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Aristotle - Poetics-Ed. Butcher 1898
Aristotle - Poetics-Ed. Butcher 1898
PRESENTED BY
Rev, A.A. Vaschalde, CS*B
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http://www.archive.org/details/poeticsofaristoOOaris
-
YO-G-^ STREET.
TORONTO
THE
POETICS OF AEISTOTLE
EDITED
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
ILontion
MACMILLAN AND
:
CO., Limited
1898
NOV
6 19421
PEEFACE
The
following Text and Translation of the Poetics
tlie
form part of
volume
entitled Aristotle s
Theory
and
Co., 1898).
are enlarged,
fully revised.
The improvements
in the Translation
from
my
friend
Hardie. thanks,
Tyrrell,
To him
and
also
would express
another
my
warmest
Professor
to
friend.
who
proof-sheets,
and
talked
over
and
elucidated
critical material
Germany,
strict
have found
necessary to observe a
principle
of selection,
my
aim
still
being
They Apparatus
less to
do duty
for a
commentary,
VI
In the
first
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
1);
two
are
now withdrawn,
iii.
and
In the
a
certain
first
number
1
of
passages,
words which
iii.
vi.
18
xvii.
xvii.
5.
In
vi.
18
for
now
Xeyo/juevcov,
\6ycov of the
MSS.,
and in
xvii.
By water's
conjecture
[Ttya9 avTo<f\.
previously
I
the
text
notes,
but
which
now
It
take
into
the
with
some
confidence.
many
refer
ix.
5.
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
random.'
(
2.
1451 a 38
= a 36
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,
apogr.'
and
words Ta rv^ovra
ovofiara,
fits
in better
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
As
Rhet.
i.
1.
1354 a
where
ovhev
&)?
elirelv,
the
The word
&)?
oXlyov
is
natural gloss
co?
on on
ovSev
oXiyov.
elTvelv,
but
not
SO
ovhev
elirelv
the Rhetoric
may
again be
(
summoned
to our aid.
I
In
xvii. 1.
1455 a 30
edition)
=a
27 Bekk.)
have
bracketed rov
Oearrjv,
the
I
object
to
it,
l^e
take
the
audience.
This
have now
illus-
B
4-4-1
6%
vm
trated
in Rhet.
2.
1358 a
where Xavddvovalv
being
re \Tov<i
uKpoarail has
reading,
the
not
the
Once more,
in
xxiv.
9.
1460 a 26
= a 23
Se,
first
the
of
A.
This
reading,
which
was
either
by the
chief
modern
Se
editors,
who
adopt a variant
dWo
or resort to conjecture,
irpoaOelvat at the
end of the
forced
2.
1357 a 17
ff.,
appears
me
avdyKT]
37
Trpoadelvai.
eav yap
rt
rovrrov 'yvdopi'jrpocrTLOrjcnv
ovSe
Bel
Xeyetv
avTO<;
jap rovro
dKpoaTr]<;, olov
on
ort
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
expression of
similar
ovSe
One
i)
difficulty still
is
remains.
to
elvai
yeveaOat
omitted.
PREFACE
thought
is
ix
not,
perhaps,
impossible,
but
it
is
accepted
<KaKeivo>
Professor
etvai,
rj
Tucker's
conjecture,
yeve(r6at.
my own
above mentioned
made
But
it
who
are
if
the whole
were before us
safely be used
not
Of the
criticism
precise
value of this
text,
version
for
the
of the
no
final estimate
But
it
MSS.
:
Two
striking instances
may
here
be noted
(1)
i.
6-7. 1447 a 29
ff.,
of
avaivv^o<;
before
rv^yavovaa^
accord(see
ing
to the
brilliant
conjecture
of Bernays
p.
47).
X
(2) xxi.
1457 a 41
= a 35 Bekk), where
by
for
fiejakcwTcov of the
MSS.
Diels has,
the aid of
Notes).
first
This
emendation
is
time into
tells
MargoHouth
eVev^a/iez/o?
me
in
this
passage
word
is
Another
established.
In some
instances where
the
it
apographa,' or conjectures
made
a
more recent
commands our
no longer
undoubting
claimed for
I
assent.
It
is,
therefore,
unique authority
have
consulted
by Vahlen. by the
side
of
Professor
it, e.g.
by
p.
1546,
and by Diels
1888,
p. 49.
in
Sitzungsher.
I
But
have
also
'
PREFACE
xi
benefit of private
He has
disposal,
his learning at
it
my
was
possible to do so,
literal translation.
is
itself obscure,
;
and throws no
the difficulty
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.
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,
significant
the
xxi.
= a 36
icnas
a.8vvaT0V>
hesitate to
add to
1459 a
this
list
of corroborated
: :
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
which
There
of the
a-wqOet'i
MSS.
it
is
awdeo-ei^;
may
in
Greek
original,
Another
conjecture,
comchange
municated privately to
deserves mention.
of
6/ji,o[a<i
me by
to om9.
is,
'
and must
the demonstr.
attraction, olac
sunk
in otaf, and,
by
Icrropiai at (7vvrj6ei<i
becoming
I subjoin a
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
preposition
of,' it
was
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,
'
More doubtful
dirb
tt;?
is xvii. 2.
<pv(T(o<;
:
1455 a 33
Arabic,
'
= a 30
Bekk.),
aur?}?
in
same
nature.'
(^ucrect)?,
the former.
(6) Passages
words
is
ix. 9.
= b 31
:
Arabic,
'
there
is
nothing to
be.'
But we
1454 b 34
is
=b
l(jityevLa dveyviopLcrev
on Opccm^s:
it
Arabic, 'as in
is
that which
called Iphigeneia,
and that
of
whereThis
first
was
Orestes.'
point
to
the
omission
the
'Opf(rTr]<;.
XIV
In
these
passages,
however,
have
altered the
(c)
MSS.
reading.
light
:
i.
9.
1447 b
emerges
22.
is
of
interest that
('
of all
is
the metres
we ought
Kal,
him poet
')
there
no trace of
X. 3.
which
the 'apographa.'
1452 a 22
= a 20
(
Bekk.).
The words
yiyvea-dai
=b
17 Bekk),
oxttc Kal
avrhv
is
MSS.
The
line containing
these words
not
(
.
=b
19 Bekk.), orav
fii]
dvdyKrj^
fxriSkv
The words
In
conclusion,
desire
to
acknowledge
my
W.
Verrall,
Mr.
W.
W.
Lock,
who have
written
me
notes on particular
criticism I
points,
have
profited.
am
indebted to
edition
my first
numerous
articles
many
where.
Among
other reviewers to
whom
feel
PREFACE
grateful, I
XV
in the
Classical Review,
vol. iv.
May
15
;
1895; Mr. R. P.
Hardie in Mind,
No.
Saturday Review,
To
Messrs. R.
CONTENTS
PAGE
xix
1
Analysis
List of Abbreviations
4
6
following
is
list
and translations
of the Poetics,
Valla
(G.),
Latin translation.
summary
1198).
Venice,
Alexandrum Paccium,
]jatri-
Venice, 1536.
Aristolelis
Robortelli
(Fr.),
In librum
Florence, 1548.
Segni
(B.),
vulgare.
Florence, 1549.
Aristotelis
librum de Poetica
explaiiationes.
Arte Poetarum.
Florence, 1560.
Vienna, 1570
Basle,
d' Aristotcle,
con la
Venice, 1575.
Aristotle.
Le3Hlen, 1590.
Leyden, 1610.
Goulston
Dacicr,
(T.),
Latin translation.
La
Paris, 1692.
Vida, de Des-
priaux, avec
Paris, 1771.
les
traductions
et
des remarques
XX
Winstanley
Reiz,
(T.),
Oxford, 1780.
De Podica
),
Leipzig, 1786,
Metastasio (P.
la medcsima.
Twining
(T.), Aristotle's
07i
the
translation
and on
original,
and two
dissertations on poetical
and
Pye (H.
imisical imitation.
London, 1789.
J.),
Commentary
To which
is
Tyrwhitt
(T.
),
Be
Poetica Liber.
Textum
Oxford, 1794.
Buhle
(J.
T.
recensuit.
Gottingen, 1794.
Leipzig, 1802.
Hermann
(Godfrey),
(E. A.
Grafenham
tariis illustrai'it,
Raumer
Spengel
(Fr. v.),
und
sein VcrMltniss zu
Akad.
Ritter
(Fr.),
Munich, 1837.
rccognitam,
latine
Ad
codices
antiquos
conversam,
com-
Cologne, 1839.
les Grecs,
Egger (M.
E.),
sidvi de
la PoMiqiie d'Aristote
frangaise
et
commentaire.
Wirkung der
(J. B.),
Tragodie,
Breslau, 1857.
et
Saint-Hilaire
accompagnde de notes
perpituclles.
Berlin, 1859.
Stutt-
Liepert
Passau, 1862.
Susemihl
zig,
(F.),
German
and
notes.
Leip-
Vahlen
Spengel
(J.
Vienna, 1865.
(L.), Aristotelische
(J.) recensuit.
Studien IV.
Munich, 1866.
Vahlen
Berlin, 1867.
I.
II.
Kunst.
Ueberweg
(F.),
German
Berlin, 1869.
XXI
iiber
H. ), Aristoteles
iiber
Kunst,
besonders
Tragodie.
Vienna, 1870,
Doring
(A.),
Aristoteles.
Jena, 1870.
codicis antiquissvmi
Ueberweg
Bywater
Vahlen
(F.),
Ars
Poetica
ad fdem potissimum
Berlin, 1870.
A'
ff.
{Parisiensis 174i)(I.),
ff.
and
xiv. 40
1885.
Berlin, 1874.
iterum recensuit
et
Moore
(E.),
and 1893.
ilbcr die Aristotelische
Thcorie des
Drama.
Berlin, 1880.
critical
Wharton
Oxford, 1883.
Margoliouth
Lon-
don, 1887.
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.
La
Nationale.
Preface de
M. Henri Omont.
Photolithographic de
MM.
Carroll
Lumiere.
Paris, 1891.
(M.), Aristotle's
Poetics
Baltimore, 1895.
Gomperz Gomperz
Uebcrsetzt
tnul
eingcleitet.
Leipzig,
1895.
(T.),
Zu
Vienna, 1896.
ARISTOTLE'S POETICS
ANALYSIS OF CONTENTS
I.
'
Imitation
'
{iJ.ifj.Tiais)
the
common
These Arts
dis-
Medium
Imitation
The Medium of and the Manner of Imitation. Harmony (or Melody), is Rhythm, Language, and
' '
The Objects
Arts.
of Imitation.
tj'pes are represented in all
is
Higher or lower
the Imitative
In Poetry this
The Manner
Poetry
narrative
of Imitation.
may
(including
poetry),
or
pure
drama.
digression follows on
the
name and
of Poetry.
original
home
of the
Drama.
IV.
may
Imitation,
and the
Harmony and
Rhythm.
Historically viewed. Poetry diverged early in two directions
form.
The
ated.
V. Definition of the Ludicrous (rd yeXoiov), and a brief sketch of the Points of comparison between Epic Poetry rise of Comedy.
and Tragedy.
(The chapter
is
fragmentary.
ARISTOTLE'S POETICS
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),
and of adequate
magnitude.
VIII. The Plot must be a Unity.
of Hero, but in
The
parts
IX. (Plot continued.) Dramatic Unity can be attained only by the observance of Poetic as distinct from Historic Truth for
;
Poetry
ticular.
is
The
to the incidents.
The
X. (Plot continued.)
Definitions
of Simple {air\ol)
and Complex
{ireirXeyfiivoi) Plots.
Sudden Reversal
Recognition
(dvayvdipLo-Ls),
Incident XII.
(Trddos) defined
or disastrous
The
'quantitative parts'
:
{/J.ipT]
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
and
fear should
or
Spectacular effect
Examples
emotional
of
Tragic
Incidents
heighten the
effect.
in Tragedy.
The
rule of
The
XVI.
'
Deus ex Machina
is
'
(a
How
Character
idealised.
(Plot continued.)
Recognition
its
ANALYSIS OF CONTENTS
XVII. Practical
(1)
To
and to sympathy
act the
A\ith
the
dramatis personae.
(2)
ing to
in the episodes.
The Episodes
>vith those of
To be
and D^-
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)
XIX. Thought
(Stdj'ota),
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-
XX.
Diction, or
speech,
Language in general. An analysis of the parts of and other grammatical details. (Probably interpolated.
XXI. Poetic
Diction.
:
of speech
admissible
in Poetry
A passage probably interpolated on the Gender of Nouns. How Poetry combines elevation of
It agrees
herein
XXIV.
Tragedy.
trated,
The
and
illus;
namely,
poem
(2)
the metre
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
Tragedy.
The
it.
the
Parisian
:
manuscript (1741) of
generally,
the
too
11th
con-
century
fidently,
but
perhaps
which
all
MSS.
directly or in-
Apogr.
= =
A*^.
Arabs
It is not
is
a trans-
by an
unknown
author,
now
lost.
(The quotations
Mar-
(This
I
by Susemihl
brevity.)
It
must be remembered,
are those
which
we
Aid.
infer to
in 1508.
Valilen
3.
Vahlen
coni.
by him
into
the text.
A*^),
text.
