr]

apogr.
:

elSeQv ut
41.

(Margoliouth).

Hermann

i)

codd.

seclus. Bernays, tuetur Arabs.

ARISTOTLE'S POETICS XVIII.

has been

5 XIX.
defect.

69

known

to

fail

from this one

In his

Eeversals of the Action, however, he shows a marvellous

skill in

the effort to hit the popular taste,

to produce a
is 6

tragic effect that satisfies the

moral sense.

This effect
is

produced when the clever rogue, like Sisyphus,

witted, or the brave villain defeated.

outis,
'
:

Such an event

moreover, probable in Agathon's sense of the word

is

it

probable,' he says,

'

that

many

things should happen

contrary to probability.'

The Chorus too should be regarded

actors
;

as

one of the 7

it

should be an integral part of the whole, and

share in the action, in the

of Sophocles.

manner not

of Euripides but

As

for the later poets, their choral songs

pertain as

little

to the subject of the piece as to that of

any other tragedy.

interludes,

They

are,

therefore,

sung as mere

a practice
is

first

begun by Agathon,

Yet

what

difference

there between introducing such choral

act,

interludes,

and transferring a speech, or even a whole

to another
?

from one play

XIX

It

remains to speak of Diction and Thought, the

parts
of

other

Tragedy having been already discussed.

Concerning Thought, we
the
Ehetoric,
to

may assume what

inquiry
is

is

said

in

which

the

subject

more

strictly belongs.

Under Thought

included every effect

;

which has

to

be produced by speech
;

in particular,

proof and refutation

1456 b

the excitation of the feelings,

such

as

pity,

fear,

anger,

and the

like

70
0(ra Tocavra,

XIX.

3 XX.

2.

1456 b

224
SriXov 3

koL ere

/ji6ye6o<i

Koi

fjLiKp6Trjra<i.

Be OTL Kol [eV]

Set -^prjaOai,
5 Set]

Tot? Trpajfjuaatv airo to)v

rj

avTOiv
i)

IBeMV
eiKora
to,

orav

iXeeiva
ttXjjv

?)

Seiva

i)

fiejaXa

TrapaaKevd^ecv
(f)alvea0at

roaovrov

8La(j)pi,

on
rov

fxev

Set

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

Xoya

vtto

Tov

XeyovTO'i

Koi

irapa

Xojov

ytyveadat.
tjSt)

tl <yap

av

etrj

tov \e<yovTO<i epyov,

;

el (f)aivoiTO

Bet

KOL
fjbev

firj

Blcl

tov Xojov

tcov
tcl

Be

irepl

ttjv
Trj'i

loXe^iv

eaTiv

elBo<;

Oecopla'i

a'^rjp.aTa

Xe^e&)9,

icTTtv
e-)(OVTO<i

elBevat

rr}?

vTroKpiTLKr]^;

koi

tov

ttjv

TOLaVTtJV
tI
ev')(r]

dp'^LTeKTOVLKl'jV,

olov

Tl

eVToXr]

KOL koI
ttjv 5

Kol KOL

BtTjjTjaL'i

koi

direCkr]

koi

ipcaTrjaa

diroKpLai'i
15 TOVTCov

el
rj

tl

dXko tolovtov.
ovBev

rrapd
ttjv

<ydp

'yvwaiv

dryvoiav

eh

ttoltjtiktjv

iTrcTi/Jbrjfia

(f>6peTaL

tl

koX

d^iov

ctttouSt}?.

tl

<ydp

dv
OTL

TL<i

v7roXd/3oL

7]fjiapTfj(76aL

a UpcoTayopaf;
eliriav

eirLTLp^a,

ev')(ea-daL

OL6pbevo<i

iTTiTdTTet
(prjalv
ci)9

" ixrjVLv
rj

deiBe

^ea," TO yap KeXevaaL

20 ecTTLv.
ov
Bio

TTOcelv

tl

firj

eTTLTa^h
7roL7}TLKrj<i

TrapeLcrOw

dW7]<; kol ov

Tfj<;

6ed)p7]fjba,

XX

[t>}9 Be

Xefe&)9 d7rdaT]<; TdB^ ccttI

Ta

^leprj,

a-TOt^eiov
Xoyo^;.

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

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

irTwcrL'i

^wv't-j

dBLalpeTO';, ov irdcra Be
apogr.
3.
A'^.
:

dX)C 2

2.

/uLLKpoTviTas A<^

(TixLKpbT-qTo.

iv
8.

seclus.

Ueberweg
scripsi
-IjSt]
:

Spengel).

t'Sewc
9.
ijdri
t^St]

apogr.
Sl

eloeCbv

(paivoiro

(pavo'iTo

codd.

del

Tyrwhitt

^Stj

Castelvetro

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:
:

-tq

diq.

ARISTOTLE'S POETICS XIX.

importance or
its

XX.
is

71

opposite.

Further,

it

evident that 3

the dramatic incidents must be treated from the same

points of view as the dramatic speeches,
is

when
the

the object

to

evoke the sense of pity,

fear,
is,

importance, or probthat
incidents

ability.

The only

difference

should speak for themselves without verbal exposition

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

duced by the speaker, and

as

a result of the
if

speech.

For what were the need of a speaker,

the

proper

impression were at once conveyed, quite apart from what

he says

Next, as regards Diction.

treats

One branch
But

of the inquiry i
this

of the

Modes

of Expression.

province

of knowledge belongs to the art of Declamation,

and

to

the masters of that science.

It

includes, for instance,

what
to

is

command, a

prayer, a narrative, a threat,

a question, an answer, and so forth.

To know

or

not 5

know

these things involves no serious censure upon

art.

the poet's
to

For who can admit the

Protagoras,

fault

imputed
'

Homer by

that

in

the

words,

Sing,

goddess, of the wrath,' he gives a

idea that he utters a prayer

command under

the

For to teU some one to

he says, a command.

do a thing or not to do

it

is,

We

may,

therefore, pass this over as

an inquiry that belongs

to another art, not to poetry.

XX
the

[Language in general includes the following parts

the Letter, the Syllable, the Connecting word,
tlie

Noun,
or

Verb,

the

Inflexion

or

Case,

the

Proposition

Phrase.

Letter

is

an indivisible sound, yet not every such

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

>

72

XX.

6.

1456 b 25

1457

a 2

25 ef ^9 Tre^VKe avvOeTr] yiyveaOai

elcrlv

(fxov)]'

Kol 'yap rcbv drjpicov

Xejco
(xroc^etov.

aBiaiperoL
Be
fMeprj

<^wva\

oiv

ovhefilav

TavT7)<i
a<f)Q)vov.

to
Se

re

(fxoprjev

koX

to

rj/xttpcovov

koI 3

ecrriv

(pcovrjev

fiev

<.ro> avev

irpocrl3o\i)<;

e')(ov (pcovrjv

aKOVcrrrjv,

7]fjbl<p(i)vov

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

30 e'xo^
TO

(f)0)vi]v

aKOV(TTrjv, olov

to

Kol to P,

cicpcovov

Be

ixeTCL 7rpoa/3o\rj<i

KaO^ avTO fiev ovBefiiav

(fecovrjv

e')(pv

^wvrjv,

fxeTo,

Be T03V e')(ovTwv Tiva

jLvofievov

uKovaTov,

olov TO

Kal TO A.

TavTa Be
KOL

Biacpepei

a^'^/xacylv re 4

TOV (TTOfXaTO^ Kol

35 KoX ^irjKeL Kol

TOTTOL'i

Ba(TVTr]Tl

KOl

^^tCKoTT^TI,

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

Be

o^vttjto kol /dapvTrjTL

toI<;
(fxovr]

Kol

Tft)

ne(T(p'

irepl

cov

KaB' eKaaTov ev
Be

/j.eTpLKol<;
aarj/jio<;

TrpoarjKeL
crvvOeTr)

Oecopetv.

avWa/3r)

eaTiv

i^ a(f>wvov #

* Kot

<fiO)vr]v

e'^^ovTO'?.

kol yap

TO

rP <ovK>
rPA.
/jbeTpLKr]<i

dvev TOV

avWa/Sr] aXKa

fieTO,

tov A,

40 olov TO
Try?
1457

aXka Kal
ecTTiv.

tovtcov Oewprjaai tcl^ Bia(f)opa<;

Be eaTLV
jjbiav

avvBecrfioq
TTOLel

^covr)

acr7}fMo<; 6

fj

ouTe K(o\veL

ovTe

(ficovrjv

cn]fiavTiKr}v

eK
tcov

irXeLovcov

cf)(ov(ov,

7re(f)VKvla

[crvv]Ti6eadat Kal

eVl

25. ffwderr] apogr.,

a(t>d)vov

Arabs

'

compositae voci

'

aw err]

A''.
.

38.

Post
<puvT]v

intercidisse videtur

<^

i^ dcpibvov Kai Tj/xKpdbvov

Post
'

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

Kal
'

yap

t6

rP

dvev

toO

avWa^rj

Kal

fieTO.

toD A,

sine

A non

faciunt syllabam,

quoniam tantum

fiunt

nam T et syllaba cum 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
:

-f)

oiire

TTOiei

<pwv7)v
iirl

/J-iav

crrjfiavTiKTjv,
^ttI

iK

Tr\ei6vo}V
ixiffov,

ipiovUbv
fjp
/jlt]

Tre(pvKv1av

avvrl-

Oeadai,
apfjidrrri

Kal

tGiv

&Kpwv Kal
ev

tov

apfihrTeL

{^v

fj-r]

apogr., Bekker)
iJToi,

dpxv Tidevai KaO' airiv

^

(avTrjv

Tyi'whitt),
/xev

ohv

fxev,

34

(vel

5^).

(pujvr]

dcrrj/jLOS

fj

(k

TrXeidviov

(puvQu

/ttSs a7)ixavTi.KGiv {crrjfxavTiKbv

A) Se
fj

Troielv

iricpvKev fxiav arifxavTiKTjv <pwvrjv.

r)

dpdpov
olov Tb

iffTl

0wj'7j
p,.
I.

daij/xos,

diJ,<pi

(^.

A<=

<p7]iJ.L

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

diopLfffibv

StjXo?,

irepl

Kal

to.

dXXa.

ARISTOTLE'S POETICS XX.

sounds.

26

73

For even brutes utter indivisible sounds, none

of which I call a letter.

The sound

mean may be

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

A
lip

vowel
has

is

that

which without impact of tongue or

an

audible sound.

semi-vowel,

that which with such

impact has an audible sound, as S and E.

that which with such impact has

mute,

by

itself

no sound,

but joined to a vowel sound becomes audible, as

D.

and
form 4

These

are

distinguished

according

to

the

assumed by the mouth, and the place where they are

produced
;

according as
;

they are aspirated or smooth,

long or short

as they are acute, grave, or of

an

inter-

mediate
treatise

tone

which

inquiry belongs

in

detail

to

on metre.
is

A
vowel

Syllable

a non-significant sound, composed of a 5

of

mute and a vowel <or

:

a mute, a semi-vowel >

and a

for

A it

is,

GEA.

GE

without

is

not a syllable, but with

of these differences

But the investigation

belongs also to metrical science.

A
1457 a

Connecting word

is

a non-significant sound, which 6

neither causes nor

into one
significant

hinders

the union of
it

many sounds

sound

may

be placed at either

In Ed.
mutavi.

secutus

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

a-Opdeafioi d^ iariv (puivrj dcrrifios

S^ TTOieTv 'wi<j>VKev

crriiJLavTiKTjv

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

fi^v
fxr]

(pwvCiv, /xias a-tjfx.avTiKwv

apfibrTei.
ii>

apxv \6yov
5'

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

(juavT)

to.

&\\a.

&f)dpoi>

iarl

&(T7]p,os,

t)

oCre

KwXijet.

oiire

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

-i)

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

(xwrldeaOaL,

< dXX' >

iirl

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""

fateor.

2.

wetpvKvla rldeaOai "Winstanloy

irecbvKvlav avvrldeffdai codd.

74
UKpcov Kot
fiev
(f>(ov(ov

XX.
iirl

II.

1457 ^ 3
?)

29
7)
e'/c

rov fieaov

(fioovr)

daTi/jbo<i

ifKeiovcov
fxiav
to,
rj

/XLd<i,

(77] [MavTiKOiV

he,

irotetv

TretpvKev
irepl
i)

5 (jr]fj,avTiK7)v

cficov7]v,
(f)Q)vr}

olov

to afKpu koI
r}

to

koX
T6\o<;

aXXa'

<r]>

darjjxo'i
/xr]

\6yov

dp'^7]v

Biopicrfiov SrjXot, fjv

dp/xoTTec iv dp-^r} Xoyov TiOevai

rjToi,

KaO^
OVTe

avTijv,

olov

fiev,

Se.

