Aristotle Poetics 1.12

Theodore Alois Buckley (Translator)

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In like manner, though some one, mingling all the measures, should produce imitation, as Chaeremon has done in his Centaur, a mixed rhapsody of all the metres, yet he must not be called a poet. 1 Let it then be thus laid down concerning these particulars.

Poetics. Aristotle. Theodore Alois Buckley (Translator). London. 1857.

Current edition Experimental

The Poetic of Aristotle (Theodore Alois Buckley) (OCR draft) (English) (Theodore Alois Buckley's English translation, first published in 1850 and represented from the Henry G. Bohn 1857 printing; corrected against a second OCR and aligned to the Kassel reference passage sequence.)

Provisional text from uncorrected OCR; expect errors.

Editions (5)
Περὶ ποιητικῆς (OCR draft) (Aristotle, Poetics. Immanuel Bekker, editor, Aristotelis Opera, volume 2. Oxford: Oxford University Press, 1837.) — 1 focus
Περὶ ποιητικῆς (OCR draft) Perseus (Aristotle, De arte poetica liber. Rudolf Kassel, editor. Oxford: Clarendon Press, 1965. Reference edition for passage alignment.) — 1 focus
Poetics, Greek text (Ingram Bywater, 1909) (OCR draft) Experimental (Ingram Bywater's Greek text of Aristotle's Poetics, published in 1909.) — 1 focus
Poetics, Greek text (S. H. Butcher, 1911) (OCR draft) Experimental (S. H. Butcher's Greek text from Aristotle's Theory of Poetry and Fine Art, fourth edition, 1911.) — 1 focus
Poetics, Greek text (Franz Ritter, 1839) (OCR draft) Experimental (Franz Ritter's 1839 Greek edition, corrected against OCR of the represented copy and aligned to the conventional Perseus chapter-and-subchapter sequence.) — 1 focus
Translations (13)
Poetics (W. H. Fyfe) (OCR draft) Perseus (William Hamilton Fyfe's English translation of Aristotle's Poetics, Loeb Classical Library, 1939 printing.) — 1 focus
Arabic Poetics (Badawī edition, 1953) (OCR draft) (The ancient Arabic translation of Aristotle's Poetics in ʿAbd al-Raḥmān Badawī's 1953 edition.) — 1 focus
Poetics (S. H. Butcher, 1911) (OCR draft) Experimental (S. H. Butcher's English translation from Aristotle's Theory of Poetry and Fine Art, fourth edition, 1911.) — 1 focus
Aristotle on the Art of Poetry (Ingram Bywater, 1909) (OCR draft) Experimental (Ingram Bywater's English translation of Aristotle's Poetics, published in 1909.) — 1 focus
Poetics (Thomas Twining, 1789) (OCR draft) Experimental (Thomas Twining's English translation of Aristotle's Poetics, published in 1789 and aligned to the Kassel reference passage sequence.) — 1.12 focus
So, also, though any one should chuse to convey his imitation in every kind of metre, promiscuously, as CHAEREMON has done in his Centaur, which is a medley of all sorts of verse, it would not immediately follow, that, on that account merely, he was entitled to the name of Poet. But of this, enough.
The Poetic of Aristotle (Henry James Pye, revised 1792) (OCR draft) Experimental (Henry James Pye's revised 1792 English translation, corrected against the 1788 first edition, aligned to the Kassel reference edition, and supplied with a selective apparatus of substantive 1788 readings.) — 1.12 focus
since in chapter iv. he reckons the love of verse equally with the love of imitation as one of the natural causes of poetry and in chapter xxiv. he mentions the heroic measure as solely calculated for the Epopee and says it would be absurd to use any other sort or a mixture of many and produces the composition of Chæremon as an instance of such absurdity. 1 2
Poetica Latine conversa (Franciscus Ritter, 1839) (OCR draft) Experimental (Franz Ritter's Latin translation, corrected against OCR of the represented copy and aligned to the conventional Perseus chapter-and-subchapter sequence.) — 1 focus
La poëtique d'Aristote (André Dacier, 1692) (OCR draft) Experimental (André Dacier's French translation of Aristotle's Poetics, published in 1692.) — 1.12 focus
En effet ſi quelqu'un s'aviſoit de faire un poëme en meſlant enſemble toutes les differentes fortes de vers, comme Cheremon fit ſon Centaure, on ſeroit reduit par cette méthode à ne pouvoir luy donner le nom de Poëte. En voilà aſſez fur ce ſujet.
Poetica d'Aristotile (Bernardo Segni, 1549) (OCR draft) Experimental (Bernardo Segni's 1549 Florentine Italian translation, aligned to the Kassel reference passage sequence.) — 1 focus
De poetica (Antonio Riccobono, 1587) (OCR draft) Experimental (Antonio Riccobono's Latin translation, first published in 1587; text represented from Immanuel Bekker's 1831 edition.) — 1 focus
De arte poetica liber (William of Moerbeke, ca. 1277) (OCR draft) Experimental (William of Moerbeke's medieval Latin translation, represented by the 1953 Aristoteles Latinus edition.) — 1 focus
Arabic Poetics (Abū Bishr Mattā; Tkatsch edition) (OCR draft) Experimental (The Arabic translation attributed to Abū Bishr Mattā, edited by Jaroslaus Tkatsch in 1928 and aligned to the Kassel reference passage sequence.) — 1 focus
Arabic Poetics (Abū Bishr Mattā; Tkatsch edition, unaligned) (OCR draft) Experimental (Tkatsch's edition of the medieval Arabic translation in its original, unaligned segmentation.) — 1 focus