< > =
* *
f
= =
satis-
API2TOTEAOY2
nEPI nOIHTIKHS
Uepl
BvvafjLiv
7rot,r}T{,K'f]<;
avrrj^;
rjV
rcva
GKaarov
iroi7]aL<i,
en
he eK Troacov Kal
dWcov oaa
t?}?
r]
Trj<i
rpa'ywhia'i 2
Trj<;
en
77
he Kco/xtphia Kal
ifKeicxrri
hiOvpa/ji/BoTroLrjnKT] Kal
avXr^nKTi^
ovcrac
;7
fxi/jitjaetf;
jdp tS
Kal
fMrj
ev
tw erepa
rj
tm
ere-
pa)<;
Kal
20 hia
(T'^ijfiaaL
Tep^i/77? ol
re^yat?- aTraaat
fjuev
iroiOVvraL
fjLifj,r}cnv
rj
')(wpl<i
fxefityfievoi'^'
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
: '
rcDi yevei.
A.'^.
20.
(pijivris
per sonos
:
21.
/cat
iv apogr.
5t'
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
of the
parts of which a
else falls
poem
composed
let
us
begin
of
most of
modes
imitation.
They
differ,
manner
distinct.
or
mode
of
imitation,
being
in
each
case
art
or 4
mere
the
habit, imitate
medium
is
of colour
imitation
'
harmony,'
8
jjbevai
I.
49.
1447 a
241447 b
rj
22
rcve'i
rj
fiovov
rf
re avKrjriKrj koi
KLdapcaTiKr) kclv el
25 erepat
Tvyydvovatv
rayv
avpLyycov, avTa> Se
77
tw
jap ovTOi
tjOtj
hiQ,
Toiv cr'^7]/jiaTi^ofjievo3v
irpci^ei'^'
r)
\^\^^,
1447 b
he
<o
rot'?
Tot9
tS)v
e'lre
payvvaa
pier ctXki^Xwv
fierpcov,
<ava)vv/iio<s>
')(OLpiev
rv'y')(^dvovaa
rod
vvv
kol
10 ovSev <yap
av
S(0(f)povo<i
aevdpyov
p,ip,ov<;
i)
roiv
dWcov
Kara
dWa Koivfj
i]
Kara
TO fieTpov 7rpo(7a<yopevovTe<;.
Tt Bed
(fjvcrcKov 8
Tov
20 ^
p^ev TTOLijTrjv
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
tovtov
habuit
rvyxo^viocTLv A'^.
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
:
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'
that of
the
these.
shepherd's
pipe,
similar to
In dancing, rhythm
'
used 5
without
'
harmony
for
emotion, and
is
action,
by rhythmical movement.
another
art
alone,
1447 b
and
again,
that
prose
or
verse
which
or
verse,
may
either
combine
different
metres
consist
of
but
one
kind
without a name.
For there
the
is
no
common term we
hand
on
could apply to 7
mimes
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,
hexameter) poets, as
were not
the imitation
entitles
that
all
makes the
them
indiscriminately to
the name.
is
Even
brought
to the
when
name
of poet
is
by custom given
author
common
call
would be
right to
On
if
a writer
in
his
poetic 9
Chaeremon did
which
is
10
TToiTjTTjp
I.
II.
4.
1447 b 23
irepl
Tiv6<;
1448
a 15
Bi(opL(r6co
Tot<; elprj-
Trpocrayopevreov.
fjLev
ovv tovtcov
at iraai, '^pSivrai
10
re
rwv
7roLr)crc<;
Kal
77
rj
T TpajoyBla Kal
a/xa iraaiv al Be
Bta(f)opa<;
KcofMcpBla'
fiepo'i.
Bia^epovcn Be
on
al fxev
Kara
ravra^
fiev
rwv
Te')(yS)V, ev
oh
iroLovvrat rrjv
II
TOVTOvi
rj
cTTTOvBalovi
rj
(f)av\ov<; elvat
{rd yap
r]6r)
a'^eBbv
ridrj
fjL0V0i,<;,
Bia^epovcn
5 rj
Ka6'
r}fjbd<i rj
'^eipova'i
TLoXvyvforo'i [xev
yap
Kpelrrov;, Uavcrcov Be
BrjXov Be
e'lKa^ev
e^ei 2
on
Kal
rwv Xe-^detawv
Kal ydp ev
eKdcrrr]
jjLiixrja-eoiv
op'X^rjcrei
rd<; dvo/xoLorrjra'i'
Op,rjpo<i
%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
^4X0-
fj.i/j.7i(nv
et 22 Kal
ttoltjttjv
sic
efficitur
ut
verbis ovK
'
(pvaioXoyov
Kal
ijdr]
Aid.,
'
/xdWou ^ Bekker.
29.
iroLy]rT}v
24. at
Gryph.
a?s A<=.
at
apogr.
ol
A<=
26.
diOvpafx^wy 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<=.
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
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
namely,
tune
and
Tragedy
is,
Comedy
in
but
between
them the
difference
the
first
now one
means
is
employed,
now
another.
medium
of imitation.
II ^^^ *
men
in action,
and
men must
goodness and
of
moral
differences),
follows that
we must
represent
men
life,
or as worse, or
as they are.
Polygnotus
as
less
depicted
men
it is
as
nobler
than they
to
are,
life.
Pauson
noble, Dionysius
Now
come
above mentioned will exhibit these differences, and bea distinct kind in imitating objects that are thus
Sucli diversities
distinct.
may
flute-playing,
and lyre-playing.
So again in language,
Homer,
Cleophon
of
makes men
;
as
they are
Hegemon
the
Thasian,
the
inventor
parodies,
than they
of
dithyrambs 4
and nomes
may
12
II.
4111.
3-
1448 a
1637
rj
^vo<i[, fjLifi7](TaLT0
av
Tt?]'
TpajfoSla
/30V9
?;
7r/3o<?
rrjv Kco/MOiSlav
SieaTrjKev,
rj
fiev '^/ap
p^^et-
8e ySeA-Tiou? /jLLfxeladat
he tovtcov
civ
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)
eo?
fiera-
^aXXovTo),
i]
fit/Jbov/jbivovi].
iv Tpial
hrj
ravraci
Bia(f>opat<;
r)
/xi/jirjai'i
KOT
dpya<i, iv
oh
re kol a koI
c5<?.
ware
6 avTO<i
av
So^o/c\?}?, jJupbOvvTaL
yap
dfi(f>co
yap
aOal
TLve<;
avrd
c^acnv,
on
/XL/Jbovvrac
hto Kal
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
Tpay(phla<i
35 evioc
rwv
iv UeXoTTovvijcra))
TTotovfxevoL
ra ovopLara
avTol
fiev
yap
K(i)/jLa<;
Td<i irepiOiKiha^.
vaiov; he
16.
[pLifirjaairo
dv
tis]
'
secl.
coni.
Vahlen.
rrj
aiV^ 5^ Vettori
:
'in
Tavrrj d^ rrj M. Casaubon avrfi Be ry codd. <'^> yiyvdfxevov 21. 6t^ fj-ev om. ut videtur S. OT^ /xev d-n-ayyiWovTa <6t^ 5'> 'irepbv tl yiyvbjxevov Bywater secutus Eodem fere pervenit Arabem secutus Gumposch, recte, ut opinor.
.
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
odroi et
dd-qvaloi codd.
Adijvawi tuentur
ARISTOTLE'S POETICS
II.
4111.
13
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
may
in
be imitated.
being the same, and the objects the same, the poet
imitate
another personality as
person,
may
own
present
all
his characters
as living
us.
These, then, as
we
said
at
the
beginning, are
the 2
So that from
is
kind
as
;
Homer
character
as Aristophanes
doing.
to
for
both
imitate
of view, of the
same kind
Hence, some
name
of
'
drama
'
is
given 3
and Comedy.
the Megarians,
allege that
it
The claim
to
Comedy
is
put forward by
who
by
is
who
much
the
earlier
country.
Tragedy too
Peloponnese.
In
each
they appeal
to
the
evidence of language.
called K(o/xat,
by them
by the Athenians
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
iroueiv
avTol
irepl
hpav,
Ad7)vaiov<; 8e
TTpaTreiv irpoaa/yopeveiv.
fiev
ovv
twv Siaipopwv 4
TLV6<i rrj'i
/jLi/xi](Teoi<;
elprjaOco ravra.
lY
5
eoUacn
TLve<i
Tol<i
Se yevvrjcrat
/juev
to re yap
ecTTi,
p-i/jieladai av/ji(f)VTOv 2
eK
Tralhcov
Ttav
crei?
aW(ov
iroielTai
Sea
/jbtfJi^(Tco<i
ra?
irpoiTa'i,
koX to yaipeiv
arjixelov he
tovtov to av/M/Salvov .3
tovtcov Ta<;\
I
\v'K7)pSi<i opcj/xev,
OripLwv re
/xopcftd'i
veKpoiv.
a'cTiov Se;4
'
i
aXXoi<;
oyu-otcu?,
dXX,
iirl
/Bpa'^v Koivcovovaiv'
elKOva'? 6po)VTe<i,
avTov.
Sid
OTcb
avji^aivei,
tl 6Ka-
inel idv
rjhovrjv
firj Tii'^rj
TrpoecopaKco'i,
ou^
97
fji[fM7)/j,a
rj
7roci]creL
i)
ttjv
dXkd
yacriav
t7]v
'^poidv
dWrjv
Trj<i
aiTiav.
20 KaTa
(f)V(TLV Srj
6pto<; rjfxcv
TOv
fiLfxeicrdac
Kal
dp/xovia<i 6
pvd/juojv
fxopia
tcov
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"^
Kal <:\6yos>
:
To^jTov Bonitz,
TjdovTjv
oi'xt
:
om. Arabs.
:
5??
coni.
:
Vahlen
avTO, Kal
(Beitr.)
5^
:
codd.
aiiTcc
22.
Kal airra
irpbs
avTa Aid.
Bekker
els
Gomperz
Kal
3 IV.
15
{Kara
144S b city.
They add
Dorian Nvord
for
'
doing
'
is
Spdv,
irpdrrecv.
This
various
lA"
may
suffice as to the
of the 4
modes
of imitation.
in our nature.
First, the 2
man from
;
childhood,
he
is
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.
contemplate
fidehty
and
of
dead bodies.
The cause
is,
that to 4
but
to
men
is
in
general
learning
more
limited.
is,
they
Ah, that
is
he.'
For
if
have seen
some such
other cause.
Imitation, then,
is
Xext, 6
there
is
harmony
'
by degrees
their
16
^laafMarcov.
IV.
II-
1448 b 24
1449 ^
SieaTrdcrdr} 8e
Kara ra oiKela
ijOrj
rj
iroliqaL'i- 7
25 ol fiev
\lr6jov<i 7rocovvre<i,
oh
kol
TO dpfxoTTOv
tm
i^erptp
tovtw Idfi^i^ov
koI 9
koL
to,
crTrovSata /xdXcara
35 ^v, fi6vo<;
TiKa<i
yap
ov'^
on ev dW<d>
ovTCt)<;
i'TToirjcyev,
Kal
ra
(X'yfjixaTa
irpwTO'i
irotrjcra'i
1449
vTTeBeL^ev, ov -^oyov
dWd
'IXta9
7rpb<i
Kal
rj
^OBvaaeia
Ta9
KO)ix(phla<i.
'Trapa^aveicrri'i he
/x,(phia<;
ol
i(f>^
eKarepav
fjuev
rrjv
Troirjcriv
Kara
rrjv
OLKelav (f>vcnv ol
5
vovTo,
ol
he
dvrl rwv
TpaywhohthdaKoXoi hid to
elvat
rj
ra a'^^p.ara
el
ravra eKelvwv.
Tpayaihla rot? 11
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.
6 il
17
Poetry
the
now
individual
the writers.
The graver
actions of
spirits
imitated
noble
actions,
trivial
and
the
good men.
of
The more
persons,
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
But
his
own
hence
called
the
iambic or lampooning
in
one
as 9
Homer
is
preeminent among
liis
down
a
the
main
lines
of
Comedy
that the
and
Odyssey do to Tragedy.
came
their
to
light,
followed
natural bent:
Comedy,
and
the
Epic
poets
were
succeeded
by
Tragedians,
since
larger
and higher
form of
art.
as
yet
perfected
its
proper
18
elBecTLv iKava)<;
IV.
II 15-
1449 a
828
i)
?)
ov,
[val]
yevo/jievT}
rj
air
fxev
Kcoixwhta, koX
uTTo
Xlkcl
rj
Se airo
twv ra
(fioX-
ixi^ofjieva,
Kara
/xtKpov
rjv^i'jdrj
Kal to 13
eh Svo
tt/owto?
AtV^u-
X09
Yj'ya'ye
ert
20
^eco<; <ye\oLa<;
arre-
(jeiivvvdrj.
ro
/J,ev
(J)V(tl<;
eariv
ev
rfj
a-tjfjbelov
he
rovrov
rfj
yap
lafi/Beta Xeyofiev
StaXeKro)
7rpo9
t?}? Xe/c-
dpjxovia^.
en
Kal A<=
[yal.'\
:
he eTTeKTohicov rrXtjOrj.
Kal ra
Kpivai
aXV
Forchrj
15
8.
KpLverai.
:
vai.
Kal
elvai
hammer
Kplverai ^
Bursian
fort.
leg.
Kpiverat
Kal.
Habuit S, ut videtur,
goliouth).
oSv Bekker.
9.
(Mard'
-yevofiivr)
odf apogr.
yevo/jihTjs
odv A<=
yevo/ji^vr)
10.
avToa-xeSLaa-riKri apogr.,
:
A.