[17

(pcovrj

darjfjio<i

r)

K(o\vL

OVT

'TTOtel

(pCOVrjV

fMLUV

arjfXaVTlKTjV

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

Kol

eirl

Tov

fxecTov.^

ovofia
rj';

Se

iaTC

(fxovr)

avvOeTrj 8

<n]fiavTLKr)

dvev y^povov
iv <ydp

/xepof;

ovSev iaTt kuO' avTO

arj/jLavTiKov'

toU

StTrXot?

ou '^pcofie$a

a)<?

koI

avTo KaO^ avTO

1

crrjfiatvov,
pf]fj,a

olov iv

tm

eoScopcp to Scopov
crTjfiavTCicrj

ov aripbaivei.
-^povov
iirt,

Be

(fxovrf

crvvdeTTf

fieTa 9

rj^

ovBev jxepoq arjfxaLvet kuO^ avTO, wairep

kol

Tb)v

ovo/xaTcov

to
to

fjuev

yap

dv6pu)Tro<;
rj

1)

XevKov ov
Trpocr-

cnjfiaLveL
crr}/jiaiVi

to

iroTe,

Be

^aSl^ec

j3e^dBiKev
to
Be
rj

to fiev tov irapovTa j^povov

TTTMcrt^

tov nraprj

20 e\7)\v6oTa.
/xev

iaTLV
rj

6v6fiaTo<i

pr)p,aTO<i

10

TO

KaTa to
rj

tovtov

tovtw
7)

arj/Matvov

kol

ocra

ToiavTa,
ij

Be

kutu to
7;

evl

TroXXot?,

olov

dvOpwrroL
olov
i)

dvOpcoTTO^;,

Be

KaTa
TO

Ta

vTroKpiTCKa,

KaT

epooTTjatv,

iTTLTa^LV

yap <dp' > i^dBiaev

eoBrj

jSdBi^e
Be II

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

KaTa TavTa Ta
a7]/xavTCKr]
7^9

icTTLV.
jiepr]

\6yo<;

avvOeTi]
tc-

evca
X6yo<i

Kad^

avTa
Kal

arrj/jLatveo

ov

yap

aTra?

iK

prjjjidTcov

ovo/xuTcov (7vy KeiTai,

olov

"6 tov

dvdpcoTTOv

6picrpL6<i"'
fiepo<i

aW'

ivBe-^eTai

<Ka\> dvev

prj/xaTCOv elvac \6yov.

8-11.

T)

fxeaov
:

seclus.

Reiz,

^adl^ei apogr.
S.p'

/3a5ij-v A^.

21.

Hermann. Alteram

18.

wori Spengel.
24.

to add.

apogr.
29. Kal

add.

Vahlen.

/3d5tfe

apogr.:

e^aSife;/

A^.

add.

Gomperz, quern secutus sum etiam in

loci interpunctione.

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 significant, is

d/jL(f)i,

capable of forming one significant sound,

as

irepi,

and the

like.

Or, a non-significant

sound, 7

which marks the beginning, end, or division

such, however, that
it

of a sentence
itself at

cannot correctly stand by

the beginning of a sentence,

as fxev, tjtoc. Be.

A
time,

Noun
of
or

is

a composite significant sound, not marking 8

is

which no part

in

itself

significant; for in

double

compound

words

we do not
hwpov or

employ the

separate parts as if each were in itself significant.

in Theodoras,
'

Thus
not in

god-given,' the

'

gift

'

is

itself significant.

A
ficant.

Verb
For
'

is

a composite significant

sound,
is

marking

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

'

in itself signi-

man,' or
'

'

white

'

does not express the idea

*

of

'

when

but

he walks,' or

he has walked

'

does

connote time, present or past.

Inflexion

belongs

both to
'

the
of,'
'

noun and
to,'

verb,
like
' ;

and 10
or
or

expresses either the relation

that
'

or

the
as

of
'

number, whether one

or the

or

many,

man
*

'

men

modes

or tones in actual delivery,

'

e.g.
'

question or a

command.

Did he go

'

and

go

are

verbal inflexions of this kind.

Proposition

or

Phrase

is

a composite significant

sound, some at least of whose parts are in themselves

significant
;

for not

of verbs and.

nouns

every such group of words consists

'

the definition of man,' for example

tlie

but

it

may

dispense even with

verb.

Still it

will

76
30 fMevTOi
"
6

XX.
aei
6

II

XXI.

4-

1457 a 30
e|et,

1457
" iv

b 9
/SaBi^etv"
rj

ri

arjfjbatvov

olov

tw

KXiwv
V

K\eft)i/09."
rj

eh
iK
el<i,

Be ea-rt Xojo'i

St%w9,

<y

ap 12
r)

cr7}fiaiVQ}v,

irKetovwv
6

avvBecr^cp,

olov
toS

'IXta?

/xev

avvSecr/xw

Se

tov

avOponrov

ev

(77] fMaive IV.

XXI
36
yLtr/

6v6fj.aro<;
e'/c

Se

087]

to

/J,ev

aifKovv, airXovv he Xeyo)

olov
<yi],

(TTj/xacvovTcov

av<yKenai,
e/c

to Se hiirXovv
aa-7]fiov

TOVTOV Be
ovK iv

TO

/lev

arjfiaLVOVTO<i

koX

(ttXt/v

Tw

ovofiaTt

arjjMaCvovTO<i
eiT]

[/cat acrrjixov]),

to Be K

(7T]fMaLv6vT(ov

(TvyKeLTai.

av koI TpiifKovv Kai

olov

40 TeTpaTrXovv

ovofia
'

koL

TroWairXovv,

Ta iroWa

usTb Tcov yiaaaaXiooTcbv

'iraTpi>.
arrrav
rj

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

6vo/j,d
rj

Be

iaTiv

t]

Kvpiov
rj

rj

yXwTTa

rj

fjbTa<popd

Koa/io<i
rj

TreTroirj/xevov

eireiCTeTapbevov

i]

v^riprjixevov
5

e^rjWayfievov.
<y\(t)TTav

\eyco

Be

Kvptov
wcrre

fiev

co

'^pcovTUC

eKacTTOi,

Be

eTepoi,

(pavepov
fxrj

OTi KoX fyXSiTTav kol Kvptov elvat Bvvutov to avTo,

Toh avToh
r]ixlv

Be'

to <yap

aiyvvov KuTrptoi?

/xev

Kvpcov,

Be

jXwTTa.
rj

fieTacfjopd Be ecTTiv 6vo/j,aTO<;

dWoTpiov 4
aTro
:

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

diro
:

tov

<yevov<i

eTrl

elBo<;

rj

tov
KX^wv
32.

Ac

/3a5tT apogr.

31. KXiojv 6 KXiicv codd.

:

rb

Bigg:

olov

iv ri^

"

/3a5lfet

KX^oic " 6 KXews' plerique edd.

apogr.
rd

olov ''iv tuj

^a5i^eiv," "KXiiov 6 KXeiovos"

avvdiapni) apogr.
:

M. Schmidt: (habuit S KXeuvos).

33.
rip
:

(rvvMafiuv

A'^.

A"^.

38.

ivrbs

TOV

6v6/xaTos

Tucker.

ovS/iari

Vahlen,

ovdfjiaTos

A.

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,

ttXtjv

ovk iv
:

rf dvofian

arjixaLvovro^,

Kal

41. fxeyaXiurQv codd.

ilassiliotis

MacrcraXiwrcD;' Diels, qui

coUato
opici

Arabe ('sicut multa de

Hermocaicoxauthus qui supplicabatur

"Ep/io/c
. . .

dominum
spectat,

caelorum') totum versum

Massiliae
fj.7jTp6TroXiv,

Trarpl

tanquam

carminis, cornice scripti,

ex coniectura restituit.

urbem
:

inter

Hermum

Ceteras emendationes

licet

stanley

/xeyaXelwv olov

d(prip7]fxivov

Spengel

(cf.

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

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

'Ep/io/c.

et

ARISTOTLE'S POETICS XX. II XXL 4

77

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

'

Cleon son of Cleon.'

A proposition

or phrase

may form
Thus the

12

a unity in two ways,

either as signifying one thing, or

as consisting of several parts linked together.

Iliad
of
is

one by the linking together of parts, the definition

the unity of the thing signified.]
are
of

man by
Words

XXI

two kinds, simple and double.

By

simple I

mean
7-7.

those composed of non-significant elements,

such as
either

By

double or compound, those composed

of

significant

and

non

significant

element

(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,
to Father Zeus.'>
is

e.g.

'

Hermo-caico-xanthus

<who prayed

Every word

either current, or strange, or metaphorical, 2

or ornamental, or
tracted, or altered.

newly -coined, or lengthened,

or con-

By
which

a current or proper word I

mean one which

is

in general
is

use among

a people

by a strange word, one

Plainly, therefore,

in

use in another country.

the same word

may

be at once strange and current, but

not in relation to the same people.

'

The word aiyvvov,

lance,' is to the

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

78
10 etSovi
iirl

XXI. 48.
TO
<yevo<i
rj

1457 b
airo

1035
etSof?

rov

eVt

eioo<;

i]

Kara to avaXo<yov.
olov "
V7]v<i

Xi'ya)
778'

he

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

'

Se fioL
air

ecrrrjKev
Se

to yap opfieiv
yevo'i,

ecmv
/xvpi

kardvai

rt.

eiSovi

eVl

"

rj

hrj

'08ucrcreu9
I

ea6\a eopyev" rb yap

fivplov

ttoXv
dir

<Ti>

iarcv,

c5

vvv dvrl rov iroWov Ke'^pr]Tat.

olov " ^a\ft)
o-tto

etSov<; Be

eirl elSo<i

-y^v^riv

dpvaa<i " Kal " raficov

fxev

dretpei ^aA-:c5."
8e
Ta/xelv dpixrat

evravOa yap to
ecprjKev
'\eyoi,

dpvaat

rafxelv, to

cifi^co

yap

d(^e\elv tl ecTTLV.
e-^r)

TO 20

he

dvakoyov

oTav

ofJLOiwi

to

hevTepov 6

7rp0<i

TO TTpCOTOP Kul TO TeTUpTOV

TT/OO?
rj

TO TpiTOV ipel

yap dvTt Tov hevTepov to TeTapTOV

dvTl tov TeTapTov

Trpo^;

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

6
icTTL.

\ey(o he olov

oyu,ot&)?

^yeo ^idXr]

tt/qo?

Aiovvaov

Kal dcTTrU 7rpo9 "Apij'

epei

tolvuv ttjv (fadXrjv darriha

rj

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

/Slov,

b y^jpa'? rrpo^

Kal eairepa
ri/jiepa<i

Trpo'i

rj/xepav
yrjpa<i

epel toIvvv Trjv eairepav

yrjpa<i

Kal

to

eairepav
evioi<i

yStof

r;,

Mairep
7

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

hvcrfia'i

^iov.

8'

ovk eaTiv ovofia

o/jlolo)'?

twv dvakoyov, aXX' ovhev

fjbev

tjttov

Xe-yOrj-

30 creTat' olov to tov Kapirov

TrjV

d(j)ievai,

aTrelpeiv, to
0fM0i,a)<i

he

(f>\oya diro

tov rjXiov dvcovvfiov

dW
irpo^;

e^ec

TOVTO TTpo? TOV rfkiov Kal TO airelpeiv

hco etprjTai " aireipajv

tov Kapirov,
eaTL he

OeoKTicrTav ^\6ya."

tw

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

Kal aWco^, Trpocr-

35

ayopevaavTa to dWoTpiov

dTro^rjaat

tmv

ocKeicov

tl,

10.

rd

om. apogr.
apogr.:
jSIoy

14. tI

add.

Twining.
to to apogi-.,

27.
-yTJpas

ri/j.^pas

dva/jLO.^ dva-fj-as

T)fiipa%

AS

^ Vahlen.

ihairep 'E^ttcSokXi;? koX

29.

tQv A^:

eawepav ^iov ^ 32. Bekker.

<Tbv

a<piivTa.> rov Kapwbv Castelvetro.

ARISTOTLE'S POETICS XXI.

to genus, or

4
There

79
is,

from species

to species, or

by analogy, that
: '

proportion.

Thus from genus

for

to species, as
is

lies 5

my

ship

;
'

lying at anchor
'
:

species

of lying.

From
species

species to genus, as

Verily ten thousand noble

' ;

deeds hath Odysseus wrought

of large

for ten

thousand

is

number, and

is

here used for a large

:

number

generally.

blade of bronze drew

From away

species to species, as

'

With
'

the

life,'

and

'

Cleft the water

to

with the vessel of unyielding bronze.'

Here apuaac,
cleave,'

draw away,'
Analogy
first

is

used for

Tafxelv,

'

to

and

rajxelv

again for apva-at,

each being a species of taking away.

is

or proportion

when
the

the second term

is to

the 6

as the fourth to the third.

We may
second
for

then use the

the
fourth.

fourth for

the

second, or

Sometimes too we qualify the metaphor by adding the

term to which the proper word
is

relative.

Thus the

cup

is to

Dionysus as the shield to Ares.

be
called
'

The cup may,

and the
is

therefore,

the

shield

of Dionysus,'

shield
so is
'

'

the cup of Ares.'

Or, again, as old age

to life,

evening to day.

Evening may therefore be called

'

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

'

the evening of
setting sun.'
7

life

or,

in the phrase of Empedocles,

of the

'

life's

In some cases one

specific

terms of the proportion has no

name

still,

the metaphor
is

may
:

be used.

For

instance, to scatter seed

called sowing

but the action

Still this

of the sun in scattering his rays is nameless.

process bears to the sun the

same

relation as sowing to
'

the seed.

Hence the expression

light.'

of the poet,

sowing the

god-created

There

is

another

way

in

which

this 8

kind of metaphor
alien term,

may

be employed.

We may

apply an

and then deny

of that term one of its proper

80

XXI.

8 XXII.

I.