Notes on the current edition

Poetics

1. 10. Means respectively employed by the different kinds of poetry.

Commentary

Commentary on the Poetics (Ingram Bywater, 1909) (OCR draft) (Ingram Bywater's English commentary on Aristotle's Poetics.) focus

12. mvp-aristotle-comment-43

ὁμοίως recalls the idea of the original assertion in b9, οὐδὲν ἂν ἔχοιμεν ὀνομάσαι κοινὸν τοὺς Σώφρονος καὶ Ξενάρχου μίμους καὶ τοὺς Σωκρατικούς λόγους. Vahlen quotes Eth. N. 1. 12, 1101 b 21
δῆλον ὅτι τῶν ἀρίστων οὐκ ἔστιν ἔπαινος ... ὁμοίως δὲ καὶ τῶν ἀγαθῶν
 where οὐκ ἔστιν ἔπαινος is to be understood. ὁμοίως often represents the apodosis of a conditional sentence (v. An. pr. 1. 9, 30 b 1 ; 1. 14, 33 a 12 ; 1. 38, 49 a 1 ; De caelo 1. 4, 271 a 13 ; 2. 4, 287 a 19 ; De anima 1. 1, 402 b 8 ). The equivalent τὸν αὐτὸν τρόπον is used in just the same way in An. pr. 2. 24, 69 a 11
τὸν αὐτὸν δὲ τρόπον κἂν εἰ διὰ πλειόνων τῶν ὁμοίων ἡ πίστις γίνοιτο
.

12. mvp-aristotle-comment-44

1447b21 Χαιρήμων For the little that remains of his Κένταυρος see Nauck, TGF. p. 784 . Aristotle terms it a ῥαψῳδία as though it were a sort of epic; and it is clear that in 24, 1460 a 2 he still regards it as coming under that head. If Athenaeus 608 e speaks of it as a δρᾶμα πολύμετρον, the explanation is that such a bizarre experiment in literature might very well be placed in more than one class. The title was no doubt taken from its subject; not from its monstrous combination of metres, as Welcker imagines ( Nachtrag zu der Schrift über die Aeschylische Trilogie p. 71). There were several comedies ( Kock, CAF. 3 p. 698 ) and also an ode (by Lasus of Hermione) with this or a very similar title.

12. mvp-aristotle-comment-45

1447b22 ἐξ ἁπάντων τῶν μέτρων : to be taken with μικτὴν (comp. Vahlen, Aristotelische Aufsätze 2 p. 42 ). ἁπάντων must be an exaggeration, since it is inconceivable that every kind of metre was represented in Chaeremon's poem. Similar instances of overstatement are to be found in b28 ( πᾶσιν), in 18, 1455 b 33 ( τὸ ὅλον), in 22, 1458 a 34 ( ἅπαντα), and in De anima 2. 6, 418 a 11, 19 (v. Rodier ad loc.).