Siafjihei
(pavWiKo. A'^
19.
apogr.:
:
diafjL^veiv
A.
X^^ews
'orationes' Arabs,
i.e.
\e|ets
<
:
r/
X^^ts iK
>
X^^ews Christ.
Omissum
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.
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
which are
still
in use in
many
;
of
each
new element
found
its
natural
stopped,
Aeschylus
first
was not 14
one of
late
was discarded
form
for the
stately
manner
of Tragedy.
The
trochaic
tetrameter,
in,
of all measures,
fact
we
see
it
in the
that
con-
more frequently
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
aXXa tov
alcT'^pov iarc to
dvev
St'
1449 b
6Svvr)<;.
al
fjuev
ovv
Trj<i
wv iyevovTO ov
XeX-qdaaiv,
Be Kco/xcpSia Bed to
firj
(TirovBdi^eaOai i^
o-x^re
dp'^fj<i
')(ppov KcofjiaiBwv
rjcrav.
7]8r]
dW'
edeXovTol
Be
Ti<;
Be irpocrunra direBwKev
rj
irpoXoyov^ 3
to Be
dp')(fj<;
irXrjdrj
Kal
^6p/jLL<;]
to
fxev
ef
ScKeXla'i rfkOe,
t7]<;
r]
tmv
d<pefjbevo<;
lafiBifC7]<i
KaOokov
tj}
iroielv \6yov<i
/^ep^/Oi fJ^ev
Kal
fiv6ov<;.
fxev
ovv eiroiroua
TpayutBia
tov 4
fiifiTjcrif;
6r]aev
29. irepl
T(f
/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),
fj.6pi,6v
1449 b
3. 4.
ol
Castelvetro
:
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.
m^XP'
P^bi'ov
> /xeydXiji coni. Susemihl /x^x/" < tov Sm Xbyov ep. > p.4Tpov p.eydXov
:
Ueberweg.
p.eTd
Xbyov Aid.
et,
ut videtur, 2.
15 V.
21
to
enter into
them
in 15
Comedy
is,
as
we have
said,
an imitation of characters
of a lower type,
or
It consists in
some defect
To
or ugliness
which
not
painful
destructive.
is
take
an
obvious
The
history, because it
was not
at first
treated seriously.
till
then
voluntary.
Comedy had
when comic
Who
or
increased
the 3
number
As
main unknown.
Sicily
;
came
originally
first
from
who,
abandoning the
his
iambic
'
or
themes and
plots.
far as it is
an 4
They
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
viro fjiiav
TOVTO) hia(f>epef
Kairoi to irpwrov
rol<i
6fMoioo<;
ev
ral^
S'
Tpaya>hiai<;
ecrrl
6crTL<;
enreaLv.
fjiepv
ra
jiev
he
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
ov(Tla<;.
/xifJbrjaL'i
\
,,.
^yxp
')(^a)pl<i
]:.
fiopi,oi<i,
hpoovrcov
Kal ov St!
'Si
eXeov Kal
(po/Sov
irepaivovcra ti]v
twv
to he
'"y
X ^>'{"
"^ocovTcov TraOijfidTcov
KdOapaiv.
'''-
%^
<C
'^^1'
TaL T7]v
trpwTov
fiev
tl fjboptov
\e^i<;,
Tpaywhiaf; 6
35 iv TOVTOt<i
yap TroiovvTat
ttjv
\eya) he Xe^cv
V
-- ">
\^^iw
''"^
^
^\
,
12.
di.a<pepei.
ij
<-^>
20.
fjL^v
coni.
<:^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
cT'^^'v^
,
>
<=^
j4
whereas the
then,
is
y
-^
This,
first
A
^
r*
though at
the
same
*si
j
3
Of
what
poetry
some
are
common
to both, 5
some peculiar
is
:
Tragedy.
Whoever,
therefore,
knows
"^
^^'^
r"
^
'^
^^^
'
'
^
jSs,
,
"5
VI
of
verse,
and
j
*>
^
^
Comedy, we
Let us
now
discuss
Tragedy, resuming
H5
is 2
"Vs^^v
in language
>^^3--
ornament, the
form of
<
By
'language
'
embellished,'
mean language
enter.
into
which
.
By
'
^
<^
some parts
through the
medium
tragic
1
'
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
-
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
e'^eL Trdacv.
eVet Be Trpa^ew?
01)9
e'crTt
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^'
roiv TTpay/jbdroyv,
tcl
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,
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)
Kal
Kal Bidvoiav
a)(ravra><i.
rwv
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.
4.
5??
Eucken
5^ codd.
to Oro
Maggi
:
6.
KaObk'^: Kad' A
ovk 6\iyoL airCiv
:
apogr.
9.
KadoTTola
A^
14.
ws
elireiv
codd.
oKlyov avrOiv
u>s
diretv
By water
ovk oKlyoi
"2,
avrOiv
<d\Xd
sed
Trdi'Tws (?
iravTes)
add.
(vid.
Margoliouth).
<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
49
25
mean
'
as for
stands.
Song/
Again, Tragedy
action implies
is
and an
personal agents,
who
necessarily possess
and thought.
of actions
them-
selves
these
thought
and character
actions
are
:
the
two
these
6
natural
causes
from which
spring
on
Hence, the
I here
Plot
is
for
by plot
mean
By
Character I
qualities
mean
to the agents.
is
Thought
it
proved,
or,
may
be,
general truth
enunciated.
parts,
which
determine
its
quality
namely.
Two
Plot,
Character,
medium
and three
list.
And
we may
say,
by
man
and
Thought.
of
all
is
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]'^-
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'
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
UoXvyvcoTov
6ev
ydp
llo\vyva)TO<i dyado'i
riOoypdc})o<;,
he
e^et
yjOa.
eVt
edv
Tt9
i(f>e^'i]<i
12
prjaei'i
rj6tKd<i
ireTTOLrjfieva'i,
ov
7roi7]at
rj
rjv
Tpaywhla';
epjov,
dWd
ttoXv
fMaWov
e')(ovcra
KaTaheeaTepoif TOVTOif
fivOov
Ke'^prj/JuevT]
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
ol irpwTOi irotrjTav
"v/^vx^
40 a')(ehov diravTe^.
18.
}xvdo<i
codd.,
est in
Trpd^ei,
aWa
;
KaKoSai/movla if
irpd^et.
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.
(rvfiirapaXafi^dvova-L
A<=.
:
Guelf.
(TviJLivapa\afjLdvov(Xi.
Spengel
(ni/j,w{pi\afj.pdvov(Xiv
:
29.
dyadQv A\d.
diavoias codd.
31.
32.
da/xQi Margoliouth.
Vahlen habuit iam S Xefets fort, apogr. oii add. necxuaquam Arabs awlaraadai codd. 39. (rvvLardvai Thurot
:
Kal
ov-
'
'
27
For Tragedy
life,
is
of an action and of
its
and
consists in action,
and
10
end
is
mode
of
action,
not
quality.
it is
Now
by their
Dramatic
happy
or the reverse.
of character
action.
Hence the
;
a tragedy
all.
Again, 11
there
may
be
The
tragedies of
and of poets in
general this
often true.
It is
and here
lies
devoid
of
ethical
quality.
Again,
you
string 12
a plot
and
artistically
constructed
incidents.
Tragedy
Eecognition scenes
proof
is,
further 14
and precision
plot.
It is the
all
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
KaWlaToa
(f)app,dKOt<;
'^vhr^v,
ovk av
eariv re
evcppdvecev
7rpd^eQ)<;
rj
fJLifJbrjaa
rplrov Se
Sidvoia.
TovTO 8e
icTTtv to
7ro\cTiKrj<;
epyov eariv
ol
fiev
yap
dpj(aloL irokc-
TLK(o<;
ecrnv Se 17
^^09
i^ev
ra
roiv
10 {irpo^atpelrat
^evyei,'
SiOTrep
ovk
iv
e')(0V(Tiv
firjS'
ydo<;
Xoywv
iv
oU OVK ecm
rj
SrjXov
rj
oh
ovk
oXco? ecrrcv
Be,
o Tt [7rpo]aipCTac
cfjevyet
6
rj
Xeycov.
01)9
Bcdvoca
ecrrtv
rj
iv
eariv
KadoXov
77
Tt 15
diro^aivovTaL.
Be,
cocrTrep
\e^t9' 18
Xeya
T7]<;
Trjv
Bid
6vo/xaaLa<i
kpjjbrjveLav,
'i'^^ei
koI
ttjv avTrjv
twv
Be Xocttcov 19
rj
rjBvcr/jbdTOJV,
Be
o-v/ri9
ylrv^aycoycKov
dre'^vorarov
Be
koI rjKtcrTa
olKelov
20
T^
41.
iroLriTLKr)<;-
<tcr>a)<;
Bvva/j,i<;
koi
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
^v
rj
(pevyei et iv
:
oh
fi-qd'
6'\ws ^ariv
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.
:
29
similar fact
is
seen in painting.
colours, laid
the
view to the
action.
is
Third in order
saying what
stances.
is
Thought,
that
is,
the faculty of 16
possible
the function of
:
and
so indeed
make
Character
is
that
which
reveals
moral 17
purpose, showing
avoids.
what kind
of things a
man
chooses or
do not
make
this
manifest,
is
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
and
its
essence
chief place 19
among
the embellishments.
its
parts, it
is
the least
artistic,
and
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
VII
BicopLCTfiivcov
Se
ravra
ttoluv
25 TLva
Set
rrjv
crvaraaLV
Trpayfj.drcov,
eVetS^
Trj<;
rpay(phia<i
icmv.
rrjv
elvai fiifX7]cnv
fxrjhev
i'^ovar]';
<ydp
okov Kai
dp'^rjv koX 3
[juev
/xr]
eyov fieyeOof.
Se icrriv o
S'
avro
i^
dWo
elvai
erepov
o
'7re(}>VKev
elvai
rj
yiveaOaL,
reXevrr]
?)
Be
rovvavrlov
rj
avTO
rrb
fier
dXXo
/lerd
7re(f)VKev
e| dvdjKTj'i
ovBev,
fo)9
eVt
ttoXv,
Be
rovro
[ler
dWo
35
dXKo Kal
ev
eKeivo erepov.
oiroQev
dpa
tov<;
avve(n5)Ta<i
/Ji7]6'
fxv6ov<;
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
Trpdy/jia
o 4
avveaT7]Kev
'^X^iv
ov
TavTa
jxr]
TeTayyukva
Bel
dWd
to
tv^ov
yap
to yap
KaXov ev
av
Ti
fieyeOei
TrdjijJiiKpov
rj
yevoiTO
KaXov
Oeoopia
ov yap
afjia
17
OecopCa ylverai
aW'
eirl
TO ev Kal TO okov eK
e'irj
^<pov'
ware
')(eiv
Bel KaOdrrep
fxev ixeyedo<i,
Tcbv ^(f>wv
27.
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.
Bonitz, Spengel
:
tutatur
Trdv
/^^yeOos
A^
ira/j./j.iyedes
trdpv jxiya
Laurentianus
Ix. 16.
1451 a
3.
awiidroiv
avffTTjiJLdTuv
Bywater.
VII.
31
more on the
VII
let
us
now
is
discuss
first
the
Now, according
to
our
definition,
is
Tragedy
is
an
for there
may
is
be a whole that
that which has 3
is
wanting in magnitude.
whole
A
is
beginning
that
itself
follow anything
by causal
or
necessity,
to be.
comes
An
is
follows
middle
thing
something
as
some
other
follows
well
it
be a picture of 4
magnitude
for
beauty depends on
magnitude
and
order.
for the
view of
it
is
con-
moment
1451 a
of time.
;
beautiful
for as the
it
all
in at once,
is lost for
the spectator
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
icnlv
el
av
10 /car
aWore
elcodacriv.
opo<;,
Se 7
fiev
del
fiei^oiv
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
BvaTv^lai;
?)
i^ evTv^ia';
eh
BvaTV^cav fieTa^dWeuv,
f^vdo<;
S'
tov fieyedov?.
eav TrepX
VIII
ecTTlv
et?
ov-^
axTTrep
Tive<i
olovTai
va
57"
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-
ToiavTa
'TTOiij/JiaTa
ire'iroi'qKacnv'
eU
6
wcnrep
Kal
to,
aXka
Te'^vrjv
Bia(f>epei
Kal tovt
tjtoi,
Bid
25
Bed
^vcnv
^OBvaaeiav
crvve^r],
yap
olov
ttolmv
ovk
iTrolrjaev
'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
certain
necessary,
and a length
which can be
easily
The
and
For
sensuous presentment,
is
no part of
artistic theory.
had
it
for a
hundred tragedies
to
compete
the water-clock,
other contests.
of the
as indeed
But the
limit as
:
by the nature
drama
itself is this
more beautiful
on
to
size,
depends
And
the
define
matter
is
roughly,
we may
say
that
proper magnitude
limits, that
to
VIII
not, as
consist
For
life,
to
unity; and
so, too,
there are
many
actions of one
action.
man
2
out of which
error, as
it
Hence the
a
kind.
poems of the
They
But Homer,
as in all 3
he
is
seems
D
whether
from
to
the truth.
all
'
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<;
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]
o\r]<;
kol
o-vveaTCbvai,
irpay/jidTcov
35 rivb^
fj,epov<i
TO
oXov
yap irpoaov
fxr)
irpoaov
fXTjSev
irotel eVt-
IX
ipavepov
Be
etc
Kal
ore
ov
to
to,
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?
laTopia
Bia<f)epi,
fXCTa
/xeTpov
5 fiev TO,
7]
tc3
tov
Bib kol 3
iroirjcn'i l(TTopia<i
/;
B""
eaTLV
to,
fxev
yap
'7roL7)cn<i
fjbdWov
tcl
KaOoXov,
laTopia
eaTiv Be KadoXov
rj
fxev,
tS
iroiw tcl 4
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<=.