1457 b

361458
firj

a 21

olov el TT}v daTTcBa eliroi (pidXTjv

TreTronj/iievov 8'

"A/^eo? aXX' aoivov.

earlv o

oA,&)<?

fir]

KoXovfievov viro tlvcov 9

avTO'i

Tiderat 6

770477x7^9,

BoKel >ydp evca elvac roiavra,

eireK- 10

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

1458 a

rerafievov Be
fjuaKporepo)
^Xij/xevrj,
fiev olov

eanv

i]

dcj^rjprjfxevov
rj

ro /xev eav (fxov^evri

rj

Ke'^prj/xevov

rod oiKeiov

avWa^rj

ifi^e-

TO Be dv

d(f)r}p7)fxevov tl

y avTov, eTreKrerafxevov

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

d^rjp'r][jbevov Be
o-/r."

TO UrjXeiBov^ HrjXTjidBeo), TO Bcb Kal "

B
ea-Tiv
/jLta

olov to Kpl koI

ylveTac dficfiOTepcov

i^rjWayfievov
KaTaXeiTrr) to Be

11

OTav tov ovofxa^o/xevov to

fiev

TTOifj,

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

[avTb)v Be
10 TO, Be fieTa^v,

Twv

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

/xev

appeva

oaa

TeXevTO,

el<;

to

Kal

Kal

Kal oaa eV tovtov avjKeiTaL, TavTa

S' icTTLV

Bvo,

"^ Kal E, drjXea Be

fxaKpd, olov
cocrre
1

oaa e
fi,

to3V (^covqevTOiv etV re tcl del

et9

eh

Kal

Kal tmv iTveKTetvofxevoov

A*
to,

laa crvfx^aivet

TrXrjOei

eh oaa
TavTa

to,

appeva Kal

drfKea.

to fydp "^ Kal to

eaTiv.

eh

Be d(f)a)vov

ovBev ovofxa TeXevTa, ovBe eh

I TO,

<f>covi]ev

/Spa'^v.

eh

Be to
rrevTe.

Tpla fiovov, ixeki

Be fxeTa^v
A,efeci)9

kojxixl

Treirept.

eh

Be

to

eh TavTa Kal
aa(f)r]
rj

Kal S.]
fxrj

XXII

Be dpeTrj

koI
ck
r/

TaTreivrjv

elvai.

aa-

20 ^eaTaTT) /xev ovv eaTCv

Tairetv^.

tmv Kvplwv

ovo/iaTiov,
7701770-49

dWa
Kal
t)

irapaBeiy/xa Be

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

36. dXX'

aoivov

Yettori:
4.

fiXXa

otvov

codd.

1458 a
11.

2.

Kexpvf^^vos
6.

Hermann.
Vettori
:

nryX-ijos koL
e.

t6 n7;Xet5oi; add.
oSC'Is).

M. Schmidt.
kol

H^

6-q$

A*^

(h.

dlls vel
e/c

S
14.

apogr., Maggi,
TrXifjdei

Arabs

om. A^.
15.

12.

seclus.

ttXtjOt] A<^.

ante ravTO.

Ueberweg. add. ry S Tyrwhitt.

apogr.

17.

post irivre

add. apogr. t6

nwv rb

vairv rb ybvv rb d6pv rb dcrv.

ARISTOTLE'S POETICS
attributes
;

XXL 8 XXII.

81
'

as if
'

we were

to call the shield, not

the cup

of Ares,' but

the wineless cup.'

is

A
Some
'

newly-coined word
use,

one which has never been 9

even in local
such

but

is

invented by the poet himself.

words

there
'

appear

to

be

as
'

ipvv<ye<;,

sprouters,' for Kepara,

horns,'

and aprjTqp,

supplicator,'

for lepev<;, 'priest.'

1458 a

A word is lengthened when its own vowel

for

is

exchanged 10

a longer one, or
is

word

contracted

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

ttoXt^o? for TroXecy?,

Instances of lengthening are,

for HrfXeo^,
tion,

n?7X^o?

and UrfKr^idhea)

for lirfkeihov
fjuia

of contrac-

Kpl, So),

and

o-v/r,

as in

jiveTat a/xiporipcov oy^.

An
form
is

altered
left

word

is

one in which part of the ordinary 11

is

unchanged, and part

re-cast

as in Se|t-

repov Kara /xa^ov, he^nepov

is for Se^tov.

[Nouns in themselves are either masculine, feminine, 12

or neuter.

Masculine are such as end in

some
and
^.

letter

compounded with
and

9,

v, p,

?,

or in
yjr

these being two,

Feminine, such as end in vowels that are always

77

long, as

and

co,

ing

of vowels that admit of lengthenof letters in

is

those in

a.

Thus the number

which
for
yfr

nouns masculine and feminine end

the same

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

9.

No noun

ends in
c,

XXII

Three only end in

v.

fiiXc, KOfifii, iretrept,

five
;

end in

Neuter nouns end

in these

two

latter

vowels

also in v
is

and

9.]

The
mean.

perfection of style

to be clear without being

The

clearest style
;

is

that which uses only current

it is

or proper words

at the

same time

mean

witness
diction,

the poetry of Cleophon and of Stheuelus.

That

82
2^9eve\ov.

XXII. 15.
ae/jbvr]

1458 a 221458 b 10
Kol

8e

i^aWdrrovaa

to ISlcotikov

rj

Tot? ^evcKoi<;

Ke'^prj/jLevrj.

^cvlkov Se Xeyco

yXMrrav koL
eaTai 2
eav

fieTa(f)opav koX

iireKracnv koI irav to irapa to Kvpiov.

iroir^arj,
i)

25

aXV
i]

av

Tc<i

afia airavTa ToiavTa

a'cvijfxa

^apjBapiaix6<i'
e/c

av

p.ev

ovv K

ficTacfiopcbv, atvLj/jia,

Se

yXcoTTcov, jSap^apiapbO'i
iaTt,
fxev

alvly/xaTO^

re

yap ISea
avvdyjrai.

avTT)

TO

XeyovTa

vTrdp'^ovTa

dSvvaTa

KaTa

ovv ttjv twv

iroLrjcraL,

<dW(ov>
KaTa

ovofxdTcov avvOeaiv

ovy

30 olov re TovTO

he ttjv jxeTa^opdv evheyeTai,

olov " dvSp^ elBov TTvpl '^aXKOv

eV

dvepc KoW^jcravTa,^^
/3ap/3apLa/jL6<i.

Kol

TO,

ToiavTa.

eK

tmv jXcottwv
tovtol'?r)

Set 3

dpa KKpda6al
TTOirjcret

7rco<i

to

fiev

yap

fxr]

ISccotikov
fieTa(f)opa

firjBe

Taireivov, olov

y\u)TTa Kal
etSi],

?;

35 Kal
1458 b Ttjv

Kocrfio<i

Kal TciWa

to,

elprjfjbiva

to Be Kvptov

aa(f)i]vetav.

ovk eXd'^iaTov Be
Xe^etu? Kal
fjurj

fjiepoq

avp,(3dWeTat 4

ei9

TO

cra(f>e<;

t?}?

lBlcotlkov at eTreKTdaei^;

Kal dTTOKOiral Kal

TO
5

e^aWayal twv
0)9
iroirjcrei.

ovo/xdTcov Bed

fjuev

yap

dW&)9
TO

e'^eiv
1X7]

rj

to Kvptov, rrrapd to

ela>6o<i

yiyvo-

fxevov,

IBtcoTCKOv

Bid Be to KOLVcovetv tov

icodoTO<i

TO aacpe'i eaTai.

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

Tr]'i

i7riTt/J,(i!)VT<i

To5 TOIOVTO) TpOTTO)

iroirjTrjV,
Bciicret,

BiaXeKTOV Kal BcaKQ)6

/layBovvTa TOV

olov

^vKXelBrjf;

dpyato^;,

ci)9

paBtov
10

TTOtelv, ec Ttf

CKTeLvetv 0' ottoctov ^ovXeTai,

Xe^ei.

cafji/3o7rocT]cra'i

ev

avTrj

tj}

"

^^iri'^dprjv

elBov

25. Tts {Liravra vel tis

Hfia

awavTa apogr.
29. &\\cov

Sv Eiravra

A..

Troi-fiaT]

apogr.
'

iroirja-ai.

A<=.
'

coni.

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

apogr.
:

10.
itrl
:

ifret x^-P'-" A<=

'EinxdpTiv Bursian praeeimte

Tyrwhitt
Arabs).

{'E.TrixdpT]v)

x-P'-^

2, ut videtur ('appellatum
:

cum

favore'

elSov apogr.

t5op A<=

Ihihv

Gomperz,

ARISTOTLE'S POETICS XXII. 15

on the other hand,
place
is

83

lofty

and raised above the commonwords.

which employs

unusual

By

unusual, I

mean
Yet a

strange (or rare) words, metaphorical, lengthened,

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

style

wholly composed of such words

;

is

either a 2

riddle or a jargon

a riddle,

if

it

consists of

metaphors

a jargon,

if it

consists of strange (or rare) words.

is

For the

essence of a riddle

to

express

true facts under im-

possible combinations.

Now

this cannot be

done by any

arrangement of ordinary words, but by the use of metaphor

it

can.

Such

is

the riddle

A man
'

saw who
fire,'

on another man had glued the bronze by aid of

others of the

and
of

same kind.
is

diction that is

made up

strange (or rare) terms

a jargon.

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

will raise it

above

commonplace and mean, while the use

it

of proper
4

words will make

1458 b

perspicuous.

But nothing contributes

is

more

to

produce a clearness of diction that

remote

from commonness than the lengthening, contraction, and

alteration
of

words.

For by deviating in exceptional

cases

from the normal idiom, the language will gain

;

distinction

while, at the

same

time,

the partial con-

formity with usage will give perspicuity.

therefore,

The

critics, 5

are

in

error

who

censure these licenses

of

speech,

and

hold

the

author

up
it

to

ridicule.

Thus

Eucleides, the elder, declared that

would be an easy
syllables at

matter to be a poet
will.

if

you might lengthen

He

caricatured the practice in the very form of

his diction, as in the verse

84

XXII. 57-

1458 b
ovic

1129
av
7' ipd/j,vo<;
ttco';

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

eicelvov

rbv

eWe^opov."

to p,ev ovv ^aivecrOai

'^co/xevov 6

rovTOi To3 rpoTTw yeXoiov, to 8e fieTpov kolvov diravTOiv

icTTl

Twv ixepwv Kol yap

/ieTa(f)opal<i

koL

<y\(OTTai,'i

koI

15 Toi<i

dWot^
<ye\ola

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

Ta

to avTo

av dTrepydaaiTO.

to

8e dpfJuoTTov 7

oaov

Sia(j}ept

eVt toov iirwv Oewpeiadco ivTiOefievcov twv

<Kvploiv> ovofxaTcov eh to fieTpov.

he Kal irrl

Koi

eirl r?}? yXcottt;?

tmv

/leTacjiopoiv
to,

Kal

enrl

tojv

aXkcov

Ihewv

20 fieTuTiOel'; av rt?

Kvpia ovofxaTa kutlSoi otl dXTjOrj

7rot^(ravTO<i

Xeyofiev
Kal

olov

to

uvto
Be

lap-^elov Acct'^vXov
fjLeTa$evTO<i,

^vpiTriSov,

ev

fiovov

ovo/xa

dvTi
S'

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

KaXov to

eyreXe?.
25

AtV^uXo?

fxev
-^

yap

ev to5 ^iXokttjtt) eTroLTjcre

(payeSatva <6'>

fiov crdpKa<; iadlet 7roSo9,

o Se dvTl Tov iadiec to OoLvaTat fxeTeOrjKev.

Kal
deiKrj'i}

vvv Se
et Ti9

fx

ioiv

0X1709 re Kal ovTtSavb'; Kal

/xeTaTidel'i

Xeyot

to,

Kvpia

vvv 8e

fx

icbv jXLKpo^ re

kol daOeviKo^; Kal

decB7]<;'

ix.

515,

vvi'

de

fi

iihv

oXiyos re Kal oiiridavos Kal

fi/ct/cus.

11.

&v 7'

epd/j.ei'os

apogr.
12.

au yepdfJ.evos A"^: yevadfiepos Tyrwhitt:

ttws
:

irpLa-

/xevos

Gomperz.
Tucker.
:

dirpeirQs
to.

Twining
sttuv
:

jravTus

Hermann
16.

dvaio-OriTU}?

15.

iirl

yeXoTa
17.

seclus.

Gomperz.
Essen.
5'

apfidrrov apogr.
18.

dpfj.6TTOVTos A".

iireKrdaeuv Tyrwhitt.
22.

Kvpiwv

coni.
:

Vahlen.
neraTidevros
A'^.

21.

AtVxi^Xy
23.

Evpnridov

fieTadevTOi Aid.
coni.

Kvpiov vel elwBdros

25.

secludendum
(vel t') add.

Vahlen

Kvpiov

</cai> eiwOSros Heinsius.

deiorjs

Ritter:
1.

^aye8aiv'

c), Arabs 'ut

dd Nauck. non conveniat

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

'

codd.

&klkvs Odyss.

1.

c.

ARISTOTLE'S POETICS XXII.

^FjTTf^dprjv elBov
or,

85

Wapa6covd8e ^ahl^ovra,

ovK av y

epdfievo<i

rov eKeivov iX\e/3opov.

is,

To employ such
grotesque;

license at all obtrusively

no doubt,
there

but

in

any mode

of

poetic

diction

must be moderation.