12. mvp-aristotle-comment-46

καὶ ποιητὴν προσαγορευτέον This clause has been altered in some apographs into
(οὐκ ἤδη καὶ ποιητὴν προσαγορευτέον
and in others into
καὶ (τοῦτον) ποιητὴν προσαγορευτέον
. Various other corrections have been recently suggested, e. g. κατὰ (τοῦτο) ποιητὴν προσαγορευτέον (M. Schmidt), δικαίως ποιητὴν προσαγορευτέον (Ueberweg), καίτοι ποιητὴν προσαγορευτέον (Rassow and Gomperz). Susemihl omits the clause (with Vahlen, Beitr. 1 p. 38 ), but finds a place for προσαγορευτέον by inserting it after ποιητήν in b20. The clause (if we retain the reading of the MS.) seems to come in in much the same way as that in b18, διὸ τὸν μὲν ποιητὴν δίκαιον καλεῖν, τὸν δὲ φυσιολόγον μᾶλλον ἢ ποιητήν. As an illustration of the third of his three possibilities (comp. Vahlen, Beitr. 1 p. 4 ) Aristotle cites Chaeremon's Centaur; and his assumption is that, as a work of this description is a μίμησις (comp. a21 ποιοῖτο τὴν μίμησιν) and also in verse (b22 ἐξ ἁπάντων τῶν μέτρων), the author is a μιμητὴς ἐν μέτροις, and therefore rightly regarded as a poet, though popular language does not give him a special name of the type of those considered in the preceding section (b13-19). The argument, therefore, will come to this: If a mime and a dialogue were written in a medley of metres, the writers would have to be recognized as poets; but we should have no common name for the two works themselves, notwithstanding their similarity in form as well as nature. Some such meaning seems to be demanded by the general logic of the argument, which is directed to show that not only the prose forms of the literary 'imitation', but also the various poetic forms of it are 'to this day' without a general name ( a9
ἀνώνυμος τυγχάνει οὖσα μέχρι τοῦ νῦν
). The only difficulty is to see how the clause καὶ ποιητὴν προσαγορευτέον is brought in. Vahlen (ad loc.) takes it as following after the apodosis implied in ὁμοίως—'adnecti non positae sed cogitatae apodosi sententiam ( καὶ ποιητὴν προσαγορευτέον)'. I suspect that it was primarily meant to apply to Chaeremon, and that it is loosely subjoined to what is said of him in the context, as an assertion of his claim to be ranked among the poets in spite of his metrical absurdities. The question may perhaps be asked: If it was possible to give ποιητής the sense assumed for it in this chapter and elsewhere, why did not Aristotle recognize the word ποίημα as an equally legitimate 'common name' for all the various species of verse-imitation? The answer may perhaps be this, that he thought it to be (like ἐποποιός, ἐλεγειοποιός, etc.) too directly suggestive of the metrical form (comp. Rhet. 3. 8, 1408 b 30 ), which he puts aside as only one of the accidents even of the poetical 'imitation'. The term 'Poet', as used by most of the ancients, is the subject of a valuable inquiry by H. Weil ( Études sur l'antiquité grecque, p. 237), who shows that the nearest modern representative of it is 'author' or 'composer'. Its primary meaning is the man who writes the words, or composes the music, in contradistinction to the rhapsodists, actors, singers or musicians, who present the work to the public (comp. Plato Rep. 373 C
ποιηταί τε καὶ τούτων ὑπηρέται, ῥαψῳδοί, ὑποκριταί, χορευταί, κτέ.
). But as the literary work which had to be thus recited or sung was by custom in verse, the 'poet' was also a writer of verses. The idea of verse in fact became part of the conventional meaning of the word—as also of the verb ποιεῖν, which often means to write or say in verse; the compounds, likewise, ἐποποιός, ἐλεγειοποιός, etc., all denote writers of some kind of verse. ποιεῖν is thus opposed to λέγειν, to speak in prose, and the ποιητής either to the συγγραφεύς, who writes prose, or to the ἰδιώτης, the ordinary man who speaks in prose. Another association attaching to the word had its origin in the matter with which early Greek poetry was connected. The poet was distinguished from the historian or chronicler by the fact that he was so constantly dealing with a remote or legendary past, in the treatment of which there was ample room for play of imagination. All the great poetical subjects are classed by Plato under the general head of 'myths' or fictions ( Rep. 377 A and 382 D ; comp. Xenophanes fr. 1, 21 Diels ); and it was an understood thing that a free use of fiction was one of the privileges of the poet: Solon fr. 29 Bergk
πολλά ψεύδονται ἀοιδοί
. — Isocrates 195 e
τῶν γε παλαιῶν καθόδων αὗται μάλιστ᾽ εὐδοκιμοῦσιν, ἂς παρὰ τῶν ποιητῶν ἀκούομεν· οὗτοι γὰρ οὐ μόνον τῶν γεγενημένων τὰς καλλίστας ἡμῖν ἀπαγγέλλουσιν, ἀλλὰ καὶ παρ᾽ αὐτῶν καινὰς συντιθέασιν
 (also Horace A. P. 9 ). This recognition of an element of fiction in poetry is perhaps the nearest approach the ancients make to our idea of 'poetic creation'. The ordinary conception in antiquity of the poet was that he was, just like the painter (v. Poet. 15, 1454 b 9 , and 25, 1460 b 8 ), an imitator, and that his work was not so much a creation as a copy, more or less faithful, of something already existing in legend or life.
1447b25