^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.
. . .
TO,
Suvard] Maggi.
.
.
1451 b
4.
TOVTCfi
tcJj
:
apogr.
A<=.
tovto
TwA'=: TOVTO
rd Spengel.
10.
to apogr.
t6v
IX.
35
incidents between
:
or probable connexion
is
one.
is
As
one,
therefore, in the
other 4
when the
object imitated
action,
an imitation of an
must
if
is
no
visible
not
whole.
IX
It
is,
s
yj
;
that
it
is
may
happen,
what
is
possible
^
i
The
/^
The work
it
of Herodotus
still
and
would
metre no
less
than without
The true
difference
is
happen.
Poetry, therefore,
By
the universal 4
mean how
speak or
necessity
;
act,
according to
it
the
law of probability or
and
is
this
The
or
for
example
what
Alcibiades
:
did
In Comedy
first
for here 5
the poet
36
s
IX. 5
lo-
1451 b 14
36
oy^
ttoloxxtlv.
01
lafx/3o7roLol
Trepl
8e
Tr]<;
Tpay(pSia<;
rwv
ovo/xdrcov
dvr- 6
^^(ovTai,.
aXnov h
fir)
otl
iriOavov
iart
to Svvarov.
rd
fiev
ovv
Sward, rd
ijevero, el
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,
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
eixppaivec 'jrdvra<i.
BrjKov ovv 9
eK rovrojv
on
rov
Troirjrrjv
/xdWov
30
TTOLTjrrjv
rj
7roirjrr)<i
Kard
rrjv fiifirjalv
eariv,
fiifiecrat
Be rd'i 7rpd^et<i.
7roti]r^<;
kolv
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
14.
oi5
'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
'
Parthenius
Ka.1
irepl
elmt
seclua.
Spengel.
34.
26.
<evSoKt/j.ovcrai>
rpayuiSiai
/cai
coni.
Vahlen.
8^ d-n-Xwp codd.
dward
yev^:
U dWuu Tyrwbitt
tQv
37
and then
inserts
characteristic
names;
unlike
the lampooners
who
still
But tragedians
that
keep
is
what
is
possible
credible
we do not
happened
be possible
would not
have happened.
known names,
the rest
being
fictitious.
as
in Agathon's Flower,
are fictitious,
We
it
must
legends,
would be absurd
attempt
it
for
to
all.
It
clearly
follows
the poet or
'
maker
'
he
is
a poet
X
"^
And
he
is
even
if
he chances to take
less
an
historical
is
subject,
none the
a poet; for
there
no reason
why some
and in virtue
of
that quality in
them he
is
Of
all
plots
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
twv
(paiiXoyv
ttoctjtcov
Sl
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
/^tytiT/crt?
dWd
5
Kol
\^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
T7]<i tv'^7]<;,
koX
TV'^7]<i
eVtTT^Se?
(palveTat
dvSpcd<;
tov
tm
OecopovvTi
efM7r(T(i>v'
eoLKe
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
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
Kpiras apogr.
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.
^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.
lo X.
39
acts suc-
epeisodic
'
in
Bad
by
for,
their
as
own
fault,
good
poets, to
the
players
beyond
its
capacity,
tinuity.
But
an
again,
Tragedy
is
of
all
Such
best produced
when
is
by
surprise
and the
effect
same
one another.
if
The
tragic 12
wonder
be greater than
;
they happened of
themselves or by accident
striking
for
of design.
fell
We may
upon
his
festival,
and
killed
to be
due
to
mere chance.
are
constructed
on
these
principles
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
when
A
by
Complex
action
is
accompanied
both.
by such Eeversal,
last
by Eecognition,
from the
or
These
should
arise
internal 3
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
trdai,
fierd rdSe.
rj
XI
et9
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,
puev
dyo&)?
30
P'^vo'i
6i<i
dTrodavovjjbevo'i,
he
e/c
Aavao'i
uKoXovdcov
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
Treirpaye Tt9
firj
dXX'
7)
40
Kal
rj
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
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.
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.
Susemihl.
/cat
</j.d\LaT' eav
:
Kal>
fKeov coni.
:
Vahlen.
1452 b
1.
oioji'
olop A^.
Iri
5^
(ireidr]
v-n-bKeirai.
ARISTOTLE'S POETICS X.
3 XL
41
It
is
makes
all
XI
is
Thus
in
him from
by
reveal-
ing
who he
is,
effect.
Again in
slay
him
is
but the
that
Danaus
killed
and
Lynceus saved.
Recognition, as the
name
indicates, is a
change from 2
of recognition
is
of the
most
trivial
kind
may
some-
Again,
we may
recognise
But
is
as
we have
sents.
Moreover,
upon such
42
eVfc
XL 5-XII.
3.
1452 b
3-27
hrj
r)
iirel
avayvdopiai^i 5
Oarepov
7rp6<;
tov erepov
afji<j)OTepov^
fiovov,
orav y
Srj\o<i
Set
avayvcoplaai,
olov
fxev
'l(f)Lyev6La
t?}?
to5
^Opecnrj
dveyvcopLcrdr] eK
Trj<^
7rp,-\frea)<i
i7riaro\r]<;, eKeivov he
fMepi]
jrepl
ravr
iart,,
irepi- 6
rpirov he
irdOot;.
[jovtwv he
he
ecrrt
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
crKrjvrj^
Ko/xfjioi.
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.
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
re apogr.
dire
A<=.
15.
Totum hoc
K6/J,fjLoi
19.
A<=.
kolvo,
fih
Susemihl.
24.
oXrj
AVestphal
6\ov
26.
:
tQv add.
8ei
27.
oh
fj.h
wj
e'ideai dei
apogr.
oh fih
A".
ARISTOTLE'S POETICS
misfortune will turn.
persons,
it
XL 5 XII.
43
may happen
recognised
by the other
when
the latter
already
known
or
it
may
sides.
Thus Iphigenia
;
is
revealed
to
Orestes
by the
is
make
Orestes
known
to Iphigenia.
Two
tion
A
is
third part
the Tragic
Incident.
a destructive or painful
wounds
and the
like.
XII
We
now come
to
parts into
which Tragedy
divided
;
the separate
namely, Prologue,
being divided
this
last
and Stasimon.
These are
common
to all
plays
peculiar to
Commoi.
is
The Prologos
precedes
the
The Episode
is
is
between complete
The Exodos
is
after
Of the Choric
utterance
of
part
Parodos
:
is
the
first
is
undivided
the
Chorus
the Stasimon
:
or trochees
the
Commos
and
actors.
The
parts of Tragedy
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
epyov,
icjie^rj'i
av
eir]
\eKTeov
vvv
elpTj/jbivoi'i.^
ovv Bel
dirXijv
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
ToiavTT)<i
fxifiriaeoi^ ecTTiv,
irpwTov
avBpa<i
Bei
BvcTTV^^iav,
fiiapov
ea-TiV
e^
aTV^ia'i
eU
ovBev
7a/3
e;^ei
wv
Bel,
ovTe
ekeeivov
e|
ovT
<f)o/3ep6v
ecTTiV
av tov
crcfjoBpa
Trovrjpov
evTv^ia<;
eh BvaTv^iav
rj
fieTaTTLTTTecv'
to
fiev
dvOptoTTov e^OL dv
5
ToiavTrj crvcrTa(TL<i
dW
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
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<=,
:
1463 a
a5 rbv apogr.
a5 t6 A^.
?Xeos ij^v
Ritter,
12.
Slwovs A,
3 XIII.
45
The
is
quantitative parts
divided
it
XIII
As
the sequel to
said,
we must
at,
and
what he should
and by
A perfect
tragedy should, as
we have
seen, be arranged 2
It should,
fear, this
^^
'
It follows
^
.3.
the
first
place,
that the
man\>
^^
^
'
^
3,
'''./
for
us.
this
moves ^^
v'
.
it
merely shocks
to
''-i^-for
Nor, again,
'
1453
a possesses
it
neither
or
fear.
satisfies
the
forth
pity
Nor,<<'"^''6^'^N
hibited.
plot of this
it
^^^\^'e~^
>*
would
nor^ \ ^
^l\ ^
by the misfortune
event,
therefore,
of a
man
like
ourselves.
pitiful
Such an
terrible.
will
be
neither
nor
that of a
man who
is
is
or depravity, but
by some
highly
He must
be
one who
is
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
20
7<x/3
ot
Troirjral
tou9
TV')(ovTa<i
vvv
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<;
rpaycp-
Kol
-TToWal
avrov
Mcnrep
et?
Bvcrrv^lav
opOov.
rekevrwcnv.
arifxelov
TOVTO
yap
iaTLV
e'cprjTat
Be
30 /jueyiCTTov
crKrjvcov
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
ev')(rjv
to?9
rjBovrj 8
:
iatn S.
Thurot
34.
(cf.
avrol
Reiz
28.
<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
47
illustrious
Oedipus,
Thyestes,
or
other
men
in
of such families.
A
its
The
from good
to bad.
It
we have
described, or better
The
our view.
At
first
came
in their way.
Now,
on
Hence they
because
of
are in error 6
who
It
is
is,
censure
Euripides
plays,
just
he
follows
this
principle in his
as
many
we have
plays,
in effect
as
is
he
is
in the general
management
felt to
be the most
some place
good and
first.
Like the
Odyssey,
it
has a double
what he
writes
by the wishes
audience.
The
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>
ovSeU
VTT
ovhev6<;.
/xev
XIV
1453b
eaTiv
Trj<i 6'\jrco<i
/cat
e^ avTrj^
,j-
rr)^
avcna(Te(o<i
rcov
Trpajfjudrcov, oirep
hel
5
Kol iXeelv
eK
rtov
dv irdOoc
to Se Sid
t%
oyjrea)';
Be
firj
to ^o^epov Bid
t?}?
o-v/re&)9
dWd
to
TpaywBia
kolvoj-
dXkd
Bid
Trjv
oiKelav.
eirel
Be ttjv utto
ytit/iT^creo)?
Bel
r)Bovr]V
irapaaKevd^eiv
rov
ttoitjt^v,
(bavepov
15
ft)9
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
4\eeu>bv
< (po^epbv
oiid'> iXeeLvop
Ueberweg.
8 XIV.
49
who, in the
enemies
like Orestes
and Aegisthus
Xiy
1453 b
may
may
also result
which
is
poet.
who
to
and melt
what takes
This
is
the impression
we should
But
to
receive from
produce this
is
aids.
Tragedy
for
of
proper
3
And
is it is
afford
imitation,
upon the
which
incidents.
who
to one another.
enemy
kills
an enemy, there
is
is
pitiful.
So
again with
persons.
tragic
who
50
olap el
-q
XIV.
4 S
1-5
;:
:-54
a 3
o&X^o?
eSieK/^iiov
17
vro?
vws
fjofrepa avoKrei^ei
fieXXei
^^
5
Spa, Tovra
^ifnfTeop.
Tovq ftep
\eya
Se otop
t^
^^ktrraifivrjc-rpav
Set
^va/tep
vpa^cp,
o-a^tetrrepop.
etrri iiep
yap
wnrep
01
^vyvda-
Mj^Seidv.
eartp
Be
irpa^qd,
fjuev,
atrwep 6
/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
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.
Kpeopra 6 MpMBP.
to C irpa^ai 8
vpa^u, Trpd^avra
2& elntfta' apogc. : dkwftBf A*. Si. i 'Aki^MiMW i Gsryj^ : o "AXu3& Poet vmfk -Tmhrm, <:Td /fidXSdggm yim&ffmirnL tsml p-i) arv^gm, mi. tvm{pra- eooL TaMtau: vn^ -rs&m, sedas. M. Jy^^iwit ri Bmite : -vdv AF. 1V% a, S-7. Hmms ocduaem Urn, T^&aem&am CoaaeJt Sosamdlhl: ^Sknw Si vA T^tevrmm, l^iyu Sk &a> . . . aptrypaiurm eodd.
,
l^
IW
vScfisai-
Kfihne^v Si
-ri
AffmSvTU )ih>
iamrp>i^iema.- -rk
-re
ykp
iu.a.pat'
51
if,
for
example, a brother
kills,
or intends to
his mother, or
of the kind
is
done
these
by the
poet.
He may not
the 5
that Clytemnestra
was
slain
by Orestes
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
Medea
slay her
children.
may
be done,
The Oedipus
an example.
outside
the
drama proper
it
falls
within
of
one
in
may
the
cite the
Alcmaeon
Astydamas, or Telegonus
Again, there
is
Wounded
Odysseus.
is
third
case,
just 7
it
is
done.
These are
and
for
But of
persons,
all
knowing the
It is
the worst.
shocking
It
is,
without
1454
tragic,
no disaster follows.
a therefore,
One
instance,
however,
is
in
Haemon
way
is
better
Still
better, that
52
XIV.
8 XV.
3-
1454 a
425
7]
Be dvajvoopiaai'
5
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
'EW77
10 Bid
yap
at
TOVTO,
oirep
iraXai
ov
Trepl
TroWd
drro
yevq
TpayipBlaL
elcrlv.