Even metaphors,
speech,

strange (or rare)

words, or any similar forms of the like

eiffect

would produce

if

used without propriety, and with the

express purpose of being ludicrous.

How

great a differ- 7

ence

is

made by

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

mode

of expression,

and replace
of

it

by the current
will

or proper term, the truth

our

observation

be

manifest.

Eor example

Aeschylus and Euripides each composed the same iambic

line.

But the

alteration of a single

word by Euripides,

who employed
one,

the rarer term instead of the ordinary

makes

one verse

appear beautiful and the other

:

trivial,

Aeschylus in his Philoctetes says

(f)a<yeBaLva

<S'>

rj

/jlov

(TdpKa<; icrOlei, "Koho^'

Euripides
'

substitutes

OoivaraL
line,

feasts

on

'

for

icrdlei

feeds on.'

Again, in the
fx

vvv Se

ioiv

6X1709 re koI ovTtBavo<; koI

if

dtKt]<;,

the difference will be felt

we

substitute the

common

words, vvv Be
fjj

ecov /XLKpo^ re

koX da9eviKo<; koI

aetS?;'?.

'

86
30 Kol

XXII.

7 lo-

1458 b 30

1459

a 18

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

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

re Tpdire^av.
'in

Kol TO

"

rji6v<i

I3o6(ocnv "

r)i6ve<;

Kpd^ovaiv.

Se 8

^ApL(j)pdSi]<;

roi)^

Tpa7ft)8ou9 iK(Ofi<pSei, oTt

a ouSet? av

35 ecTTOL iv
airo
1459 a

rfj

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

fxr]

dWd

dirb

Sco/xdrcov,
irepi,

Kol ro aeOev Kol to iyat

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

dWd

firj

rrepl
fx-q

A^tXXeo)?,
iv Tol'i

Kal

oaa aXka TotavTU.

TO
fjiT]

Bid

yap to
Tjj

etvai

KvpioL<i TToiei

ISlcotikov iv

\e^L
ecTTiv

diravTa

Ta

TOiavTa'
5

iK6ivo<i

Be

tovto ruvoec.

Be fieya fiev 9
j^prjcrOai,

TO

eKaaTM

twv

elpTjfievwv

irpeirovTO)';

kol

BnrXoi<i

ovo/xacrc

Kal j\a)TTaL<i,
jxovov

ttoXv

Be

fieyLcrTov

to

fieTa(f)opiKov
ecTTL

elvat.
ev(^via<i

yap tovto ovTe irap yap ev

dXXov
/jueTa-

Xa^elv

re arj/xeLov eaTL' to

(pipecv TO TO ofjiooov decopelv eaTiv.

tmv

ovop^dTcov

ra 10
Be

10 fiev

BiirXa

fidXiaTa

dpfioTTet

Tol<i

BiOvpdixjSoi'i,
Toi<i

at

y\(OTTai T0?9

r)po)iKoi<i,

at Be fj,eTa(f)opal

lafi^eloL^.
elprjixeva,
/xi/jieiaOai,

Kal iv fxev
iv Be Tot9

Tol'i

rjpwuKol^ diravTa '^prjaLfxa

Ta

la/Jb/3ei0L<i

Bed to otl fjidXiaTa Xe^iv

TavTa dpfxoTTet
15 Tt? '^pijcraiTO'

toov ovofiaTWv oaoL<;

ecTTt

Kav iv

[6croL<i]

\oyoL<i

Be

Ta TOtavTa to Kvpiov Kal

/zera-

<^opd Kal

K6(Tfxo<;.

Trepl fiev
(Tea)<i

ovv TpaywBia<; Kal

Tr]<;

iv

tw

irpdTTecv

fiL/ji^-

ecTTQ) tjjmv

iKava Ta

eiprjfieva.

'

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

Iliad xvii. 265.

31. 35.

r'

aeiKiXiov codd.

t'

aiK^Xiov

Vahlen
5.

re seclus. Susemihl ed. to apogr.

:

1.

f'lTTOi.

apogr.
:

et-rrrji

A^.

1459 a
ocrois

tQl A=.

14.
:

K&v Harles
odols 2,

Kal codd.
(Ellis), cf.

del.
'

Aid.: <:tois> Xoyoi^ Gomperz

via.

ut videtur

Arab.

quot usurpant homines in

ARISTOTLE'S POETICS XXII. 710

Or, if for the Hue,

87

hi^pov [r

deiKeXiov KaTa6el<i oXljrjv re rpdire^av,

we

read,
8l(f)pov fjiO'^Orjpov

KaraOel^ fiLKpdv re rpdrre^av.

rjtove'i

Or, for

'^i6v<i

^ooaxTiv,

Kpa^ovcrtv.

Again, Ariphrades ridiculed the tragedians for using 8

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

example,
iyob

Boy/jbdrcov

utto

instead
"Jrepi,

of

drro

Bco/idTcov,

(TeOev,

Si

viv,

'A^t\Xcci>9
like.

instead

of

Trepl

'A'x^tWico';,

and the
not

It is precisely because such

phrases

are

part

of

the

current idiom

that

they

give distinction to the style.

to see.

This, however, he failed

It is

a great matter to

observe propriety in these 9

several

modes

of expression

compound
But the
of
;

words, strange

(or rare) words,

and so

forth.

greatest thing

by

far

is

to

have a command

metaphor.
it is

This alone
of genius,

cannot be imparted by another

the

mark
an

for

to

make good

metaphors

implies

eye

for

resemblances.

Of the various kinds

metaphors

of

words, the

compound
indeed,

are 10

best adapted to dithyrambs, rare words to heroic poetry,

to

iambic.
are

In

heroic

poetry,

all

these varieties

serviceable.
far as

But

in

iambic verse,
speech, the

which reproduces, as

may

be, familiar

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

Tragedy
suffice.

and

imitation

by means

of

may

88

XXIII.
irepi

3.

1459 a 19

1459

t>

XXIII
20

he

Tr)<;

Btr]ryr)fjLaTtKr]<;

koI ev<\> fxerpa

fitfjbrj-

TLKr]<i,

oTi

Bel rov<; /jLvdov<; KaOdirep

ev Tai<i Tpaj(p8iat<;

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

reXelav, e'^ovaav
^(pov
o.p'^rjv

koX fxeaa kol

oiKecav rjSopijv,

TeA.09,

iV cdairep
Kol
/mtj

ev 6\ov

TTOLrj

TTjv

BijXov

ofjLOLa<i

laropl.ai'i

ra^

<TvvdeaeL<i elvat, ev

aU
evb<i

dvdjKT} ovj(l

25
JUyj

iMLa<i

7rpa^eco<i

iroieladai,

SrjXcocnv

dX\

ypovov, ocra

p^

"

eV
'

rovTcp

avve^r} irepl
tt/jo?

eva

?)

7rX,e/oy?,

a)v

eKaarov

co?

erv^ev e^eo
'X^povov'i
rj

dWrjXa.
"ZaXaficvL
fid-y^r}

coairep

yap Kara

Tov<i avrov<; 2

ev

iyevero

vavfia'^ia

koX

t]

ev

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

ovSev Trpo? to avro avvretrol';

30 vovaat reXo^, ovrco kol ev

yiverac
reXo?.
hio,
'

e^e^i)^

'^povoa

ivlore

Odrepov /xerd

ddrepov, ef ojv

ev ovSev yiverat,

a'yeoov oe ol iroWol tcov

eiTro/juev rjhr],

Troirjrciyv

rovro hpoiau.
(^avelr} 3

wairep

kol ravrrj 6ea7reaio<; dv

rca fi7]8e

Ofxrjpo<;

irapd tou9

dWov;,

tov irokepiov Kaiirep

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

oXov Xlav
rj

yap dv
T3

fieya<i

fcal

ovk evavvoino'i efjueWev eaeadai,

KaraireTrXey/jievov
eTreLcroBioc^
rr}

fxeyedei fxerptd^ovra
8'

TroLKiXia.

vvv

v fiepo^ diroXa^cov

Ke^prjrac

avrwv

TToWol^, olov veSiv KaraXoyw Kal dWoL'i

40 BiaXafjb/Sdvet rrjv Trolrjcnv.
1459 b

eireLaoBiOi'i, ol<;

01 S'

dWoi

Trepl

eva Troiovat
olov 6

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

TroXvfjbeprj,

19.

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

:

1449 b

11,

1459 b 36)

iv i^afxirpip
:

Heinsius
A'^.

iv n^rpcfi codd.
24.
iffTopiais
ffvvrjdeis

21. avveardvaL coni.

Vahlen
:

avviaTavai

ras avvdiaas Dacier,

confirmare videtur Arabs

apogr.
vaijfxaxos
A''.

IcTTopias

TCLS

codd.

28.

vavfiaxi-a.
:

31.

ixera ddrepop Castelvetro,

:

Hermann
(rec.

fierd daripov codd.

fj.i-^as)
. .

34.
.

ry
.
.

apogr.

t6 A=.
A<^
:

36.

[J-ifo.
. .

corr.
.

eva-ivoTrros

fj,Tpid^ovTa

fxiya

evavvoiTTov
38.

fierpla^ov
:

posito

commate

post ^aeadai
39,

Bursian.
:

avrQv seclus. Christ

avroO Heinsius.

oh apogr.

5ls pr.

A=

et ceteri codd.

ARISTOTLE'S POETICS XXIII. 13

89
in

XXIII

As

to

that

poetic

imitation which

is

narrative

form and employs a single metre, the plot manifestly

ought, as in a tragedy, to
principles.
action,

be constructed on dramatic
for
its

It

should

have

subject

single

whole and complete, with a beginning, a middle,

It will thus resemble a single

and an end.
picture
of

and coherent

a
it.

living
It

being,

and produce the pleasure

from historical

proper to

will differ in structure

compositions,
action,

which of necessity present not a single

all

but a single period, and

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
result, so in the

sequence of events, one thing sometimes

foUows another, and yet the two

may

not work up to

any common end.

most
poets.

Such

is

the practice,
then, as

we may
been
of

say, of

Here

again,

has

already 3
is

observed,
manifest.

the

transcendent

excellence

Homer

He

never attempts to
his

make

the whole war of

Troy the subject of

poem, though that war had a

It

beginning and an end.

would have been too vast a

If,

theme, and not easily embraced in a single view.

again,

he had kept

it

within moderate limits,

it

must
in-

have been over-complicated by the variety of the

cidents.

As
war

it

is,

he detaches a single portion, and

admits as episodes
of the

many
as

events from the general story

of

others
1459 b

such

the Catalogue

the

ships

and

thus diversifying the poem.

All other poets

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

indeed, but with a multiplicity of parts.

Thus did the

90
TO.

XXIII.

4 XXIV.

4.

1459 b

226
rotyapovv 4

l^virpia irotrjcra^ koX ttjv fiiKpav 'IXtaSa.

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

eKarepa<;
5
rj

rpwycpSia TTOLelrai
tj";9

8uo fiovai, eK he ^VTrpiwv iroWal koI

[TrXeov]
okto),

fXLKpd<;

'IXtaSo?

olov

oirXwv

KpLcn<;,

^ikoKTrjT'r}^,

^eoirroXe^o'i,
irepcn^

EupvTTuXo?,
aironfkov^

Trrw^eia,
Xlvcov

Aakoi

KUivai,

'IXtou

koL

[al

TpwaSe?].

XXIV
10
rfj

ert he

[en

he]
t]

ra

ethr)

ravra
r)

hel e^ett' ttjv eiroTrodav

i)

rpayayhla,

yap
ra

aTrXrjv
fMepr]

TrenXeyfievriv
fjie\o7roua<;

'^dcKtjv

7)

iraOrjTLKrjv

koi

e^co

koX

o-v^ew?

ravrd' koi yap

TraOrjixcLTOdv

irepiTrereioiV

hel Kal dvayvcoplaecov Kal

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

Ke'^prjTai

ot?
15 Kal

airacriv "0/jL7}po<i

Kal

irpS)ro<i

Kal

t/cavw?. 2
rj

yap Kal

rSiV 'TroLrjfMaTcov eKarepov crvvecrrrjKev

r)

fiev

'iXta? ciTrXovv Kal iraOrjriKov,

ixevov
TOVTOL<i
<f)epet

he ^Ohvcrcreia ireirXeytjOlkt].

(dvayvwpiai'i
Xe^et

yap hcoXov) Kal

hiavola

Trpo?

he

Kal

irdvTa

v7rep/3e/3XT]Kev.
/xrJKO'i
1)

hta- 3

he

Kara
fxerpov.

re tt}? (TvaTdcre(o<i to

eiroTToda

20 Kal

TO

rov

ixev

ovv

[xrjKOV';

opo<i

iKavo^

elpriixevo'i'

hvvaaOat yap hel awopdadai

elr)

rrjv dp'^rjv

Kal

TO reXo<;.
Tov<i

av tovto,
elev,

el

twv
he

jxev

dpy^aiwv iXdr-

at
el<;

(TvcrTdaet<;
juilav

Trpb'i

to

7rXrj6o<i

Tpaywhioiv
%'
tj

Tcov

aKpoacrtv

Tidejxevwv iTapijKOLev.

he 4

25 Trpo<i TO
chiov

eireKTelveaOat to jjieyedo^ ttoXv ti

eTToiroila

hid

TO

ev

/xev

Tjj

Tpaywhla

/irj

evhi'^eaOai

dfia

1459 b 2. KvTrpia Tyrwhitt TpydSes seclus. Hermann.