Remarques sur la poëtique d'Aristote (André Dacier, 1692) (OCR draft) (André Dacier's French commentary on Aristotle's Poetics.) focus

33. mvp-aristotle-comment-33

1.12 En effet ſi quelqu'un s'aviſoit de faire un Poëme en mêlant enſemble toutes les differentes ſortes de vers, &c. 1

34. mvp-aristotle-comment-34

1.12 Comme Cheremon fit ſon Centaure. 2

Commentary on the Poetics (Thomas Twining, 1789) (OCR draft) (Thomas Twining's notes on Aristotle's Poetics, aligned to the Kassel reference edition.) focus

10. mvp-aristotle-comment-10

NOTE 10.

1.12 P. 4. SO, ALSO, THOUGH ANY ONE SHOULD CHUSE TO CONVEY HIS IMITATION IN EVERY KIND OF METRE, &C.
The conjecture of Heinsius , who contended, that
ἐκ ήδη και ποιητην προσαγορευτεον
—should be read interrogatively, I have re- jected, because the sense it gives the passage appears to me to be trifling. It makes Aristotle say—
"If Poets are to be denominated from their metre, what name is to be given to him, who writes a Poem in all sorts of metre? You cannot call him an
Εποποιον
, an
Ιαμβοποιον
, &c. Is he, therefore, not to be called a Poet at all, because you cannot call him the Poet, or Maker, of this or that particular metre?"
—But the answer to this would surely be obvious:
"We cannot, it is true, call him any one of these, exclusively; we call him all these; he is the Poet of every metre, in which he composes; and, in our ideas, the more a Poet, in proportion to the number of the different measures, of which he shews himself a master."
—I must also remark, that, in this way of understanding the passage, the word,
ὁμοἰως
, is not accounted for, nor fairly rendered, I think, either in the version of Heinsius , or in any of those that follow him.
I have, also, rejected the reading of Victorius —
ΟΥ ποιοιτο την μιμησιν
; because it appears to me, that the phrase will not admit of the sense, in which it is rendered, of not imitating at all. It is observed by Victorius himself, that the phrase,
ποιεισθαι την μιμησιν
, is never used by Aristotle as equivalent to
μιμείσθαι
only, but always where he is speaking of the means, or manner, by, or in, which, the imitation is made. Thus, ch. i. —
ΠΟΙΟΥΝΤΑΙ την μιμησιν ΕΝ ΡΥΘΜΩΙ και ΛΟΓΩΙ και ΑΡΜΟΝΙΑΙ.
—Again—
ΔΙΑ ΤΡΙΜΕΤΡΩΝ κ. τ. αλ. ΠΟΙΟΙΤΟ την μιμησιν.
And, at the end,
EN ΟΙΣ ΠΟΙΟΥΝΤΑΙ την μιμησιν
—
"the different means, by which they form or execute their imitation."
Thus, too, ch. xxiv.
ἐι γαρ τις ΕΝ ΑΛΛΩΙ ΤΙΝΙ ΜΕΤΡΩΙ διηγηματικην μιμησιν ΠΟΙΟΙTO.
— ch. vi.
EN ΤΟΥΤΟΙΣ [sc. μελοποιίᾳ και λεξει] ΠΟΙΟΥΝΤΑΙ την μίμησιν.
So ibid. with a participle—
ΠΡΑΤΤΟΝΤΕΣ ΠΟΙΟΥΝΤΑΙ την μιμησιν
—as in the passage before us,
άπαντα τα μετρα ΜΙΓΝΥΩΝ ΠΟΙΟΙΤΟ την μιμησιν.
—The construction and the sense are the same, when the same mode of expression is applied to other subjects; as, cap. iv. —
τας μαθησεις ΠΟΙΕΙΤΑΙ ΔΙΑ ΜΙΜΗΣΕΩΣ
—And, Rhet. lib. i. cap. i. sect. 3.
ΔΙΑ ΤΩΝ ΚΟΙΝΩΝ ΠΟΙΕΙΣΘΑΙ τας πίστις και τες λόγες
i. e.
"to argue through the medium of common and popular truths."
—I do not know of any instance, in which
ποιείσθαι την μιμησιν
is used in any other way, or put simply for
μιμείσθαι
. I cannot, for example, conceive, that Aristotle, instead of,
το τε γαρ ΜΙΜΕΙΣΘΑΙ συμφυτον τοις ἀνθρωποις,
( cap. iv. ) would have written—
το τε γαρ ΠΟΙΕΙΣΘΑΙ ΜΙΜΗΣΙΝ συμφυτον, &c.
It appears to me, that, whether the phrase be used positively, or negatively, some imitation is equally implied, and this sentence—
τις άπαντα τα μετρα μιγνύων ΟΥ ποιοιτο ΤΗΝ μιμησιν
—I should by no means think it accurate to translate—
"If any one, mixing all sorts of metre, should not imitate;"
but, (to construe literally for the sake of clearness,)
"if any one should not make THE, (or, which is the same thing, HIS) imitation by mixing all sorts of metre."
This, I confess, appears clearly to me to be the fair English of that Greek; but as this certainly cannot be the meaning of Aristotle here, I must abandon the reading which gives it, and content myself with following that explanation, which is encumbered with the fewest difficulties. 1 The sense, in this way, does not materially differ from that, which is given to the passage by those who adopt the reading of Victorius . The word,
ὁμοιως
, has thus its proper force. So has,
ἐκ ΗΔΗ, ΚΑΙ ποιητην προσαγορευτεον.
As if Aristotle had said—
"Such a writer we might, certainly, on the first glance, call, a versifier—a metre-maker—
ἐποποιον
,
ἐλεγειοποιον
, &c. but we should not immediately ( ΗΔΗ), merely on account of the variety of his versification, allow him also the title of Poet—
ΚΑΙ ποιητην προσαγορευτεον
.”
I must, however, be again permitted to declare my doubt, as to the integrity of the text.