^7]TovvTe<;
ydp
ovk
Te^i/779
dX)C diro
rv')(7}<;
iv Tol<i iiv9oi<i.
dvayKa^ovrai ovv
ravra^
irdOrj.
rd<i
olKLWi
'TTepl
jiev
ovv
elvat
rrj'i
roiv
TrpayfiuTcov
av(TTdaea><;
iKavci)<;.
Kal
TTOtoy?
Tivd<i
eiprjTaL
a>v
XV
Tvepl Be
rd
tjOtj
rerrapd
oirco'^
icrrcv
Bel aro^d^ecrdai,
e^ei
'^prjo-rd
y.
Be ^do<; p,ev
rj
iroifj
(jiavepbv
\0709
tj
Trpd^a
riva
[77],
^priarbv Be idv
^prjcrrijv.
ecmv
Kal
eKoxTTW yevei'
Kal
'^pTjarr}
Bov\o<i, Ka'iTOL
ye
tcroi<i
(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^
9.
"EWt;
'AvtiStttj
Valckenaer.
19.
vel
t)
&v>
5 coni.
:
Vahlen
Arab.)
(pvyrjv
Diintzer
irpoaipefflv Tiva
< ^xoira,
biroia.
Siv> y
Gomperz
23. to
apfj.6TTovTa coni.
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,
veram lectionem
scribendum
coni.
ware
fi-qd^
<palve<76ai
8 XV.
53
made
There
is
us,
produces a startling
The
last 9
is
case
is
the best, as
when
in the Cresphontes
Merope
is,
who he
spares
life.
sister recognises
the
brother just
time.
when on
why
was not
art,
They
course
to
history contains
moving
XV
aimed
at.
First,
it
must be good.
Now
of
the character
is
will be
the purpose
is
good.
This rule
relative
to each class.
slave
though the
woman may
There
be said to be an inferior
being,
to
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
wcTTrep
eiprjrac.
reraprov
ttjv
8e
Kav
<yap 4
ava)fia\o<i
Ti?
/Jbifjirjcrcv
irape^cov
Kat
tolovtov
ecTTiv 5
dvayKaia^ olov
Kai
fMij
iv
tw
'OpeaTrj,
rov Be
aTTpeTTOv'i
Trj
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
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
cocnrep
rrepi,
iv rfj
M?;8e/a drrb
fir]Yavrj<i
fXTj-yavfj
Kal iv
rfj
'IXtaoi
ra
e^(o
'^prjareov iirl
ra
rov
rov
fye<yovev
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,
rule
:
is
all.'
27.
Cbawep
e'iprjTai
iiTrep
Hermann
30.
lacunam ante
uxrirep statuit
Spengel,
quem
:
seq.
Susemihl.
:
Bywater
E.
33.
dvayKaias Thurot
Sus.
ed.
1,
[/xrj
dvayKa^of] Gomperz.
32.
pTJffis
seclus.
Miiller,
Christ.
<tov>
'Odvaa^ws
coni.
Bywater.
;
Exemplum
intercidisse
Vettori
38.
cf.
Susemihl, Christ.
Kal TovTo
37 et 38.
fort, recte.
rj
dvayKoiov
39.
Hermann.
:
<ws>
5. Trph
Bywater,
tQv /jlvBuv
(Margoliouth).
1454 b
3.
dTrovXovv apogr., S:
Commate
refert,
W.
rod
ARISTOTLE'S POETICS XV. 37
this is a distinct thing
55
described.
consistency
for
though 4
the
subject
imitation,
who
be inconsistent,
As an example
Menelaus
in the
we have
Orestes:
of
no way resembles
her later
self.
As
aim
either
of a
Thus a person
just as
sequence.
of the plot,
1454 b
no
less
Deus
ex Machina,
as
of
The Deus
Machina should
lie
beyond
the range of
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
KaWLOV<i
'Ypd(f>ovcnv'
Troirjrrjv
tcl
/juLfiov-
fjievov
raXka
rotavra
ej(pvra<i
1
{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,
e'iprjTai,
avTOiV iv
toI<;
iKBeSofievoi,<i
X07019
20
licav(xi<;.
XVI
dvayvcapiaa Be
tl /xev
ecTTLV, e'iprjTai
rj
irpoTepov
fj
elBrj
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
Ta Be
r?/?
eKTO'^,
Tvpoi Btd
cr/ca^?;?.
^ekTtov
7)
'^elpov, olov 3
^OBvaaev<i Bid
8.
ov\rj<;
dX\,a)<i
t6 vel
tQ apogr.
A"
ra Aid.
St]
^ Kad'
iificis
Stahr, Mar-
^^Ss codd.
:
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.
irepidippea
'
A=
vepl
dipaia Aid.
ol
A".
29.
(tk6l4>7)s
'
ensis
Arabs,
a-ird6r]s
2, ut videtur
(R. Ellis).
<6>
'Odvffcrevs
Bywater.
7 XVI.
57
for to the
gods
we
ascribe the
power
nothing irrational.
it
Such
is
is
an imitation
of persons
who
common
form
life
level, the
example of good
portrait-
the
distinctive
is
of
the
make
are
likeness
which
the
true to
in
or
beautiful.
So too
or
poet,
representing
men who
defects
irascible
indolent,
have
type
other
of
character,
it.
should
preserve
Achilles
the
is
In this way
Nor should
for
among the
concomitants of poetry
much room
is
for error.
But
of this
enough
XVI
What
Eecognition
has
been
already
explained.
We
will
now enumerate
its
kinds.
First, the
wit, is
least artistic
his
recognition
'
by
signs.
such as
their bodies,'
introduced
by Carcinus
;
in
Thyestes.
Others are
Even
in
Thus
by
58 30 Tpocf)ov KoX
iricTTew'i
etc
XVI.
6.
1454 b 30
tcov
1455
^ ^^
elal
aX\ci)<;
vtto
crv^oroiv'
yap
at /xev
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,
a ^oiiXerao
Tr]<;
7roir]Tr]<;
aX\' ou^
earlv,
Bcb
iyyvf rt
elpijfievrj'i
dfjiaprla'?
e^rjv
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
iv
/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?
yap rov
Kal
avWoyiaacrdai,
on
d8e\(pr)
irvOr)
Kal iv to3
eoBcKTOV TvBel,
Kal
rj
iv
rrjv
<6>
'OpeVrT^s
Bywater
'Opea-r-qs seclus.
dveyvu-
plcrd-q
fit
Spengel.
'
:
Vahlen,
vicinum
dioTi tyyii^
38. Alia
sunt in
;
eo
quod
vocem
7)
radii
contempti
cpuivrj
?]
'
(Arabs)
Ati/ulos"
:
fort-
Toia{iTr]
ev
t(J5
'^ocpoKXeovs Trjpel
5'
r;
ttjs
KepKidos
"
unde
:
W.
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.
:
Ac.
d.Tro\6y(p apogr.
7.
A<^.
6.
Xo7}(p6poLs
Vettori
^iveldaL^
xXo^^6pots
A<=.
IToXueiSou apogr.
UoXveldovs A.
12.
Reiz
(pLvidan
36
59
made
men.
in one
way by
The use
is
a less artistic
mode
of recognition.
better kind
For example,
that
Orestes
Orestes.
the
Iphigenia
reveals
herself
the
fact
he
is
She, indeed,
makes
known by
the letter
above mentioned
'
for Orestes
might
Another similar
in the Tereus of
instance
is
the
'
Sophocles.
1455 a
The
memory when
:
the sight of 5
feeling
as
in
the Cyprians of
or again in the
'
Lay
of Alcinous,'
where
Some
'
is
by process of reasoning.
one resembling
:
Thus
in 6
:
me
has
come
no one resembles
come.'
me
is
but Orestes
Such too
the discovery
made by Iphigenia
It
was a natural
make,
So,
'
'
altar
like
my
sister.'
again,
I
the
Tydeus
of
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
koX
yap
i^ereOrjcrav
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?)
irapaXoyia/jbov.
iraadv he
^eXTiaTrj
avayvwycyvo-
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
Xe^ec avvairovtco
irpo
o/xf^aToov TiOe/xevov
yap av ivapyeaTaTa
[0]
avTol<; yiyvd-
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]
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.
Hermann:
uis 5tj
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
ivepyidTara A.
^apogr.
:
om. Aid.
30.
28.
:
rb om. apogr.
bpGivr
29.
dvrjei.
hv
elrj
A''.
opGivra codd.
i.
hv Vahlen.
rbv
Rhet.
fir]
bpCovr
:
a<v>Tbv
ttoltjttiu
credo,
inscius
:
rbv
Dacier,
Suseniihl.
33.
dw'
avTrjs
rrjs
Tyrwhitt
6 XVII.
61
Here
'
we
are
doomed
is
to
die,
here
we were
cast
forth.'
Again, there
man
said he
But, of
all
which
arises 8
dis-
made by
natural means.
Such
is
that in the
for it
was
letter.
artificial aid
recognitions
by
process of reasoning.
XVII
the
it
out with
the
scene,
the
poet
should
place
In
this
if
what
is
with
it,
to overlook inconsistencies.
The need
Carcinus.
shown by
his
Amphiaraus was on
On
power,
with
appropriate
gestures
for 2
those
who
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
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
Tr)v
lepw-
<Tvv'}]V
Tr]<;
'^pov<p
vcrrepov
aSeXcfxM
6
avve^rj
iXdecv
iepeia<;
(rb Se otl
civeTXev
eKei],
^(o
koX
6 re Si,
e^w rod
eW
w?
^vpiirLhrj^
eirroiv
eW^
IIoA-iJetSo? rrjv
7)
eiroirjaev,
dSe\(f)7]v
Kara ro
eiK0<i
ore
dWa
/xera
J
awrTjpia.
ravra Se
77877
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;.
rd erreLaoSca
crvvrofjua, 5
(Diels).
roiis
37.
i^eraffTiKoi
codd.
to^tovs re
vel roijs
TrapeiXTj/x/jLivovs
reiueiv A<^.
9.
KadSXov:
fort.
/jlv6ov
irepi-
fort.
Ka66\ov Vahlen.
e'^oj
(Bekker
ed. 3) aut
TOV
dveyvuplaOr]
:
M. Schmidt,
et
olim Vahlen.
apfiaatv A'^.
63
is
One who
the
is
agitated
storms,
one who
most
life-like
reality.
Hence
man
of
any character
self.
in the other, he
lifted
out of his
proper
As
1455 b
for the
story,
it
it
ready 3
sketch
made
its
or constructs
outline,
he should
in
first
general
and then
amplify in
detail.
by
the Iphigenia.
young
girl is sacrificed
she disappears
sacrificed
who
her
to
up
is
all
strangers to the
goddess.
To
this
ministry she
appointed.
Some time
chances to arrive.
ordered
The
some reason
him
to go there, is outside
the play.
The purpose,
again, of his
coming
is
outside
However, he comes, he
is seized,
and,
is.
who he
may
of
Polyeidus,
:
naturally
So
'
whose
he
exclaims
very
it
was not
my
sister
'
to
be sacrificed
saved.
this,
After
to
fill
it
remains 4
are
for
in
the
to
We
In
relevant
the
is
example, there
and
his
deliverance
by means
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
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
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)
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>
fjberal3daea)<i
reXovi'
@eoBeKrov
Becn<;
X?}-v|rt9
p,ev
rd re TrpoTreirpaypeva Kal
"f* r)
rov TraiBtov
35 Kal TTaXiV
alridcreo)';
eXBr)
7]
avrojv S^ *
"f*
Tf;9
rov davdrov
recrcrapa,
rj
p-ey^pi' "tov
rpaycpBla'? Be 2
p^eprj
elal
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
ort avrbs
Bywater
seclusi
28.
iroXXd/cis
Ueberweg: codd.
dvcrrvx'-o-'^ av/jL^aivei.
els Si'crri'Xtaj'
<eis
^>
Gomperz,
i]
alios secutus
<(Tv/j.^aivei
^ i^ eiirvxias
>
addenda
35.
17
avrQv
d'
Brj
< dTrayujyri,
Xvffis
d'
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
5 XVIII.
65
of the
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
and
he
plotting
arrives
against
his
At
length,
tempest-tost,
and reveals
destroys
them and
;
himself preserved.
is
the
the rest
episode.
XVIII
into
two
parts,
Complication
;
and Unravelling
(or Ddnou&tnent).
Incidents extraneous
By
the Complication I
mean
that
to
The
Unravelling
the
is
that
which
comes
between
the
beginning of
Thus, in the
of the
murder
first,
66
TreptTrereia
1456 a
XVIII.
5-
1455 ^ 39
1)
1456
a 20
koI dvayvMpiaL'i,
rj
Se
iraOrjTLKri,
olov
o'i
re
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'^'
d<yad(av ttoctjtcov,
eKaarov rov
djadov
d^covcrc
rov
eva v7rep/3dWeLV.
TT)V avTTjv
Xeyecv ov8ev<l>
<&)9>
rco fjLvdq)'
rovro
10 Se,
ev
Be
&v
7]
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
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,,
:
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.
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.
;;
67
next, the
as
motive
is
such
the
on Ajax and
Ixion
such
the
supernatural
the
in the lower
possible,
if
to 3
combine
poetic merits
the more
so,
in
For whereas
now
expect one
man
to
surpass all
different, the
the plot.
Many poets
arts,
it
ill.
Both
how-
structure.