Arabs.
iKavQs apogr.
sup.
scr. Ac.
:

KvwpiKa A^.
9.

5.
:

irXiov et Kal

Zivwv Kal

Set

apogr.

Stj A<=.

10. tjOiktjv

om.
14.

12.

Kal rjOwv post dvayviapiaeuu add. Susemihl.

17.
:

Uavos A=.
5^

dvayvaipiaeis Christ.
18.

TjOiKbi' rec.

apogr.

yap A".

Trdirar Aid.

24.

Fort. KadLe/jL^vuv Richards.

ARISTOTLE'S POETICS XXIII.

4 XXIV.

91
this 4

author of the Cypria and of the Little Iliad.

reason
the
Iliad

For

and

the
or,

Odyssey each furnish the

at most, of

subject of one tragedy,

two

while the

Cypria supplies materials for many, and the Little Iliad

eight

the

Award

of

the Arms,

the

Philoctetes,

the

Neoptolemus, Eurypylus, the Mendicant Odysseus, the

Laconian
the Fleet.

Women,

the Fall of Ilium,

the Departure of

XXIV
or

Again, Epic

poetry must have

or

as

many

kinds as
'

Tragedy
'

it

must be simple,

complex, or

ethical,'

pathetic'

The parts
are

also,

with the exception of

;

song

and

scenery,

the

same

for

it

requires

Eeversals, Eecognitions, and Tragic Incidents.

Moreover,

the thoughts and the diction

these respects

must be

artistic.

In

all 2

Homer

is

our earliest and

siifficient

model.

Indeed each of his poems has a twofold character.

Iliad
is

The
and

at

once simple and

'

pathetic,'

and the Odyssey

it),

complex
at the

(for

Eecognition scenes
'

run through

same time
is

ethical.'

IMoreover, in diction and

thought he

supreme.
differs

Epic poetry

from Tragedy in the scale on 3

its

which

it

is

constructed, and in

metre.

scale or length,

we have

already laid

As regards down an adequate

This condition
scale than the

limit

the beginning and the end must be capable of

being

brought within

a single view.

will be satisfied

by poems on a smaller
answering in
length
to

old

epics,

and

the

group of

tragedies presented at a single sitting.

Epic

poetry

has,

however,
its

great

special

capacity for enlarging

reason.

dimensions, and

we can

see the

In Tragedy we cannot imitate several actions

1I II

U .I1JII

I.

lltll

llll lll

il

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

92

XXIV.

7.

1459 b 27

1460

a 10

irpaTTOfxeva
aK7}vf]'i

ttoWo,

n^eprj

fii/xelaOai
jjuepo^i

dWa
/jlovov

to
ev

eVl
he

tt)?
Trj

Kol
Bia

rwv inroKpLTWv
to
htrj'yrjcrLV

iiroTTOLba

elvai ecTTC
olKeicov

iroWa
ovtmv

fieprj

apba

30 iroLelv

irepaivofxeva,
07/C09.

v^'

wv

av^eTut 6

Tov

TTOitjfjuaTO'i

aiaTC tovt

e^et to dyaOov et?

fjbeyaXoTrpeTreiav
iTTeicroBLOvv

Kol to /xeTa/3aX\eiv
eVetcroStot?'

tov aKOvovTa koX

dvo/xoioL'i

to <yap ofiocov Ta'^if

to he fieTpov 5
el

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

35 TO

r]p(OLKov

diro
f^eTpu)

T)]<;

irelpa'i

ripfioKev.
fjLi,/ji7](nv

<ydp

rt?
tj

ev

aXXw

Ttvl

StTjyri/jbaTiKrjv

ttolocto

ev

7roA.Xoi9, ttTTpeTre?

dv (jjaLVOtTC

to

yap

i)p(OiKov

aTaatkov

/jbcaTUTOV

Kal oyKCoSecTTaTOV tmv fxeTpwv ecTTiv (Sto

TrepiTTT]

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

yap
to

40 Kal <TavTr]>
1460 a

?;

Biriyrj/xaTtKr)

fj,ifMT](Ti(;

tmv dWcov).

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

TO he

irpaKTLKOv.

ctc

Be

dTOiroiTepov,
hco

el

pnyvvoi

tl^ 6

avTd, wcnrep Haip^/Jbcov.

ev
5

ovBeh fjuaKpdv crvaTacnv

dXlC coairep
etrroixev

dWo)
T)

7re7roL7]Kev
^vcTL'i

rj

tc5

'r]pcp(p,

avTrj

BiBdcTKei

to

dpfxoTTOV
re

\avTff\
d^to<;

[Si-]

aipelaOai.
(xOat
Set

"O^ripo'^
hrj

he

dXKa
avTov

iroWd
TrotrjTMV
hel

eiraivel- 7

Kal

Kal otl
avTov.

fiovo'i

tmv

ovk dyvoel o
tov
TroirjTrjv
ficfMrjTij'i.

TTOiecv

yap
icTTL

eXdyiCTTa
10 ol
jMev

\eyeiv'

ov

ydp

KaTa TavTa
St'

ovv

dXkoi

avTol

fxev

o\ov

dycovi^ovTai,

40.

Kal
:

codd.

Kal Taiirri

Twiuing
1.

Kav ravrais Bywater.

:

ij.I/x7](tis

apogr.

kLvt)(7i.s A'^.
:

1460 a
Kiv-qriKa, el

Kivr)TLKal A<=

kivtitlko.

Aid.,

Bekker
:

Vahlen apogr.: ixrtyvit] A"

KivTjTiKa Kal

Gomperz.
t]

2.

/xiyutjoi

Aid.
:

/j-iyvrjei

(fuit

(xt),

et

extremum
Boiiitz,

in litura corr.)
5.

/a?;

7^0^77

2,
A*^

cf.
:

Arab,
seclus.

'si

quis nesciret' (Margolioutli).

aipelffdai.

avr^ apogr.: avTrj

Gomperz.
:

confirmare videtur Arabs

(Margoliouth)

Siatpeladai A".

ARISTOTLE'S POETICS XXIV.

and the same time
;

47

93
confine

carried on at one

we must
owing

ourselves to the action on the stage and the part taken

by the
narrative

players.

But

in

Epic

poetry,

to

the

form,

many
;

events simultaneously transacted

these, if relevant to the subject,

can be presented

and

add mass and dignity

an
advantage,

to the

poem.

The Epic has here

and relieving
sameness
of

and one that conduces to grandeur of

effect, also

diverting the

mind

of the hearer

the

story

with

varying

episodes.

Eor

incident soon produces satiety, and

makes

tragedies fail

on the

stage.

As
fitness

for the metre, the heroic

measure has proved

If a narrative

its

by the

test of experience.

poem
of

in

any other metre or in many metres were now comit

posed,

would be found incongruous.

the
heroic
it

For

all

measures
massive
;

is

the

stateliest

and

the

most

and hence

most readily admits rare words

is

and

metaphors, which

another point in which the

narrative form of imitation stands alone.

1460 a

On

the other

hand, the iambic and the trochaic tetrameter are stirring

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

more absurd would

it

be to 6

mix together

different metres, as

was done by Chaeremon.

great scale
as

Hence no one has ever composed a poem on a

in

any other than heroic

said, teaches

verse.

Nature

herself,

we

have

the choice of the proper measure.

in all respects, has the special merit 7

Homer, admirable

of being the only poet

who

rightly appreciates the part

he should take himself

as possible in his

The poet should speak

it is

as little

own

person, for

not this that makes

him an

imitator.

Other poets appear themselves upon

94
fjLifiovvrai
(Ta./juevo'i

...........

: :

XXIV.
Be

7 lo-

1460 a 1132
6

6\i<ya Kol
elcrd'yeL

oXtyaKL^;'

Se oXlya (ppotfiiai)

ev9v<i

dvhpa
aXX'
iroielv

i)

yvvatKa
tjOtj.

dWo
Set

ri
fiev 8

[rj6o<;]

Kol

ovhev

arjOrj

e'^ovra

ovv
1

ev

raU

rpa<y(phLai<i

rb to

Oavfiaarov,

/xaXXov
o

8'

evSe'^erai

ev

rfj

eTTOiroLLa

dXojov,
firj

8l

avfM-

jBaivei,

ixaXiara to OavfiaaTOv, Sta to

eTrel
tcl

opav eU tov
hiw^iv
iirl

irpaTTOVTa'
(TK7]vrj<i

Trepl

Trjv

'^KTopo<i
ol fxev
TOL<i

ovTa 'yeXola av
6

(pavelr],

ecTTcoTei;

koI ov

Si(OK0PT6'i,

Se avavevcov, ev he

eireatv

XavOdvei.

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

aTrayyeWovacv

<U9

x^apt^ofievoi.

hehlha^ev
Xeyeuv
o)?

he 9

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

dWovi
rj

1/reuS?}

het

eaTi

he

tovto

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

o'iovTai

yap dvOpwiroi,
ylvrjTai,
el

OTav Tovhl

6vT0<i

Toh\

-p

ytvofxevov
rj

to

25 vcTTepov ecTTiv, Kal to irpoTepov elvat

he eaTi
ovhe,
\.v\

yivecrOaf tovto
\^evho<i,
?)

yjrevho'i.

hcb

hi],

av to TrpwTov

dX>C

TovTov

6vT0<;,

dvdyKt] <KdKelvo> elvat

yevecrdat
6v,

TrpoaOelvac'

hid
Tjjxoiv

yap to tovto
rj

elhevat

d\T]de<i
co?

TrapaXoyi^eTaL

'yjrv'^r)

Kal

to

TrpwTov

ov.

30 irapdheiyfia he tovtov
re hel

e/c

tcov ^iiTTpwv.
rj

Trpoatpetadac 10
Tov'i

dhvvaTa eiKOTa fidWov

jxr)

hvvaTa aTTiOava'
jxepoiv

re
13.

\oyov<i

avvicTTaadai
iam S
:

e'/c

dXoycov,
oiidev' d-ridr]

dXkd
apogr.

^dos om. Reiz, habuit

fjd-r)

etSos

Bursian.
14.

ovUva.

A=.

^x<"''r-

^^"^ coni. Christ.

:

Post oSf add.

15.
17.

< Kal
eirei

if

Toh

iireaiv
:

Kal> Christ,
rd A,
corr.

fort, recte
"2.

Kav rah Gomperz.

6 Vettori
t? t)
:

dXoyov

Vettori
apogr.
:

dvdXoyov codd.,
iireiTa

5t'

5t6
:

codd.
i^v

ra
yj.

S.

24. 26.

apogr.

A=, rec.

corr.

25. 'yeviadai coni. Christ.

A<=
:

5t?

Se2 Bonitz, Christ.

dWov
:

di
8

dXX' ov8i rec.

:

fiXXo
:

5^ cod.

Robortelli,

Bonitz

&\\o

5'

Vahlen
ovdi
.

dXXo,
.

6
.

Christ
. .

KdKeivo

add.

Tucker.

Cum

verbis

dXX'

dvdyKt]
ti

ivpoadetvai

edv yap

-g

tovtwv

ypibpifj-ov,

drjaiv 6 dKpoaTTjS, et 18,

t6

5'

on
:

contulerim Rhet. i. 2. 13, 1357 a 17, ovd^ del Xiyeiv avrbs yap tovto irpocTlaTeepavhrjs rd 'OXty/iTrta, ov8^ Set irpocdeivai.
30.

28.

?)

seclus. Bonitz, Christ

:

^ Vahlen.

ToiTov codex Robortelli

TOVTO A=

TovTuv apogr.

ARISTOTLE'S POETICS XXIV. 710

the scene throughout, and imitate but
little

95
rarely.

and

Homer,
a

after a

few prefatory words, at once brings in

;

man, or woman, or other personage

characteristic
qualities,

none of them
each

wanting in

but

with

character of his own.

The element of the wonderful The

irrational,

is

admitted in Tragedy. 8
for its

on which the wonderful depends

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

the person

acting

is

not seen.
if

Thus, the pursuit

of

Hector would be ludicrous

Greeks standing
Achilles waving
still

placed upon the stage

in

the

and not joining

the pursuit, and

them back.
unnoticed.

But

in the Epic

poem
that,

the
is

absurdity
pleasing
:

passes
as

Now

the

wonderful
fact

may

be

inferred

from the

in

telling a story, every

one adds something startling of his

it.

own, knowing that his hearers like

It is

Homer who
telling
lies

has chiefly taught other poets the

skilfully.

art

of

The

secret
if

of

it
is

lies

in

fallacy.

For,
is

assuming that
or becomes,

one thing

or becomes, a second

men imagine
or becomes.
first

that, if the

second

is,

the

first

likewise

is

But
thing

this
is

is

a false inference.
it is

Hence, where the

untrue,

quite un-

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

first
is

or

has

become.

Eor the mind, knowing the

first.

second to be true, falsely infers the truth of the

There

is

an example of

this in

the Bath Scene of the

Odyssey.
Accordingly,
possibilities to

the

poet

should

prefer

probable

im- 10

improbable

possibilities.

The

tragic plot

must not be composed

of irrational parts.

Everything

96

XXIV. lo XXV.
fiev fMTjSku

2.

1460 a
aKo<yov,

331460 b
el

14
e^o)

fjudXiara

e')(eLv

8e

fxr},

rov

/jLvdev/xaro'i,

wairep OtStTrou? to
[xrj

/jlt)

elBivat ttw? o Adio<;

iv ^HXifcrpa
6
dcjxjovof;

35 aireOavev,
ol

dWa

ev

tm

Spd/juaTi, coairep
rj

rd Jlvdia dTrayyeWovre';,

iv

Mucrot?