11. mvp-aristotle-comment-11

NOTE 11.

1.12 P. 4. AS CHÆREMON HAS DONE IN HIS CENTAUR.
From some curious fragments of this Poet preserved, or, rather, half-preserved, in Athenæus , his genius appears to have been of a gay and voluptuous cast, and to have delighted in minute description of pleasurable objects. In the lines quoted by Athenæus from his Tragedy of Æneus, which are a description of a group of beautiful virgins sporting by moon-light, there is certainly some fancy, and some elegance; but, of that kind, the effect of which is, perhaps, somewhat counteracted by too much appearance of affectation and research. And this corresponds with the character given of this Poet by Aristotle, in his Rhetoric [lib. iii. cap. xii.] that he was,
ἀκριβης ώσπερ λογογραφος
; and of that class of Poets, whom he calls
ἀναγνωστικοι
; that is, whose productions, as we commonly express it, read better than they act; are more adapted to the closet, than to the stage.
The ancient Poets, both Greek and Roman, were often, I believe, indebted, for their descriptive ideas, to Painting, or Sculpture. This passage of Chæremon is certainly very picturesque, and was, probably, suggested by some painting on the same subject. Athenæus says of this Poet, that he was particularly fond of dwelling upon the description of flowers—
ἐπικαταφορῶ ἐπι τα άνθη
2 ; and cites some lines of that kind from his Tragedies. In his CENTAUR, which Athenæus calls
δραμα πολυμετρον
, we must understand, that even the dialogue was in various metres; for in the choral parts this would have been no innovation.