By an Epic
plots
:
a multiplicity of
as
if,
for instance,
to
make a tragedy
its
is
owing
to
its
length,
each
part
assumes
result
proper
magnitude.
In
the
drama
the
far
is
from
that 5
The proof
utterly or
stage.
Even Agathon
: '
68
iirecrev
XVIII.
iv
5 XIX.
2.
1456 a 211456 b
tovtw fiovw'
crro'^d^eTac
wv ^ovKovrai dav-
ecmv
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>
jdp
ryivecrdac
firj
cocrTrep
dXV
e/x-
<ovBev>
Bio
fxdWov TOV
Tov.
/LLvdov
dWrj<i Tpaya)B[a<;
ecrTLV
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
1456 b 'jrdOrj
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,
32.
tolovtov
rjd'
'
poeta
Trddrj
Arabs,
videtur
ut videtur.
ijdr]
apogr.
:
elSeQv ut
41.
(Margoliouth).
Hermann
i)
codd.
5 XIX.
defect.
69
known
to
fail
In his
to produce a
is 6
moral sense.
This effect
is
outis,
'
:
Such an event
it
probable,' he says,
'
that
many
contrary to probability.'
as
one of the 7
it
manner not
of Euripides but
As
pertain as
little
They
are,
therefore,
sung as mere
a practice
is
first
begun by Agathon,
Yet
what
difference
interludes,
XIX
It
other
Concerning Thought, we
the
Ehetoric,
to
is
said
in
which
the
subject
more
strictly belongs.
Under Thought
which has
to
be produced by speech
;
in particular,
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.
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
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
TTOcelv
tl
firj
eTTLTa^h
7roL7}TLKrj<i
TrapeLcrOw
dW7]<; kol ov
Tfj<;
6ed)p7]fjba,
XX
[t>}9 Be
Ta
^leprj,
a-TOt^eiov
Xoyo^;.
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.
XX.
is
71
opposite.
Further,
it
evident that 3
when
the
the object
to
fear,
is,
importance, or probthat
incidents
ability.
The only
difference
as
a result of the
if
speech.
the
proper
he says
One branch
But
of the inquiry i
this
of the
Modes
of Expression.
province
and
to
It
what
to
is
command, a
To know
or
not 5
know
the poet's
to
fault
imputed
'
Homer by
that
in
the
words,
Sing,
command under
the
do a thing or not to do
it
is,
We
may,
XX
the
Noun,
or
Verb,
the
Inflexion
or
Case,
the
Proposition
Phrase.
Letter
is
>
72
XX.
6.
1456 b 25
1457
a 2
(fxov)]'
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
e')(pv
^wvrjv,
fxeTo,
jLvofievov
uKovaTov,
olov TO
Kal TO A.
TavTa Be
KOL
Biacpepei
a^'^/xacylv re 4
TOTTOL'i
Ba(TVTr]Tl
KOl
^^tCKoTT^TI,
/3pa')(yT7]Ti,, eVt
Be
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.
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
Arabs
'
compositae voci
'
aw err]
A''.
.
38.
Post
<puvT]v
intercidisse videtur
<^
Post
'
Kal
'
yap
t6
rP
dvev
toO
avWa^rj
Kal
fieTO.
toD A,
sine
A non
faciunt syllabam,
quoniam tantum
fiunt
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,
(avTrjv
Tyi'whitt),
/xev
ohv
fxev,
34
(vel
5^).
(pujvr]
dcrrj/jLOS
fj
(k
TrXeidviov
(puvQu
A) Se
fj
Troielv
dpdpov
olov Tb
iffTl
0wj'7j
p,.
I.
daij/xos,
diJ,<pi
(^.
A<=
<p7]iJ.L
diopLfffibv
StjXo?,
irepl
Kal
to.
dXXa.
26
73
The sound
mean may be
A
lip
vowel
has
is
that
an
audible sound.
semi-vowel,
mute,
by
itself
no sound,
and
form 4
These
are
distinguished
according
to
the
according as
;
long or short
an
inter-
mediate
treatise
tone
which
inquiry belongs
in
detail
to
on metre.
is
A
vowel
Syllable
and a
for
A it
is,
GEA.
GE
without
is
A
1457 a
Connecting word
is
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
S^ TTOieTv 'wi<j>VKev
crriiJLavTiKTjv
^ iK ir\u6v(>iv (fxjov-qv, ^v
fi^v
fxr]
apxv \6yov
5'
to.
&\\a.
&f)dpoi>
iarl
&(T7]p,os,
t)
oCre
KwXijet.
oiire
(piiivQv {m(pvKv'ia.v'\
(xwrldeaOaL,
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,
fateor.
2.
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
KaO^
OVTe
avTijv,
olov
fiev,
Se.
[17
(pcovrj
darjfjio<i
r)
K(o\vL
OVT
'TTOtel
(pCOVrjV
fMLUV
arjfXaVTlKTjV
Kol
eirl
Tov
fxecTov.^
ovofia
rj';
Se
iaTC
(fxovr)
avvOeTrj 8
<n]fiavTLKr)
dvev y^povov
iv <ydp
/xepof;
arj/jLavTiKov'
toU
StTrXot?
ou '^pcofie$a
a)<?
koI
crrjfiatvov,
pf]fj,a
olov iv
tm
eoScopcp to Scopov
crTjfiavTCicrj
ov aripbaivei.
-^povov
iirt,
Be
(fxovrf
crvvdeTTf
fieTa 9
rj^
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
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
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
olov
"6 tov
dvdpcoTTOv
6picrpL6<i"'
fiepo<i
aW'
ivBe-^eTai
<Ka\> dvev
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.
loci interpunctione.
75
Or, a non-significant
as
irepi,
and the
like.
Or, a non-significant
sound, 7
of a sentence
itself at
A
time,
Noun
of
or
is
which no part
in
itself
significant; for in
double
compound
words
we do not
hwpov or
employ the
Thus
not in
god-given,' the
'
gift
'
is
itself significant.
A
ficant.
Verb
For
'
is
a composite significant
sound,
is
marking
in itself signi-
man,' or
'
'
white
'
of
'
when
but
he walks,' or
he has walked
'
does
belongs
both to
'
the
of,'
'
noun and
to,'
verb,
like
' ;
and 10
or
or
or
the
as
of
'
or
many,
man
*
'
men
modes
e.g.
'
question or a
command.
Did he go
'
and
go
are
Proposition
or
Phrase
is
a composite significant
for not
of verbs and.
nouns
but
it
may
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
XXI
36
yLtr/
6v6fj.aro<;
e'/c
Se
087]
to
/J,ev
(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.
40 TeTpaTrXovv
ovofia
'
koL
TroWairXovv,
Ta iroWa
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
Toh avToh
r]ixlv
Be'
to <yap
aiyvvov KuTrptoi?
/xev
Kvpcov,
Be
jXwTTa.
rj
dWoTpiov 4
aTro
:
7ri,(f>opd
30. jSaS/feti/
diro
:
tov
<yevov<i
eTrl
elBo<;
rj
tov
KX^wv
32.
Ac
/3a5tT apogr.
rb
Bigg:
olov
iv ri^
"
/3a5lfet
(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
coUato
opici
dominum
spectat,
Trarpl
tanquam
ex coniectura restituit.
urbem
:
inter
Hermum
Ceteras emendationes
licet
stanley
/xeyaXelwv olov
d(prip7]fxivov
Spengel
(cf.
et
77
A proposition
or phrase
may form
Thus the
12
man by
Words
XXI
By
simple I
mean
7-7.
such as
either
By
of
significant
and
non
significant
element
is significant),
word may
b so
many
Massilian expressions,
to Father Zeus.'>
is
e.g.
'
Hermo-caico-xanthus
<who prayed
Every word
or ornamental, or
tracted, or altered.
or con-
By
which
is
in general
is
use among
a people
in
may
lance,' is to the
strange one.
Metaphor
is
the
application
of an
alien
name by
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
Se fioL
air
ecrrrjKev
Se
to yap opfieiv
yevo'i,
ecmv
/xvpi
kardvai
rt.
eiSovi
eVl
"
rj
hrj
'08ucrcreu9
I
fivplov
ttoXv
dir
<Ti>
iarcv,
c5
etSov<; Be
eirl elSo<i
-y^v^riv
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
TT/OO?
rj
TO TpiTOV ipel
\ey(o he olov
oyu,ot&)?
^yeo ^idXr]
tt/qo?
Aiovvaov
epei
b y^jpa'? rrpo^
Kal eairepa
ri/jiepa<i
Trpo'i
rj/xepav
yrjpa<i
yrjpa<i
Kal
to
eairepav
evioi<i
yStof
r;,
Mairep
7
'E/XTreSo/cX?}?,
Kei/Jbevov
hvcrfia'i
^iov.
8'
tjttov
Xe-yOrj-
d(j)ievai,
aTrelpeiv, to
0fM0i,a)<i
he
(f>\oya diro
dW
irpo^;
e^ec
tov Kapirov,
eaTL he
OeoKTicrTav ^\6ya."
tw
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.
29.
tQv A^:
<Tbv
4
There
79
is,
from species
to species, or
by analogy, that
: '
proportion.
to species, as
is
lies 5
my
ship
;
'
lying at anchor
'
:
species
of lying.
From
species
species to genus, as
for ten
thousand
is
number, and
is
number
generally.
From away
species to species, as
'
With
'
the
life,'
and
'
Here apuaac,
cleave,'
draw away,'
Analogy
first
is
used for
Tafxelv,
'
to
and
rajxelv
or proportion
when
the
is to
the 6
We may
second
for
fourth for
the
second, or
relative.
Thus the
cup
is to
therefore,
the
shield
of Dionysus,'
shield
so is
'
'
to life,
evening to day.
the evening of
setting sun.'
7
life
or,
'
life's
name
still,
the metaphor
is
may
:
be used.
For
called sowing
same
relation as sowing to
'
the seed.
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
80
XXI.
8 XXII.
I.
1457 b
361458
firj
a 21
earlv o
oA,&)<?
fir]
avTO'i
Tiderat 6
770477x7^9,
rerafievov Be
fjuaKporepo)
^Xij/xevrj,
fiev olov
eanv
i]
dcj^rjprjfxevov
rj
Ke'^prj/xevov
rod oiKeiov
avWa^rj
ifi^e-
TO Be dv
d(f)r}p7)fxevov tl
y avTov, eTreKrerafxevov
ylveTac dficfiOTepcov
i^rjWayfievov
KaTaXeiTrr) to Be
11
fiev
TTOifj,
[avTb)v Be
10 TO, Be fieTa^v,
Twv
appeva
oaa
TeXevTO,
el<;
to
Kal
Kal
S' icTTLV
Bvo,
oaa e
fi,
eh
Kal
A*
to,
laa crvfx^aivet
TrXrjOei
eh oaa
TavTa
to,
appeva Kal
drfKea.
eaTiv.
eh
Be d(f)a)vov
<f>covi]ev
/Spa'^v.
eh
Be to
rrevTe.
kojxixl
Treirept.
eh
Be
to
eh TavTa Kal
aa(f)r]
rj
Kal S.]
fxrj
XXII
Be dpeTrj
koI
ck
r/
TaTreivrjv
elvai.
aa-
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.
apogr.
17.
post irivre
add. apogr. t6
nwv rb
ARISTOTLE'S POETICS
attributes
;
XXL 8 XXII.
81
'
as if
'
we were
the cup
of Ares,' but
A
Some
'
newly-coined word
use,
even in local
such
but
is
words
there
'
appear
to
be
as
'
ipvv<ye<;,
horns,'
and aprjTqp,
supplicator,'
is
exchanged 10
a longer one, or
is
word
contracted
n?7X^o?
and UrfKr^idhea)
for lirfkeihov
fjuia
of contrac-
Kpl, So),
and
o-v/r,
as in
An
form
is
altered
left
word
is
re-cast
as in Se|t-
is for Se^tov.
some
and
^.
letter
compounded with
and
9,
v, p,
?,
or in
yjr
long, as
and
co,
ing
those in
a.
which
for
yfr
the same
9.
No noun
ends in
c,
XXII
five
;
end in
in these
two
latter
vowels
also in v
is
and
9.]
The
mean.
perfection of style
The
clearest style
;
is
or proper words
at the
same time
mean
witness
diction,
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
25
aXV
i]
av
Tc<i
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
<dW(ov>
KaTa
ovofxdTcov avvOeaiv
ovy
30 olov re TovTO
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^;
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
icodoTO<i
TO aacpe'i eaTai.
i7riTt/J,(i!)VT<i
/layBovvTa TOV
olov
^vKXelBrjf;
dpyato^;,
ci)9
paBtov
10
TTOtelv, ec Ttf
cafji/3o7rocT]cra'i
ev
avTrj
tj}
"
^^iri'^dprjv
elBov
Hfia
awavTa apogr.
29. &\\cov
Sv Eiravra
A..
Troi-fiaT]
apogr.
'
iroirja-ai.
A<=.
'
coni.
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
:
Tyrwhitt
Arabs).
{'E.TrixdpT]v)
x-P'-^
2, ut videtur ('appellatum
:
cum
favore'
elSov apogr.
t5op A<=
Ihihv
Gomperz,
83
lofty
which employs
unusual
By
unusual, I
mean
Yet a
is
either a 2
riddle or a jargon
a riddle,
if
it
consists of
metaphors
a jargon,
if it
For the
essence of a riddle
to
express
possible combinations.
Now
this cannot be
done by any
can.