CK Teyea'i et? rrjv M.vaLav

dvyprjTO

)]Kcov.
e'f

oiare to Xeyetv
dp'^f]<;

on
Bel

dv

p,vdo<i

'yeXolov
drj

yap

ov

crvvi(TTaadaL toiovtov<;' dv 8e

kol (^aivrirat evXoycoiirel

&)?

40 repwi,

ivSe'^eadac

Kol

droTTOv <6v>'
ttjv
el

Kol

rd

iv
r^v

^OSvaaeia dXoya rd
1460 b

irepl

CKdeaiv

ovk dv

dveKrd

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dv

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avrd

<j)av\o<;
7roir}Tr)<i

7rot7}Trj<;

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dWoif; dyaOol'i 6
TT]

dcpavl^ei
iv
Tol<i 11

TjSvvwv TO aTOTTOv.
dp<yol<;
5

he Xe^ei

Sec

SiuTrovelv
fxijTe

p,epeaLV

Kol

ixrjTe
7)

rj0iKol<;

Stavor]TCKOi<;'

dTroKpvTTTei,
ridrj

yap irdXiv
hLavoia<i.

Xtav

Xap.irpd

Xeft?

Td re

Kol
irepl

Td<i

XXV

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

TTOicov elScov icTTLv, <u8

7ret

dv Oewpovcnv yevoiT dv
TTotT^r^?

(j^avepov.
^Q)ypd(f)o<;

ydp

icrTt

fMifjLr)T7](;

cocnrepavel

10

r;

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

p^ifiela-Oat
rjv
rj

Tptcov ovtcov
ecrTtv,
8'
rj

TO
JT

"^^^
f,

dpcdfiov

ev

Tt
rj

dec,

t]

ydp ola
hel.
rj

old

t^,jk.-

(paaiv Kal

BoKel,
<7]

ola

elvat

TavTa
Kal

i^ayyek- 2

\eTai Xi^et
lieTa(f)opal^'

Kvpi,oi<;

6vop,aaLV>
Trj'i

yXooTTac^; Kal
icrTi, hihofxev

Kal iroXXd irdOrj

Xe^ewi

34.

<6>
2.
:

OtStTToi^s
TTOLTjaeie

By water.
Heinsius
8.
:

40.
troiricrei.

awoUx^c^daL
:

a.^ogr.

3j'

addidi.
5.

1460 b
apogr.
dpt.6fj.bv

codd.
:

iiroiricrev

Spengel.
A<=.
-^
:

re

de A<=.

ttoLiov i5u)v
:

apogr.

ttoIuiv

&v eldQv

11.

rbv
:

vel Tip apidfiQ apogr.

13.
sec.

tQiv dpid/xun/ A*.

6v6fx.aa(.v>
So-'

12.

ola apogr.

ola

A".

<'^

KvpioLS

coni.

Vahlen

<?)

Kvpiq.>

Gomperz

Vahlen.

14. Kal

&\\a

Trdd-q coni.

Vahlen.

ARISTOTLE'S POETICS XXIV.

irrational

lo XXV.
;

97
at
all

should,

if

possible,

be

excluded

or,

events,

it

should

lie

outside the action of the play (as,

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

of

manner
in the

Laius'

death)

not within

the

drama,

as

Electra, the messenger's account of the

or, as

Pythian games;
to

in the Mysians, the

man who comes from Tegea

is

JMysia without speaking.

plot

The plea that otherwise the

ridiculous.

would have been ruined,

first

Such a plot

should not in the

instance be constructed.

But

once

it

has been framed and an air of likelihood imit,

parted to

the

absurdity itself should

incidents
in

be tolerated.

Take the
Odysseus

irrational
is

the Odyssey,
of Ithaca.

where
in-

left

upon the shore

How
As
it

tolerable even these

1460 b if

might have been would be apparent

is,

an inferior poet were to treat the subject.

is

the absurdity

veiled
it.

by the poetic charm with which

be
is

the poet invests

The

diction

should

elaborated

in the pauses of 11

the action, where there

or thought.

no expression of character

For, conversely, character and- thought are

is

merely obscured by a diction that

over brilliant.

XXV
the

With

respect to critical

diflficulties

and their

solutions,

number and nature

be drawn

of the sources from

which they

may
other

may
must

be thus exhibited.
imitator, like a

The poet being an

artist,

painter or any

of

necessity

imitate

one

of

three

objects,

things as they were or are, things as they are

as they ought to
be.

said or thought to be, or things

The vehicle
terms
are
or, it

of expression

is

language,

either

current 2

also

may be, rare words many modifications of

or metaphors.

There

language,

which

we

nn

ri FT!

n-^y^

:
|

98

XXV. 36.
iroLrjral'i.
Ti]<i

1460 b 1537
irpo^ Be Tourot?

y
^A^p ^

15
*

7p ravra toi^
opOorrjq
icrrlv

ou^

rj

avrrj 3

'T /^

7roXiTLKrj<i
7roi'r)TiK7](;,

koI

Trj<;

iroirjTCKrj'i

ovSe

r^

^^J**-.:
''

"J^^'

r;

aWrj^

Te^i/779

Kal
rj

avTrj<i
rj

8e Be

r?}?

7roirjTiK'i]<i

V ^t<^

Sirrr) afiapria,
el

fxev <yap Kaff' avrrjv,

Kara avfi^e</a^ 4

%.&.

"i /St; /CO 9.

[lev

yap <tl> irpoeiKeTO

Bl

jjuLpLrjo-aadaL

20 op6w^ Be
el

efXL^irjcraTO

> aBwa/jbtav,
fjirj

avTrj<;

77

ap,apTia'
Xirirov

Be

<Bia> to
dfi(f)Q) TO,

7rpoe\ecr6ac

opdco'?,
i)

aWa
i)

rov

<aiJb>

Be^ca Trpofie^XrjKora

to kuO^ eKuaTrjv

reyvrjv ajidprrjixa olov to

\rj

KaT luTpiKTjv

dWrjv

Te')(yr]v

dBvvaTa
TO,

TreTTolrjTac] oiroiavovv,

ov KaO eavTrjv.
k

&crTe

25 Bel

iTTCTCfjLiJixaTa

ev

rot?

irpo^rjixaa-Lv
fiev
el

tovtwv
ttjv 5
e'^^ec,

eincrKO'irovvTa
Te')(VT]v

\veiv.

irpcoTOv

irpo^

avTTjv
6p9co<;

dBvvaTa

TreiroLrjTat, r/fidpTrjTaL,

dX>C

el Tvy-^dvei,
el

tov t\ov<; tov avTrj^ {to <ydp TeXo<;

rj

etp7]Tai),

0(5x0)9

eKTrXrjKTiKcoTepov
rj

avTo

rj

dWo
el

Trotel jiepo<i.

30 irapaBeiyjia
fj

tov

'

FjKTopo<; Bico^a.

jxevTOL to TeA.09

jidWov
irepl

rj

<firj>

rJTTov

eveBe')(eTO

virdp-^eiv

Kal KaTO,
6p6(t)<;-

Trjv

tovtcov Te'^vtjv,

[rjjxapTTjcrdac]

ovk

Bel

yap
e<TTl

el ivBe')(^6Tai

0X6)9 firjBajxy rjfiapTrjcrOaL.

ert iroTepcov
rj

TO

d/JudpTrjfia,
;

twv KaTa
el

TrjV
jirj

Te'^vrjV

KaT dXko

35 <TVji^e^rjK6<i

eXaTTov yap
C'^ec
rj

yBei otc \a(po<; drjXeia

eypa-yjrev.
7rpb<;
laai<i

KepaTa

ovk

el

djXLfxrjTW^

Be 6

Toi;Tot9 idv einTLjidTaL

OTt ovk dXrjdi), dXfC

<:a)9>

19. Ti

addidi.
opdQs, rifiapTe

ht]
5'

SpdCo?
iv

5t'

addidi
81'.

post
21.

fii/x-^traadai
ei

coni.

Vahlen
5ia

ry
22.

iniJLrj<Ta(jda,L
d/j.'

apogr.
24.

add.

Ueberweg.
Diintzer
sup. scr.
:

add.

Valilen.
[?)]

^ A. ^ ddivara
:

jreiroiTjTai seclus.

rix^V

owoiavovi'

aSwara
:

TreTrolijrai

Christ.

26.

ei

ra

A<=, e^

to, irpbs avTTjv ttjv

T^xv-qv

plerique edd.

27.

add. Valilen ante aSvvaTa.

28.
fjTTov

Tripecrat

M. Sclimidt.
Trepi

31.

/xtj

rec. A<=, Valilen.

32. Tj/xapTTJa-daL seclus.

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

:

Bekker: ttjv ws coni. Vahlen.

Aid.,

to^tuv Texv^v </iv>

rj/xapTTjadai,

Tucker.

37.

ARISTOTLE'S POETICS XXV.

concede to the poets.
correctness
is

36

99

Add

to this, that the standard of 3

politics, any-

not the same in poetry and

more than
of poetry

in poetry and
itself there
its

any other

art.

Within the
faults,

art

are

two kinds of

those

which touch

essence,

and those which are accidental.

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

<;but has imitated

it

incorrectly > through

want
if

of capacity,

the error
is

is

inherent in the poetry.

But

the failure
if

due to the thing he has proposed to do

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

the poetry.

the error

is

not essential to

These are the points of view from which

we
the

should consider and answer the objections raised by

critics.

First

we

will suppose the poet has represented things 5

impossible according to the laws of his

own

art.

It is

an error; but the error

may

be

justified, if

the end of

the art be thereby attained (the end being that already

mentioned),
part
of

if,

that
is

is,

the effect of this or any other

the

poem
is

thus rendered more striking.

If,

case in point

the pursuit of Hector.

however, the

end might have been as

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

the

error

touch the essentials of the

of
it ?

some accident

For example,

is

not

know

that a hind has no horns

it inartistically.

is

a less serious matter

than to paint
Further,

if it

be objected that the description

not 6

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

''*'

''''^'"^'

100
Set

XXV.

6 lo.

1460 b 381461 a 16
avTo<i fiev oiov<i Sec irotelv,
el Be fMijBerepo)^, 7
i'cr&J9

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

lEivpiTTiBrjv Se oloL elaiv

(f)r}

ravrr) Xvriov.

40

on

0VT03

(paalv
ouTO)

olov

ra
ovr

irepl

dewv,

'^ap

ovre

^eXriov
1461

Xiyeiv

aXrjOi],

aXX <6t>
ra
Trepl

'^

erv^ev
ccrcof;

a wo-7re/o

'B,evo<^avei'
\xevy

aXX'

ovv
el'^ev,

(jjaai.

Be

ov

^eXnov
" ey^ea

aXk" oyro)?
cr(f)tv

olov

ra

rwv

ottXcov,

Be

"OpO^

eVt craypcorf;/)? " vvv 'IWvpiol.

rj

ovro)
Be

yap
tov 8

tor
5

evojii^ov,
7)
yu-?;

coaTrep
i)

Kal

irepl

/caXco?

/caXco?

etpijraC tlvl

TreirpaKrat, ov fiovov
elprj/xevov ^XeTTOvra,

a-Keirreov et? aiiro to TreTrpay/jbivov

el

rj

airovBalov
irpo^;
'iva

rj

<f)avXov,
rj

aWa
orw
rj

Kal

el<i

tov TrpaTTOvTa
rj

rj

\eyovTa,
ayadoii,
10

ov

ore
rj

rj

ov eveKev, olov KaKov,

'Iva

fxel^ovo^

yevyrai,
rrjv

/jLei^ovo<;

a'Koyevr]raL.

ra

Be.

7rp6<i

Xe^tv opcovra Bel BiaXvetv, olov yTuorrr) 9

" ovprja<; fxev irpSirov "

"

tcr&)9

yap ov

Tov<i -qpuiovov^
rj

\eyec
elBo<;

aWa
fjuev

Tov<; (f)v\aKa<;,
erjv

Kal tov AoXcova "09 p

roc

KaKo^ "

ov

to

aw/j-a

aavfifierpov
Is.prJTe'i

dXka

to

TrpoacoTTOv
15 ayirov

ala'^pov,

to yap eueiBe<; ol

evirpoa^

Ka\ovaf Kal to "

C09

^(oporepov Be Kepaie"

ov to

CLKpaTov

olvo(p\v^tv

dWa

to OaTTOv.

to Be Kara 10

Iliad X. 152.
lb. xxiii. Ill,

115 (Verrall), potius

4

quam

i.

50.

3 lb. X.

316.

/5. ix. 203.

39. Eiipnridriv Heinsiiis:

{adrjvaloi codd.).

evpLvidrjs

codd., tuetur Gomperz,

:

cf.

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

40. ourw apogr.

ovre A^.
:

41. ei coni. Valilen.

:

1461 a
Ritter.

1.

^evo(pdveL vel ^evo(pdvris apogr.

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

irapa.

odv
:

Tyrwhitt
8.
rj

ov A<=, ovv rec.

A"

oi/rw Spengel.
:

7.

d
5v
16.

apogr.

t)

A^.
olov

Commate
olov

distinxi

post \4yovTa
9.

<ij>
add.

irpbs

Carroll.

A<=:

apogr.

rec.

A<=

rb 8i

AC

ra de Spengel.