Commentarius in Aristotelis Poeticam (Franciscus Ritter, 1839) (OCR draft) (Ritter's Latin commentary, extracted from the 1839 volume, divided by Ritter's chapters and sections, and linked to the corresponding Perseus reference subsections.) focus

9. mvp-aristotle-comment-9

Ritter, cap. 1 § 9

ὁμοίως δὲ-καὶ ποιητὴν προσαγορευτέον: proprium poetae negotium esse imitationem (Darstellung), ac metri genere poesin definiri non posse significaturus, posteaquam et prosa oratione et versibus uti poctam posse, poetamque esse quamdiu imitaretur, pronuntiavit, iam pergere coepit, similiter vero, etiam si quis omnia metra miscens faceret imitationem et is poeta dicendus erit. hoc est, imitatio poetam facit, metra non faciunt; metra aut abesse omnino aut unum eorum genus adesse aut permisceri omnia possunt, nihil hoc ad poetam pertinet qua poeta est. qui omnia metra miscet, eum homines neque ἐποποιόν (hexametrorum poetam) neque ἐλεγειοποιὸν (distichorum poetam) neque ἰαμβοποιὸν (iamborum poetam) vocare possunt, sed ille nihilo minus est poeta si imitationem exhibet. Chaeremo hic neque laudatur neque vituperatur, sed is pro exemplo est quomodo metra permisceri possint, ποιεῖσθαι μίμησιν h. 1. de vera sive poetica imitatione dictum esse, quod nonnulli negaverunt, tum quod proxime antecessit ( εἴ τις διὰ τριμέτρων ποιοῖτο τὴν μίμησιν) tum quod paulo superius legimus ( ἅπασαι• ... ποιοῦνται τὴν μίμησιν) tum alii huius libri loci ostendunt. quod si probe tenuerimus, intelligemus tolerari non posse quod vulgo legunt codicibus adversantibus ὁμοίως δὲ οὐκ ἤδη καὶ ποιητὴν προσαγορευτέον, h. e. non iam (illud καὶ sic non aptum est) poeta dicendus erit. tum enim hoc diceret Aristoteles, qui imitationem exhiberet, eum esse poetam eundemque non esse poetam. id qua est sagacitate cum perspexisset Hermannus (hunc sine causa haesisse alii non bene contenderunt), ille nova coniectura locum iam interpolatum corrigere voluit, id quod omnium periculosissimum et vix unquam cum eventu tentatum est. dedit igitur εἴ τις ... προΐοιτο, si quis negligeret. sed ante omnia voces οὐκ ἤδη amovendae erant. desunt omnibus Victorii libris, tum iis quos Winstanleius, Burgesius, Buhlius, Bekkerus adhibuerunt. illatae igitur a correctore quodam Italo et propagatae per exemplar Aldinum non maiorem habent auctoritatem, quam si nune demum criticus aliquis a se excogitatas afferret 5). Chaeremonem Athenaeus II. p. 35 Ε. τραγω- ... δὸν appellat, τραγικὸν ΙΙ. p. 43 C. et XIII. p. 562 E. eius dramata variis locis laudat Alphesiboeam, Dionysum, Thyestem, Io, Centaurum, Minyas, Ulixem, Oenea. de Centauro ille scribit XIII. p. 608 Ε. ἐν δὲ Κενταύρῳ, ὅπερ δρᾶμα πολύμετρόν ἐστι, fragmentumque inde servavit XV. p. 676 E. Aristoteles Chaeremonis meminit in Rhetor. II, 23. p. 1400 b 24. III, 12. p. 1413 b 13. Problem. III, 16. Poet. c. 24, 6. nomine auctoris suppresso eius Ulixem commemoravit ibidem c. 14, 6. Centaurum Chaeremonis h. 1. ῥαψῳδίαν incerto nomine vocavit, cum dramatis nomen ei concedere nollet. quod Suidas quique hunc exscribunt comicum poetam Chaeremonem faciunt, error est quem inde natum esse puto, quod in Chaeremonis dramatis (nonnulla eorum satyrica videntur fuisse) multa 5) Ex novis Poeticae editoribus Graefenhanius item o ὐκ ἤδη omisit, sed idem verborum ordinem et structuram tam mira conformavit, ut totius loci explicatio magis impediatur quam expediatur.ludicra inerant. per errorem facile explicandum Athenaeus XIII. p. 562 E. locum ex Euripidis Iphigenia Aulidensi (v. 549.) ad Chaeremonem rettulit, quo confisus Gruppius in Ariadna p. 561 sqq. eam tragoediam Chaeremoni liberaliter quidem sed frustra tribuere conatus est. Euripidi Chaeremo aetate suppar videtur fuisse, saltem non multo post vixisse potest. eius sententiam quandam ridendam praebuit Eubulus mediae comoediae poeta, ut tradidit Athenaeus II. p. 43 C. idem Eubulus Euripidem saepius notavit.