Such
is
the riddle
A man
'
saw who
fire,'
and
of
same kind.
is
diction that is
made up
a jargon.
certain infusion, 3
;
for the
will raise it
above
of proper
4
perspicuous.
more
to
remote
words.
cases
distinction
while, at the
same
time,
The
critics, 5
are
in
error
who
of
speech,
and
hold
the
author
up
it
to
ridicule.
Thus
would be an easy
syllables at
matter to be a poet
will.
if
He
84
XXII. 57-
1458 b
ovic
1129
av
7' ipd/j,vo<;
ttco';
rbv
eWe^opov."
'^co/xevov 6
/ieTa(f)opal<i
koL
<y\(OTTai,'i
koI
15 Toi<i
dWot^
<ye\ola
Ta
to avTo
av dTrepydaaiTO.
to
8e dpfJuoTTov 7
oaov
Sia(j}ept
Koi
tmv
/leTacjiopoiv
to,
Kal
enrl
tojv
aXkcov
Ihewv
20 fieTuTiOel'; av rt?
Xeyofiev
Kal
olov
to
uvto
Be
lap-^elov Acct'^vXov
fjLeTa$evTO<i,
^vpiTriSov,
ev
fiovov
ovo/xa
dvTi
S'
KaXov to
eyreXe?.
25
AtV^uXo?
fxev
-^
yap
(payeSatva <6'>
Kal
deiKrj'i}
vvv Se
et Ti9
fx
ioiv
Xeyot
to,
Kvpia
vvv 8e
fx
icbv jXLKpo^ re
decB7]<;'
ix.
515,
vvi'
de
fi
iihv
fi/ct/cus.
11.
&v 7'
epd/j.ei'os
apogr.
12.
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.
secludendum
(vel t') add.
Vahlen
Kvpiov
Ritter:
1.
^aye8aiv'
codd.
&klkvs Odyss.
1.
c.
85
Wapa6covd8e ^ahl^ovra,
ovK av y
epdfievo<i
To employ such
grotesque;
no doubt,
there
but
in
any mode
of
poetic
diction
must be moderation.
Even metaphors,
speech,
would produce
if
How
great a differ- 7
ence
is
made by
may
we
mode
of expression,
and replace
of
it
by the current
will
our
observation
be
manifest.
Eor example
But the
alteration of a single
word by Euripides,
who employed
one,
makes
one verse
trivial,
<S'>
rj
/jlov
Euripides
'
substitutes
OoivaraL
line,
feasts
on
'
for
icrdlei
feeds on.'
Again, in the
fx
vvv Se
ioiv
dtKt]<;,
we
substitute the
common
words, vvv Be
fjj
ecov /XLKpo^ re
aetS?;'?.
'
86
30 Kol
XXII.
7 lo-
1458 b 30
1459
a 18
re Tpdire^av.
'in
Kol TO
"
rji6v<i
I3o6(ocnv "
r)i6ve<;
Kpd^ovaiv.
Se 8
^ApL(j)pdSi]<;
roi)^
a ouSet? av
35 ecTTOL iv
airo
1459 a
rfj
dWd
dirb
Sco/xdrcov,
irepi,
dWd
firj
rrepl
fx-q
A^tXXeo)?,
iv Tol'i
Kal
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
dXXov
/jueTa-
Xa^elv
re arj/xeLov eaTL' to
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
Ta
la/Jb/3ei0L<i
TavTa dpfxoTTet
15 Tt? '^pijcraiTO'
Kav iv
[6croL<i]
\oyoL<i
Be
/zera-
<^opd Kal
K6(Tfxo<;.
Trepl fiev
(Tea)<i
Tr]<;
iv
tw
irpdTTecv
fiL/ji^-
ecTTQ) tjjmv
iKava Ta
eiprjfieva.
'
31. 35.
r'
aeiKiXiov codd.
t'
aiK^Xiov
Vahlen
5.
1.
f'lTTOi.
apogr.
:
et-rrrji
A^.
1459 a
ocrois
tQl A=.
14.
:
K&v Harles
odols 2,
Kal codd.
(Ellis), cf.
del.
'
ut videtur
Arab.
87
hi^pov [r
we
read,
8l(f)pov fjiO'^Orjpov
Or, for
'^i6v<i
^ooaxTiv,
Kpa^ovcrtv.
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
phrases
are
part
of
the
current idiom
that
they
It is
a great matter to
several
modes
of expression
compound
But the
of
;
words, strange
and so
forth.
greatest thing
by
far
is
to
have a command
metaphor.
it is
This alone
of genius,
the
mark
an
for
to
make good
metaphors
implies
eye
for
resemblances.
of
words, the
compound
indeed,
are 10
iambic.
are
In
heroic
poetry,
all
these varieties
serviceable.
far as
But
in
iambic verse,
speech, the
which reproduces, as
may
be, familiar
These
are,
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]<;
fitfjbrj-
TLKr]<i,
oTi
ev Tai<i Tpaj(p8iat<;
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
e^e^i)^
'^povoa
ivlore
Odrepov /xerd
ddrepov, ef ojv
ev ovSev yiverat,
Troirjrciyv
rovro hpoiau.
(^avelr} 3
wairep
Ofxrjpo<;
irapd tou9
dWov;,
oXov Xlav
rj
yap dv
T3
fieya<i
fcal
fxeyedei fxerptd^ovra
8'
TroLKiXia.
vvv
v fiepo^ diroXa^cov
Ke^prjrac
avrwv
eireLaoBiOi'i, ol<;
01 S'
dWoi
Trepl
eva Troiovat
olov 6
TroXvfjbeprj,
19.
1449 b
11,
1459 b 36)
iv i^afxirpip
:
Heinsius
A'^.
iv n^rpcfi codd.
24.
iffTopiais
ffvvrjdeis
Vahlen
:
avviaTavai
IcTTopias
TCLS
codd.
28.
vavfiaxi-a.
:
31.
Hermann
(rec.
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.
:
avroO Heinsius.
oh apogr.
5ls pr.
A=
et ceteri codd.
89
in
XXIII
As
to
that
poetic
imitation which
is
narrative
be constructed on dramatic
for
its
It
should
have
subject
single
and an end.
picture
of
and coherent
a
it.
living
It
being,
proper to
compositions,
action,
may
be.
may
not work up to
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
he had kept
it
it
must
in-
As
war
it
is,
admits as episodes
of the
many
as
others
1459 b
such
the Catalogue
the
ships
and
90
TO.
XXIII.
4 XXIV.
4.
1459 b
226
rotyapovv 4
rpwycpSia TTOLelrai
tj";9
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)
rpayayhla,
yap
ra
aTrXrjv
fMepr]
TrenXeyfievriv
fjie\o7roua<;
'^dcKtjv
7)
iraOrjTLKrjv
koi
e^co
koX
o-v^ew?
irepiTrereioiV
ot?
15 Kal
airacriv "0/jL7}po<i
Kal
irpS)ro<i
Kal
t/cavw?. 2
rj
yap Kal
fiev
he ^Ohvcrcreia ireirXeytjOlkt].
(dvayvwpiai'i
Xe^et
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'
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
eTToiroila
hid
TO
ev
/xev
Tjj
Tpaywhla
/irj
evhi'^eaOai
dfia
KvwpiKa A^.
9.
5.
:
irXiov et Kal
Zivwv Kal
Set
apogr.
Stj A<=.
10. tjOiktjv
om.
14.
12.
Uavos A=.
5^
dvayvaipiaeis Christ.
18.
TjOiKbi' rec.
apogr.
yap A".
Trdirar Aid.
24.
4 XXIV.
91
this 4
For
and
the
or,
two
while the
the
Award
of
the Arms,
the
Philoctetes,
the
Women,
the Departure of
XXIV
or
Again, Epic
as
many
kinds as
'
Tragedy
'
it
must be simple,
complex, or
ethical,'
pathetic'
The parts
are
also,
song
and
scenery,
the
same
for
it
requires
Moreover,
must be
artistic.
In
all 2
Homer
is
siifficient
model.
The
and
at
'
pathetic,'
complex
at the
(for
Eecognition scenes
'
run through
same time
is
ethical.'
thought he
supreme.
differs
Epic poetry
which
it
is
constructed, and in
metre.
scale or length,
we have
already laid
limit
being
brought within
a single view.
will be satisfied
by poems on a smaller
answering in
length
to
old
epics,
and
the
group of
Epic
poetry
has,
however,
its
great
special
dimensions, and
we can
see the
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
fjbeyaXoTrpeTreiav
iTTeicroBLOvv
Kol to /xeTa/3aX\eiv
eVetcroStot?'
dvo/xoioL'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
yap
to
40 Kal <TavTr]>
1460 a
?;
Biriyrj/xaTtKr)
fj,ifMT](Ti(;
tmv dWcov).
TO he
irpaKTLKOv.
ctc
Be
dTOiroiTepov,
hco
el
pnyvvoi
tl^ 6
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.
ij.I/x7](tis
apogr.
kLvt)(7i.s A'^.
:
1460 a
Kiv-qriKa, el
Kivr)TLKal A<=
kivtitlko.
Aid.,
Bekker
:
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
Gomperz.
:
(Margoliouth)
Siatpeladai A".
47
93
confine
carried on at one
we must
owing
by the
narrative
players.
But
in
Epic
poetry,
to
the
form,
many
;
can be presented
and
to the
poem.
effect, also
diverting the
mind
of the hearer
the
story
with
varying
episodes.
Eor
makes
tragedies fail
on the
stage.
As
fitness
its
by the
test of experience.
poem
of
in
posed,
For
all
measures
massive
;
is
the
stateliest
and
the
most
and hence
and
metaphors, which
On
the other
it
be to 6
mix together
different metres, as
verse.
Nature
herself,
we
have
Homer, admirable
who
as little
own
person, for
him an
imitator.
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,
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.
aTrayyeWovacv
<U9
x^apt^ofievoi.
hehlha^ev
Xeyeuv
o)?
he 9
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
yivecrOaf tovto
\^evho<i,
?)
yjrevho'i.
hcb
hi],
av to TrpwTov
dX>C
TovTov
6vT0<;,
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
hvvaTa aTTiOava'
jxepoiv
re
13.
\oyov<i
avvicTTaadai
iam S
:
e'/c
dXoycov,
oiidev' d-ridr]
dXkd
apogr.
etSos
Bursian.
14.
ovUva.
A=.
^x<"''r-
< Kal
eirei
if
Toh
iireaiv
:
Kal> Christ,
rd A,
corr.
fort, recte
"2.
dXoyov
Vettori
apogr.
:
dvdXoyov codd.,
iireiTa
5t'
5t6
:
codd.
i^v
ra
yj.
S.
24. 26.
apogr.
A=, rec.
corr.
5t?
dWov
:
di
8
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,
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.
?)
^ Vahlen.
TOVTO A=
TovTuv apogr.
95
rarely.
and
Homer,
a
after a
none of them
each
wanting in
but
with
is
admitted in Tragedy. 8
for its
the person
acting
is
not seen.
if
of
the
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
It is
Homer who
telling
lies
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
untrue,
quite un-
or
has
become.
There
is
an example of
this in
Odyssey.
Accordingly,
possibilities to
the
poet
should
prefer
probable
im- 10
improbable
possibilities.
The
tragic plot
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)
35 aireOavev,
ol
dWa
ev
tm
Spd/juaTi, coairep
rj
rd Jlvdia dTrayyeWovre';,
iv
Mucrot?
)]Kcov.
e'f
oiare to Xeyetv
dp'^f]<;
on
Bel
dv
p,vdo<i
'yeXolov
drj
yap
ov
crvvi(TTaadaL toiovtov<;' dv 8e
40 repwi,
ivSe'^eadac
Kol
droTTOv <6v>'
ttjv
el
Kol
rd
iv
r^v
^OSvaaeia dXoya rd
1460 b
irepl
CKdeaiv
ovk dv
dveKrd
SrjXov
dv
yevoiTo,
avrd
<j)av\o<;
7roir}Tr)<i
7rot7}Trj<;
TTOirjaete'
vvv he
T0i<i
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
dv Oewpovcnv yevoiT dv
TTotT^r^?
(j^avepov.
^Q)ypd(f)o<;
ydp
icrTt
fMifjLr)T7](;
cocnrepavel
10
r;
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
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
:
12.
ola apogr.
ola
A".
<'^
KvpioLS
coni.
Vahlen
<?)
Kvpiq.>
Gomperz
Vahlen.
14. Kal
&\\a
Trdd-q coni.
Vahlen.
lo XXV.
;
97
at
all
should,
if
possible,
be
excluded
or,
events,
it
should
lie
manner
in the
Laius'
death)
not within
the
drama,
as
Pythian games;
to
Such a plot
instance be constructed.
But
once
it
parted to
the
be tolerated.
Take the
Odysseus
irrational
is
the Odyssey,
of Ithaca.
where
in-
left
How
As
it
the absurdity
veiled
it.
The
diction
should
elaborated
in the pauses of 11
no expression of character
over brilliant.
XXV
the
With
respect to critical
diflficulties
and their
solutions,
which they
may
other
may
must
be thus exhibited.
imitator, like a
painter or any
of
necessity
imitate
one
of
three
objects,
The vehicle
terms
are
or, it
of expression
is
language,
either
current 2
also
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
Kara avfi^e</a^ 4
%.&.
[lev
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
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
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
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
KepaTa
ovk
el
djXLfxrjTW^
Be 6
<: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^
T^xv-qv
plerique edd.