..IZ

ARISTOTLE'S POETICS XXV.

true to
fact,

69

101

the

poet

may

perhaps reply,
'

But
'

the

objects are as they ought to be

just as Sophocles said

;

that he

drew men

as they ought to be

Euripides, as

they

are.

In this way the objection

may

be met.

If, 7

however, the representation be of neither kind, the poet

may

answer,

'

This

is

how men

say the thing

It

is.'

This

applies to tales about the gods.

may

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

'

them.

But anyhow,

this

is

what

is

said.'
'
:

Again, a
still, it
'
:

description

may

be no better than the fact

was

the fact

'

as in the passage about the

arms

Upright

upon

their butt-ends
it

stood the spears.'

is

This was the

custom then, as

now
is

among

the lUyrians.

Again, in examining whether what has been said or 8

done by some one

poetically right or not,

we must
also con-

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

whether
sider

it is

poetically good or bad.

it
is

We

must

by

whom

said or done, to

whom, when,

in
it

whose

interest, or for

what end

whether, for instance,

evil.

be to secure a greater good, or avert a greater

Other
diction.
irpoiTov,

difficulties

may

be resolved by due regard to the 9

ovpr}a<i

We may

note a rare word, as in

/xev

where the poet perhaps employs

ovpfja^i

not in

the sense of mules, but of sentinels.

'

So, again, of

Dolon

ill-favoured

indeed he was to look upon.'

his

It is not

meant that
was ugly;

body was

ill-shaped, but that his face

for the

Cretans use the word euetSe?, 'wellfair face.

favoured,' to
Kepaie,
'

denote a
the drink

Again, ^coporepov Se

mix
'

livelier,*

does not
'

mean
(i

'

mix

it

stronger

as for hard drinkers, but

mix

it

nicker.

'

llli

102
fieTa(f>opav
avep6<i
69

XXV.
ecpTjraL,

lo

14.

1461 a

1729
fiev

olov

" iravre^
^

pa deol re koI
"
rj

EvSoz/ Travvv'^ioi "

afia

Se

^rjacv

rot

or
6

TreSlov
^

TO

TpcoLKov

adprjaeiev,

AvXmv
Kal

crvpuyjeov

20 ofjbahov'"
<f)0pav

TO <yap 7rdvTe<; uvtI tov ttoWol kutcl fierato yap irav iroXv tl'
fi6Ta(popdv, to

etpijTai,

to

"

o'lr]

S'

afjifjbopo<i"^

Kara

jdp

fyvoipLficoTaTov fiovov.

Kara
"

he irpocrwhiav, oicnrep 'iTTTrla^

8e 01 "
*

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

Si,So/jiev

Kal " to
olov

jxev

ov KaTairvOeTai

25 TO,

8e

Staipeaei,

'Eyu.7re8o:\779

" aLyjra

Be

Ovtjt 12
Trpcv
TrXetw 13

e(f)V0VT0, TO, irpXv fxdOov

dddvaT <elvai> Zcopa re

" 7rapa>'^7]Kev
iaTLV.
to,

KKpr]TO.^^

TO,

Be

dfKJjL/SoXia,

Be

vv^'"^ TO
TO 6^09

<ydp

TrXeioy

dpb^i^oXov

Be

/cara 14

T?79

Xe^ea)9'

tmv

KeKpa/juevcov

<oiovovv>

olvov

Iliad

ii.

1, fiXXot n-iv

pa 6eol re koL dvipes 'nnroKopv(7Tal

eddov Travvvxi-OL.
lb. X. 1,

&WoL
^
TOL

ixkv

Trapa, VTjvcrlv

dpiffTrjes

Ilavaxo.i-'^t'

evdov iravvix'-'^ lb. X.

11,

6't'

is irediov rb

TpuiKbv

ddp7}ffeiev,

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

aiiXwv (Tvplyywv t
^ lb. xviii.
*

ivoiri^v S/iiaSdv t'

dvOpihiruiu.

489,

oirj

5'

dfj.fj.op6s

iari XoerpQv 'ClKeavoio.

Jb. xxi. 297, didofj-ev 8e

oi

eSxos dpiadai.
ecfo^-n-Tai.

Sed in Iliads

ii.

15

(de

quo hie agitur) Tpueaai.

^ lb. xxiii.
**

Si KrjSe'

328, rb

fj-iv

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

lb. X. 251,

yap

vii^

dverai,

iyyudi

8'

ifdis,

darpa Si

St]

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

TpiTaTT]
5'

v{j^

tQiv Svo fLoipdwv,

^TL fjolpa XiXeiTTTaL.

17.

Travres

Grafenhan

fiXXot A'=.
cf.

18.
'

linroKopvcrTal post dvepes add.

Christ, habuit

iam

2,

Arab.

ceteri
:

quidem liomines
26.
fcDd codd.
:
:

et dei qui equis

elvai

armati insident.

20. toO apogr.

fwpti

om. A=.

add. Vettori
re

collate Athenaeo, x. 423.

Athenaeus

<a>

Trpiv

Gomperz
dKpTjTa

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

t

A^

ree. sup. scr.

KiKpiro apogr.

TrXeoj A<^:

TrXe'oi'

apogr.:

irXeo^v

Aid.

28. irXelu

irXetov vel irXioy apogr.

29. olopovv add. Tucker.

<:6ffa> tQiv KeKpafiivuv Vahlen:

irdv KKpafiivov

<6(ra TrortDc KeKpafiivuv Ueberweg:

Bursian

< 'ivi.a >

olim conieci ante

dtvop.

'

ARISTOTLE'S POETICS XXV. 1014

Sometimes an expression
gods and
is

103

metaphorical, as

'Now

all

10

men were

sleeping through the night/

:

while at

the same time the poet says

his gaze to the Trojan plain,
of flutes

'

Often indeed as he turned

he marvelled at the sound

is

and

pipes.'

'

All

'

here used metaphorically

for

'

many,'

all

being a species of
.

many.
.

So in the
'

verse,

'

alone she hath no part

for the

,'

olrj,

alone,'

is

metaphorical;

best

known may be

called the

only one.
Again,
breathing.
in the lines,

the

solution

may depend upon

accent

or 11

Thus Hippias of Thasos solved the

BlSo/juev (ScSofxev) Se ol,

difficulties
/xev

and to

ov (ov)

KaraTTvOerac

ofi/Spo).

Or

again, the question

'

may

be solved by punctuation, 12

Of as in Empedocles,
mixed before mixed.'
Or
again,
Be

a sudden things became mortal

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

by ambiguity
vrXetw

of

construction,

as

in 13
is

TrapM'^TjKev

vv^,

where

the

word

irXeco

ambiguous.

Or by the usage
drink
is

of
'

language.

Thus

any mixed 14
is

called

0I1/09,

wine.'

Hence Ganymede

said

TTTI

nn

ITITll III

1 1 1 1 1

uu JLUXUJX1JJLL1-IJ3

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

104
30
<j)a<7Lv

XXV.
eivat,

14

17.

1461 a 30

1461
"

II

[odev TreTrobrjrat

"

Kvr]/ju<i

veorevKTOv

Kacr'

atrepoio,"]

o9ev etprjrat 6

Tavv/ji,r]8r]<i

Ad

olvo'^oevei^^

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

etr)

8'

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

Bel Be Koi

orav ovo/xd

virevavriwixd rt Bokj}

o-rj/jiaLveLV,

35 eTTicrKOTreiv iroaa^co^ av arifiaivoL tovto ev

olov TO "
Orjvai
1461 b

tw

elprj/xevq),

TTj

p ea-yeTo '^aXKeov 7^09,"

evBe')(eTai.
oiBl

to TavTy ko)\v- 16
{jj
17

TTocrap^ft)?

<Se>

eo?]
ft)9

fidXicTT

av Tt9 viroXa^oi,, kuto,

Xeyei, otl

ttjv

KUTavTiKpv

VXavKwv
Kal

evia

d\6yQ)<;

TrpovTroXa/n^dvova-tv
&)?
Trj

avTol
o
tc

KaTayfrr](f)Ladfj,evoL

avWojl^ovTat Kal
av
to,

elprjKOTO'?

BoKei
5

7nTi,/ii(ocrtv,

virevavTiOv

17

avTwv

olrjcrei.

TOVTO Be TreTTOvOe
A.aK(ova eivai'
fia'^ov

wept ^iKaptov.
to
firj

otovTac

yap avTov
Tr;A,e-

aToirov ovv

ivTvyelv tov
to
S*

avTcp
01

eU

A.aKeBaifjiova e\6ovTa.

ia(o<i

e^et

coaTrep

Ke^aXr^z^e?

^aai'

irap

avTcov

yap
ovk

yrjfjiac

\eyova-L tov
10 piov.
Bi

^OBvaaea Kal
to

elvai ^iKdBcov

aXV

'I/ca-

dfJbdpTTjjjba Brj

7rp6/3\7]/j,a elKo^ icTTiv.

rj

oXo)? 17

Be TO dBvvaTOV fxev irpo<i ttjv iroirjcriv

1

7rp6<i

to ^ekTiov

Iliad xxi. 592,

^ lb.

2 rrj

jj, ^x. 234.

XX. 272,

J'crxero fidXivou

^yxos.

30. 6dev
eiprtrai
.

ireiroirjTai.
. .

KaacriTe poio seclus.

M. Schmidt.
35.

31.

6dev
sec.

olvov in

codd. post epya^oixivovs, hue revocavit

33.

Maggi

cod. Lampridii.

Kal

add.
vel

Heiusius.
crT]fJ,aivL
. . .

avp-alvot

olim

Vahlen
ed. 3.

ffrinalvoie

AP'

ffTj/xrjveLev

apogr.

ayi/n-rjveLe

Vahlen
37.

36-38. olov t6
yj

<iv

T<fi>

t6 TavTrj KooKvOi^vai [woaaxus]

ivdexerai 8nr\Qs,

addidi:

-^

vQs fioiKiffT' &v ws seclus. Bywater.

')

rts

k.t.X.
7)

M. Schmidt.
ws coni.

5^

w5l

<w8l>,
2.

Vahlen:
Vettori.
:

ivd^X^'''^'-'

t^S'

'^s

naXiffT

Hv tis vnoXd^oi, Ueberweg.

Interpunxerunt
:

post
3.

(I18I

et iJiro\d(3oi plerique edd.

1461 b
avrQv codd.
Sr;

^via
4.

^vloi

elprjKdros 6 rt

Castelvetro

dpyjpdres 6tl A".

:

ai/ruv Heiusius
10.
Sl'

avTwv codd. 8. avrdv Bekker Maggi: Sta^uapriy^aa codd., Bekker.

/k6s
i(jTLv

atidpT-qixa

Gomperz

5^ codd.

<elvai>

Hermann,
irpbs

fort,

recte:

(cf.

eUbi eari <yevi(Tda.i.> Gomperz).

11.

<'^>

Aid., Bekker, fort, recte.

ARISTOTLE'S POETICS XXV. 1417

'

105

to

pour the wine

to

Zeus,'

though the gods do not

')(ciKKea^,

drink wine.

So too workers in iron are called

This, however,

or workers in bronze. as a metaphor.

may

also be taken

Again,
sistency

when a word seems

meaning,
bear

to involve

some incon-

15

of
it
:

we should
in

consider

how many
For 16
'

senses

may
'

the

particular

passage.

example
should

there was stayed the spear of bronze

in

we
he
-

ask

how many ways we may

The
true

take 'being

checked
1461 b

there.'

mode

of interpretation is the
Critics,
;

precise opposite of
says,

what Glaucus mentions.

jump

at certain groundless conclusions

they pass
it
;

adverse judgment and then proceed to reason on

and,

assuming that the poet has said whatever they ^happen

to think, find
fault if a thing is inconsistent

with their

own

fancy.

The question about

The
critics
it

Icarius has been treated

in this fashion.

imagine he was a Lacedaetherefore,

monian.

They think

strange,

that

Teleto

machus should not

Lacedaemon.

h^ive

met him when he went

But the Cephallenian story may perhaps

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,
to

the

impossible

must be
or
to

justified

by 17

reference

artistic

requirements,

the

higher

106
7]

XXV. 17 XXVI.

I.

461 b
re

12 31
jap
rrjv irolrjaLV

7rpo<; rrjv

86^av Sel advyetv.

'jrpoq
r)

aipercorepov iriOavov dSvvarov

diridavov Kol Bvvarov.

elvai,
otov<;

<Ka\

to-&)9

dhvvaTov>

TOLOvrovi
<ydp

ZeO^t?
virep-

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

dWa
irpo'i

^eXrtov to
<8'> d

TrapdSeijfxa

Set

(pacnv,

raXoya'

ovrco re koX ort

et/co?

TTore ovK

akoyov iaTtv rd
S'

etKo^

yap Kal Trapd to

elprj/jbeva

yiveaOai.

virevavrlw';

ovtoj

aKOiretv, 18

biairep ol ev toi<; \6yoi<i

eKey')(pi, el

rb avrb koI Trpo? to

rj

20 avTO Kal
^-j,^^^"^ '-^M^'

Q)cravTCt)<i,

wo-re

Kal XvTeov

irpo^
S"

avTO<;

Xeyec

rj

dv

(f)p6vL/jio<i

VTToOrJTai.

opdrj

iTriTi/jirjai^

19

^U-.z
'

f^^ aXoyia Kal

'^p'qcrrjTai

fiO'^Orjpla,

OTav

fjit]

dvdyK7]<i

ova-ri<i

firjOev
rj

Tea

dXoyai, cocrTrep ^vpt7riS7]<i tco Alyet,

Trj

'

TTOvijpia, MCTTrep ev ^OpeaTrj

tov M.eve\dov.
rj

Ta
o)?
rj

jxev

ovv 20

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

yap

dSvvaTa
tw?