27.
28.
fjTTov
Tripecrat
M. Sclimidt.
Trepi
31.
/xtj
rj/xapTTjadai,
Tucker.
37.
36
99
Add
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,
it
want
if
of capacity,
the error
is
is
But
the failure
if
he has
the error
is
not essential to
we
the
First
we
own
art.
It is
may
be
justified, if
the end of
mentioned),
part
of
if,
that
is
is,
the
poem
is
case in point
however, the
not justified
for every
if possible,
be avoided.
Again, does
poetic art, or
to
the
error
some accident
For example,
is
not
know
is
than to paint
Further,
if it
not 6
''*'
''''^'"^'
100
Set
XXV.
6 lo.
1460 b 381461 a 16
avTo<i fiev oiov<i Sec irotelv,
el Be fMijBerepo)^, 7
i'cr&J9
(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^
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,
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
fxel^ovo^
yevyrai,
rrjv
/jLei^ovo<;
a'Koyevr]raL.
ra
Be.
7rp6<i
"
tcr&)9
yap ov
Tov<i -qpuiovov^
rj
\eyec
elBo<;
aWa
fjuev
Tov<; (f)v\aKa<;,
erjv
roc
KaKo^ "
ov
to
aw/j-a
aavfifierpov
Is.prJTe'i
dXka
to
TrpoacoTTOv
15 ayirov
ala'^pov,
to yap eueiBe<; ol
evirpoa^
^(oporepov Be Kepaie"
ov to
CLKpaTov
olvo(p\v^tv
dWa
to OaTTOv.
to Be Kara 10
Iliad X. 152.
lb. xxiii. Ill,
quam
i.
50.
3 lb. X.
316.
evpLvidrjs
cf.
1448 a 37
'S,evo<t>a.veL
ovre A^.
:
1461 a
Ritter.
1.
^evo(t>6,v7] A''
irapa.
odv
:
Tyrwhitt
8.
rj
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
69
101
the
poet
may
perhaps reply,
'
But
'
the
that he
drew men
as they ought to be
Euripides, as
they
are.
may
be met.
If, 7
may
answer,
'
This
is
how men
is.'
This
may
well be that
these stories are not higher than fact nor yet true to
1461 a
fact
they
are,
them.
But anyhow,
this
is
what
is
said.'
'
:
Again, a
still, it
'
:
description
may
was
the fact
'
arms
Upright
upon
their butt-ends
it
custom then, as
now
is
among
the lUyrians.
we must
also con-
whether
sider
it is
We
must
by
whom
said or done, to
whom, when,
in
it
whose
interest, or for
what end
Other
diction.
irpoiTov,
difficulties
may
We may
/xev
ovpfja^i
not in
So, again, of
Dolon
ill-favoured
It is not
meant that
was ugly;
body was
for the
favoured,' to
Kepaie,
'
denote a
the drink
Again, ^coporepov Se
mix
'
livelier,*
does not
'
mean
(i
'
mix
it
stronger
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
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
"
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
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
eddov Travvvxi-OL.
lb. X. 1,
&WoL
^
TOL
ixkv
Trapa, VTjvcrlv
dpiffTrjes
Ilavaxo.i-'^t'
11,
6't'
is irediov rb
TpuiKbv
ddp7}ffeiev,
aiiXwv (Tvplyywv t
^ lb. xviii.
*
dvOpihiruiu.
489,
oirj
5'
dfj.fj.op6s
oi
eSxos dpiadai.
ecfo^-n-Tai.
Sed in Iliads
ii.
15
(de
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]
v{j^
17.
Travres
Grafenhan
fiXXot A'=.
cf.
18.
'
Christ, habuit
iam
2,
Arab.
ceteri
:
quidem liomines
26.
fcDd codd.
:
:
armati insident.
om. A=.
add. Vettori
re
Athenaeus
<a>
Trpiv
Gomperz
dKpTjTa
A^
KiKpiro apogr.
TrXeoj A<^:
TrXe'oi'
apogr.:
irXeo^v
Aid.
28. irXelu
Bursian
dtvop.
'
103
metaphorical, as
'Now
all
10
men were
while at
'
and
pipes.'
'
All
'
for
'
many,'
all
being a species of
.
many.
.
So in the
'
verse,
'
,'
olrj,
alone,'
is
metaphorical;
best
known may be
called the
only one.
Again,
breathing.
in the lines,
the
solution
accent
or 11
difficulties
/xev
and to
ov (ov)
KaraTTvOerac
ofi/Spo).
Or
may
be solved by punctuation, 12
Of as in Empedocles,
mixed before mixed.'
Or
again,
Be
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^^
8'
Bel Be Koi
orav ovo/xd
virevavriwixd rt Bokj}
o-rj/jiaLveLV,
tw
elprj/xevq),
TTj
to TavTy ko)\v- 16
{jj
17
TTocrap^ft)?
<Se>
eo?]
ft)9
fidXicTT
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
oXo)? 17
7rp6<i
to ^ekTiov
2 rrj
XX. 272,
J'crxero fidXivou
^yxos.
30. 6dev
eiprtrai
.
ireiroirjTai.
. .
M. Schmidt.
35.
31.
6dev
sec.
olvov in
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>
ivdexerai 8nr\Qs,
addidi:
-^
rts
k.t.X.
7)
M. Schmidt.
ws coni.
5^
w5l
<w8l>,
2.
Vahlen:
Vettori.
:
ivd^X^'''^'-'
t^S'
'^s
naXiffT
Interpunxerunt
:
post
3.
(I18I
1461 b
avrQv codd.
Sr;
^via
4.
^vloi
elprjKdros 6 rt
Castelvetro
ai/ruv Heiusius
10.
Sl'
atidpT-qixa
Gomperz
5^ codd.
<elvai>
Hermann,
irpbs
fort,
recte:
(cf.
11.
<'^>
105
to
to
Zeus,'
drink wine.
may
also be taken
Again,
sistency
to involve
some incon-
15
of
it
:
we should
in
consider
how many
For 16
'
senses
may
'
the
particular
passage.
example
should
we
he
-
ask
take 'being
checked
1461 b
there.'
mode
of interpretation is the
Critics,
;
precise opposite of
says,
jump
they pass
it
;
and,
with their
own
fancy.
in this fashion.
monian.
They think
strange,
that
Teleto
h^ive
They
allege that
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
'jrpoq
r)
<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'
TTore ovK
akoyov iaTtv rd
S'
etKo^
yiveaOai.
virevavrlw';
ovtoj
aKOiretv, 18
eKey')(pi, el
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
'
fiO'^Orjpla,
OTav
fjit]
dvdyK7]<i
ova-ri<i
firjOev
rj
Tea
Trj
'
tov M.eve\dov.
rj
Ta
o)?
rj
jxev
ovv 20
yap
dSvvaTa
tw?
&)9
dXoya
rj
co?
^XajSepd
rj
&)?
virevavTia
at
nrapd
Tr]v
he XvaeL<i
eK
tmv
XXVI
TTOTepov he ^eXTLoov
tl<;.
77
eTVOTrouKr)
fiL/jir]aL<i rj
rj
TpayiKrj,
30 hiairoprjcreiev dv
TotavTrj
8'
77
el
yap
77
TTjOO?
14.
(
'
<Kal
icrws
d8vvaTov>
Gomperz,
.
sec.
.
Margolioutli,
:
collato
Arabe
coni.
fortasse
Vahlen.
(coni.
'
Kal
el
ddvi^aTov
16.
5'
iam
orov
codd.
add. Ueberweg
Vahlen).
vTrevavrius
'
Twining,
of.
:
Arab,
'quae
dicta
sunt in
modum
contrarii
:
ws inrevavrla Heinsius vnevavrla wj codd. ware /cat Xvr^ov M. Schmidt ovtws re Kal d
:
21.
(pp6vi/j.os
apogr.
A".
22.
aXoylg.
del.
Kal
fioxO-qpiq.
Spengel.
Fort.
:
fj
TTj
apogr.
(margo)
S'
i)
rcD
:
alyeirjTri
07;
A<=.
29.
det,
^eXrlwv
apogr.
piXriov A*.
31.
apogr.
A"^.
\iav
Vahlen
beCKiav codd.
17 XXVI.
With
107
to to
or
to
received
art,
opinion.
respect
is
the
requirements of
a probable impossibility
be
Again,
as
is
may
men such
Zeuxis painted.
the higher thing
reality.'
we
say,
To
we appeal
what
is
commonly
that the
just as
'
said to be.
irrational
it
is
may happen
contrary
to probability.'
by the same
whether
what
is
same
sense.
We
reference to
tacitly
assumed by a person of
intelligence.
1
The element
when
Such
there
is
is
no inner
the irrational
Meuelaus in the
Thus,
objections
Orestes.
there
are
are
five
sources
from
which
critical
20
drawn.
The answers
XXVI
raised
is
mode
is
of imitation
the higher.
the more
refined art
case is that
which appeals
108
XXVI. 14.
rj
1461 b
321462
&>?
a 17
on
airavra
fic/jiovfievij
(poprcKiy
{jbivcov
av
fXT]
avTO^
irpocrOfj,
^KvWav
d><;
avXtoatv
fiev
rov<i
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
irpSiTov ixev
rrj<;
<ovv> ov
eirel
KarrjyopLa
rot?
dXka
v7roKpiTLKrj<i,
earc
frepiepyd^eadai
ar]ixeloi<i
\_ea-TX\
^(sxriarparo^, Kal
'OTTovi/rto?.
/X77S'
BiaSovra,
M.vaal6eo<;
elro.
op'^rjai'i,
a}OC
vvv
rj
rj
(f)av\a)v,
CO?
oirep
Kal
J^aWiTrTrlBr}
eTrertfiaro
Kal
ert
?;
dX\,OL<;
fjLi/nov/xevcov.
to avri]^, Mcyirep
eTTOTroda'
15
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
9.
di^dovra apogr.:
16.
avrrj
:
13.
avTTJs
iirel
apogr.
avrijs
:
A^.
8',
apogr.
ian
5'
ra Gomperz
^ari
Uri
Usener
109
is
which
imitates
anything
and
everything
is
The audience
supposed to
own
in restless movements.
if
Bad
'
flute-players twist
and
twirl,
coryphaeus
it
Scylla.'
Tragedy, 2
is
said,
We may
compare the
their suc'
Mynniscus used
to
call
Callippides
ape
'
on
of Pindarus.
Tragic
art,
then, as a whole,
is
addressed
gesture
;
to
audience,
inferior
Tragedy, to
it is
an
public.
unrefined,
Now,
the
poetic
for gesticulation
may
stratus, or in lyrical
Opuntian.
Next,
all
not to be condemned
all
dancing
fault
found in Callippides, as
in
our
own
day,
who
representing degraded
women.
poetry produces
its
its effect
it
reveals
power by mere
reading.
it is
we
And
elements
superior
it
is,
because
use
has
all
the
epic 4
it
may even
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
ert
Tft)
iroWw
KCKpafxevov
tw
'^povw'
S'
iv
5
e'TTecriv
'lXta9.
ert tjttov
[rj]
/xm
/uLL/jbTjo-Lf;
r/
TCOV eTTOTTOicov
arj/jieiov Si'
iK yap oTrotaaovv
co(TTe
[fiifj,7]crea)<i^
TrXeiou?
Troiwaiv,
Tpaycphlai
rj
ylvovTat'
iav
jxev
eva /Mvdov
fj
ySpa^eea? BeiKVVfievov
TOO
av/jifjiiTpa)
fivovpov
vhaprj.
(^atveaOai,
uKoXovOovvTa
olov iav
10 IXta?
fxtjKei
fj
* \iyw he
ccxrirep
rj
iK TrXeiovcov Trpd^ecov
avyKeifxevri,
^X^''
"^oWo. ToiavTa
fiye6o<;'
[leprj
Kat
rj
OSvcraeta a Kal
to,
Kad^
eavTa e%et
ft)9
KaLTOi
TavTa
Trotrj/jLaTa
avvaT7]KV
ivhe')(eTaL
el
yata9
7rpd^ea><; /xlfn]cn<i.
ovv T0VT0i<i re
Traatv Kal 7
-^Bovrjv
Te')(vr}<i
epya> {Sei
yap ov
ttjv
Tv^ovcrav
15 TTOielv avTa<i
dXKa
ttjv elpr]fxev7]v),
av
etrj
inroTTOLla'^.
Trepl
ovv Tpay(pSLa<;
fxepcov,
Kal
iiroTTOiLa';,
Kal avTMV 8
Stacjiepec,
/Mrj
^y legit: ^s codd.
/cat
ttjv 6\(/lv
Aid., Bekker.
5C
:
cis
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
:
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^.
:
:
48
;
111
as important accessories
and
it
Further,
its
end within
is
narrower limits
for
the
concentrated
is
effect
more
and so
diluted.
What,
for example,
if
it
would be the
effect
Iliad
as is
shown by this,
poem
if
Now
the
story be
it
appear truncated
of length,
it
or, if it
will
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.
as
perfect
as
possible
in
structure
each
is,
an
then. Tragedy
is
as
an art
as already stated
art,
it
is
the higher
as
attaining
end more
perfectly.
suffice
and
;
parts,
with
number
of
the causes
bad
critics
to these objections.
4<U
JUU^ W^|4.4
C^
W^^^WWA^ dKlJh^^i^
U.^T>--Kii^n>v^
fc...
iL:b=rtcv-^
te^-
^fc:
4^-c^-Vc
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