&)9

dXoya

rj

co?

^XajSepd

rj

&)?

virevavTia
at

nrapd

Tr]v

opOoTrjTa Trjv KUTa Te'^vrjv.

he XvaeL<i

eK

tmv

elprjixevwv dptOfMcov aKeiTTeai, elalv he hcoheKa.

XXVI

TTOTepov he ^eXTLoov
tl<;.

77

eTVOTrouKr)

fiL/jir]aL<i rj

rj

TpayiKrj,

30 hiairoprjcreiev dv
TotavTrj
8'
77

el

yap

77

rJTTOv (popTLKrj ^eXTiwv,

TTjOO?

^eXTLOV<i 6eaTd<i eaTLv del, Xiav hrjXov

14.
(
'

<Kal

icrws

d8vvaTov>

Gomperz,
.

sec.
.

Margolioutli,
:

collato

Arabe
coni.

fortasse

Vahlen.
(coni.

enim impossibile est o'iovs Aid., Bekker

18.

'

Kal

el

ddvi^aTov
16.
5'

iam

orov

codd.

add. Ueberweg

Vahlen).

vTrevavrius
'

Twining,

of.
:

Arab,

'quae

dicta

sunt in

modum

contrarii
:

20, &arTe Kal avrdv codd.

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

Kad' aiiTov coni. Christ.

rec.

21.

(pp6vi/j.os

apogr.

<pp6vri/j.ov A'^, (ppdvi/JLov

A".

22.

aXoylg.
del.

Kal

fioxO-qpiq.

codd., serv. Christ,

23. Tip
Aiye'i
:

Spengel.

Fort.
:

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

:

fj

TTj

apogr.

(margo)
S'
i)

rcD
:

alyeirjTri
07;

A<=.

29.
det,

^eXrlwv

apogr.

piXriov A*.

31.

apogr.

A"^.

\iav

Vahlen

beCKiav codd.

ARISTOTLE'S POETICS XXV.

reality,

17 XXVI.
With

107
to to

or

to

received
art,

opinion.

respect
is

the

requirements of

a probable impossibility

be

preferred to a thing improbable and yet possible.

it

Again,
as
is

may

be impossible that there should be

'Yes,'
;

men such

Zeuxis painted.
the higher thing
reality.'

we

say,

'but the impossible

for the ideal type

must surpass the

to

To

justify the irrational,

we appeal

what

is

commonly
that the
just as
'

said to be.
irrational

In addition to which, we urge

sometimes does not violate reason

it

is

probable that a thing

may happen

contrary

to probability.'

Things that sound contradictory should be examined 18

by the same

rules as in dialectical refutation

is

whether
what
is

the same thing

meant, in the same relation, and in the

should therefore solve the question by
himself, or to

same

sense.

We

reference to
tacitly

what the poet says

assumed by a person of

intelligence.
1

The element

of the irrational, and, similarly, depravity

of character, are justly censured

when
Such

there
is

is

no inner

necessity for introducing them.

the irrational

element in the Aegeus of Euripides, and the badness of

Meuelaus in the
Thus,
objections

Orestes.

there
are

are

five

sources

from

which

critical

20

drawn.

Things are censured either as

contra-

impossible, or irrational, or morally hurtful, or

dictory, or contrary to artistic correctness.

The answers

should be sought under the twelve heads above mentioned.

XXVI

The question may be

Tragic

raised
is

whether the Epic or

If

mode
is

of imitation

the higher.

the more

refined art

the higher, and the more refined in every

to the better sort of audience,

case is that

which appeals

108

XXVI. 14.
rj

1461 b

321462
&>?

a 17

on

airavra

fic/jiovfievij

(poprcKiy

yap ovk alaOavo-

{jbivcov

av

fXT]

avTO^

irpocrOfj,

ttoWtjv KLvrjaiv Ktvovvrai,

/xi/xel-

olov ol <^avkoL avkrjTaX KvKioixevoi, av Blctkov Berj

35 a6at, Kal e\Kovr6<i rbv Kopv(j>aiov av

T)

^KvWav
d><;

avXtoatv

fiev

ovv TpaycpSta Toiavrrj earlv, w? Kal ol irporepov 2

rov<i

varepovi avrwv movto

TriOrjKov

viroKpird';'

Xtav yap

virep^dWovra
1462 a

ISJivvvlaKO^
irepl
rj

tov K.aWc7r7rLSr]v
riv

eKoXec,

Toiavrrj

8e
Trpo^

So^a Kal
avrov<;,

TlivSdpov
tS'^vt}

co?

S'

ovrot

e^ovai

o\r]

7rpo9

ttjv

e'TTOTTodav

e^ec

rrjv fxev

ovv

7rpb<;

Oearca

iineiKei'i (f)aaiv

elvai
5

<di> ovSev Seovrat tmv

el

a'^rjixaTwv, rrjv 8e rpayi-

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

L7].

ovv (popriKrj, -^eipcov SrjXov otc av 3

t?}?
7roc7jTCKrj<i
r/

irpSiTov ixev
rrj<;

<ovv> ov
eirel

KarrjyopLa
rot?

dXka

v7roKpiTLKrj<i,

earc

frepiepyd^eadai

ar]ixeloi<i

Kal pa^lrtpSovvra, onrep

oTrep
iTrolec

\_ea-TX\

^(sxriarparo^, Kal
'OTTovi/rto?.
/X77S'

BiaSovra,

M.vaal6eo<;

elro.

10 ovSe Kivijcnii diraaa dTroSoKifiacrrea, elirep

op'^rjai'i,

a}OC
vvv
rj

rj

(f)av\a)v,
CO?

oirep

Kal

J^aWiTrTrlBr}

eTrertfiaro

Kal
ert
?;

dX\,OL<;

ovk ekev6epa<; yvvalKa<;

KiV7]aeco<i iroiel

fjLi/nov/xevcov.

rpaycpBla Kal dvev

to avri]^, Mcyirep

eTTOTroda'
15

Sid yap rod dvayivuxTKetv (f)avepd oiroia rl^

iariv

el

ovv iarc rd y
virdp'^eiv.

dWa
ecrri

Kpeirrcov, tovto ye
S'

ovk
eyet,

dvayKalov avrrj
oaa'TTep
rj

eVel rd irdvT

eTroiroila,

Kal yap

tw

fierpo)

e^ecrrc '^pijaOat,,

33.

KLvovvTat

apogr.

Kivoui'Ta

A"^.
:

1462 a
6.

2.

^x^i"^'
4. ot

apogr.

5'

e'xoi'crt

A".

avTovs
5.
ei

Hermann
apogr.
:

avro^^ codd.
A^.

add. Vettori

^Trd Christ.
8.

17

odv add. Bywater, Ussing.

Sa56i'Ta
avrrj A".
A<=.

earl secliis. Speugel.

9.

di^dovra apogr.:
16.
avrrj
:

13.

avTTJs
iirel

apogr.

avrijs
:

A^.
8',

apogr.

ian

5'

ra Gomperz

^ari

Uri

Usener

^Tretra Siotl codd.

ARISTOTLE'S POETICS XXVI. 14

the
art

109
is

which

imitates

anything

and

everything
is

manifestly most unrefined.

The audience

supposed to

be too dull to comprehend unless something of their

is

own

thrown in by the performers, who therefore indulge

in restless movements.
if

Bad
'

flute-players twist

and

twirl,

they have to represent

the quoit-throw,' or hustle the

the
'

coryphaeus
it

when they perform

has this same defect.

Scylla.'

Tragedy, 2

is

said,

We may

compare the
their suc'

opinion that the older actors entertained of

cessors.

Mynniscus used

to

call

Callippides

ape

'

on

account of the extravagance of his action, and the same

1462

view was held

of Pindarus.

Tragic

art,

then, as a whole,

stands to Epic in the same relation as the younger to

the elder actors.

So we are told that Epic poetry

cultivated

is

addressed
gesture
;

to

audience,
inferior

who do not need

Being then 3

Tragedy, to
it is

an

public.

unrefined,

evidently the lower of the two.

Now,
the

in the first place, this censure attaches not to

poetic

but to the histrionic art

for gesticulation

may

be equally overdone in epic recitation, as by Sosicompetition, as by Mnasitheus the

action
is

stratus, or in lyrical

Opuntian.

Next,

all

not to be condemned

any more than

formers.
also

all

dancing

but only that of bad per-

Such was the

others
of

fault

found in Callippides, as

in

our

own

day,

who

are censured for

representing degraded

women.

Again, Tragedy like Epic

;

poetry produces
its

its effect

even without action

If,

it

reveals

power by mere

reading.

then, in all other respects

it.

it is

superior, this fault,

we

say, is not inherent in

it

And
elements

superior

it

is,

because
use

has

all

the

epic 4

it

may even

the epic metre

with

the

110
Kal

XXVI. 48.

1462 a 181462 b 20
rrjv fxovcnKrjv

en

ov (xiKpov

fiepo<i

Koi

Ta<; 6-^eL'i,

hC
to

a?

al rjhovaX

avviaTavrai ivapyearara.
kol iv
rfj

elra

Kal

20 ivapye<; e^et
1462 b

avayvcoaei Kal eVt tcov epyav.

ert

Tft)

iv iXaTTovi fiijKec to reXo? T779 fjnixrjcrew^ elvac 5

i)

TO yap aOpooiTepov rjhiov

A,e7(i)

iroWw

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tw

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S'

olov el Tt9 rov OISlttovv Oelr} top %0(poK\eov<i

6croi.<;
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5

e'TTecriv

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[rj]

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arj/jieiov Si'

iK yap oTrotaaovv
co(TTe

[fiifj,7]crea)<i^

TrXeiou?
Troiwaiv,

Tpaycphlai
rj

ylvovTat'

iav

jxev

eva /Mvdov
fj

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TOO
av/jifjiiTpa)

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vhaprj.

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olov iav
10 IXta?

fxtjKei
fj

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ccxrirep
rj

iK TrXeiovcov Trpd^ecov

avyKeifxevri,

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fiye6o<;'

[leprj

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to,

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ft)9

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el

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av

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fxev

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ovv Tpay(pSLa<;
fxepcov,

Kal

iiroTTOiLa';,

Kal avTMV 8
Stacjiepec,

Kal TCOV elScov Kal tcov

Kai TOV ev
r]

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/Mrj

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20 Xvaecov, elprjaOco TOcravTa.

18. Kat rds S^eis seclus. Spengel
5t' 5t'
:

collocavit post ivafyyiffTara. Gomperz, qui

^y legit: ^s codd.

/cat

ttjv 6\(/lv

Aid., Bekker.

5C
:

cis

vel ats coni.

A'=.
:

20. dvayvcbaei

TO Winstanley, Gomperz.
iidovT] A''.

Maggi 1462 b 2.
4.

dvayvwpiaei
tjSiov
rj

Vahlen: 21. ry
:

Maggi

ijdelov

rj

apogr.
seclus.
8.

3. 7.

Sell] del-q

A=.

Alt.

17

om. Aid.

5.

/Mfxria- ews

Gomperz.
cvfifxirfXi)
:

fxeiovpov
:

Gomperz praeeunte Tyrwhitt,

fort, recte.

Bernays tov fiirpov codd. Post vdap^, < iav 8i irXeioi/s > Aid., Bekker < X^7a> 5^ olo;' * * &v 8^ fx-ri, ov jxla ij fiifiricns > supplendum coni. Vahlen <iav 8i irXelovs, ov /xia t] fdfi't}(ns> Teiclimtiller <&W(>is ok iroi.KiKov> Gomperz. 10. & add. apogr. 11. Kairoi TaCra to. Aid. Kal rotaOr' firra A= et plerique codd. 19. ^ apogr. el A^.
:
:

ARISTOTLE'S POETICS XXVI.

music and scenic
effects

48
;

111

as important accessories

and
it

these produce the most vivid of pleasures.

Further,

has vividness of impression in reading as well as in

representation.
1462 b

Moreover, the art attains

;

its

end within
is

narrower limits

for

the

concentrated
is

effect

more

pleasurable than one which

spread over a long time

and so

diluted.

What,

for example,
if
it

would be the

effect

of the Oedipus of Sophocles,

as long as the

were cast into a form

6

Iliad

Once more, the Epic imitation

has less unity

as is

shown by this,

that any Epic

poem
if

will furnish subjects for several tragedies.

Now

the

story be

worked into a unity,

;

it

will, if concisely told,

appear truncated
of length,
it

or, if it

conform to the Epic canon

will

seem weak and watery.

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
t
own.

Yet these poems are

;

as

perfect

as

possible

in

structure

each

is,

in the highest degree attainable,

an

imitation of a single action.

If,

then. Tragedy

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

it,

pleasure, but the pleasure proper to

as already stated
art,

it

plainly follows that Tragedy

its

is

the higher

as

attaining

end more

perfectly.

Thus much may

poetry in general
the
that
;

suffice

concerning Tragic and Epic 8

their several kinds

and
;

parts,

with

number

of

each and their differences

or

the causes

make a poem good

and the answers

bad

the objections of the

critics

to these objections.

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