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And those recognitions rank in the second place, which are invented by the poet, on which account they are inartificial. Thus Orestes in the " Iphigenia" discovers that he is Orestes6. For she indeed recognises her brother through a letter, but Orestes himself speaks what the poet designs, but not what the fable requires ; on which account it is near to the above-mentioned error; since he might have introduced some [of the real things as signs].

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 (4)

Περὶ ποιητικῆς (OCR draft) (Aristotle, Poetics. Immanuel Bekker, editor, Aristotelis Opera, volume 2. Oxford: Oxford University Press, 1837.) — 16 focus

Ἀναγνώρισις δὲ τί μέν ἐστιν, εἴρηται πρότερον· εἴδη δὲ ἀναγνωρίσεως, πρώτη μὲν ἡ ἀτεχνοτάτη, καὶ ᾗ πλεῖστοι χρῶνται δι᾿ ἀπορίαν, ἡ διὰ τῶν σημείων.

Τούτων δὲ τὰ μὲν σύμφυτα, οἷον

λόγχην ἣν φοροῦσι Γηγενεῖς

ἢ ἀστέρας οἵους ἐν τῷ Θυέστῃ Καρκίνος, τὰ δὲ ἐπίκτητα, καὶ τούτων τὰ μὲν ἐν τῷ σώματι, οἷον οὐλαί, τὰ δὲ ἐκτός, τὰ περιδέραια, καὶ οἷον ἐν τῇ Τυροῖ διὰ τῆς σκάφης.

Ἔστι δὲ καὶ τούτοις χρῆσθαι ἢ βέλτιον ἢ χεῖρον, οἷον Ὀδυσσεὺς διὰ τῆς οὐλῆς ἄλλως ἀνεγνωρίσθη ὑπὸ τῆς τροφοῦ καὶ ἄλλως ὑπὸ τῶν συβοτῶν·

εἰσὶ γὰρ αἱ μὲν πίστεως ἕνεκα ἀτεχνότεραι, καὶ αἱ τοιαῦται πᾶσαι, αἱ δὲ ἐκ περιπετείας, ὥσπερ ἡ ἐν τοῖς Νίπτροις, βελτίους.

Δεύτεραι δὲ αἱ πεποιημέναι ὑπὸ τοῦ ποιητοῦ, διὸ ἄτεχνοι· οἷον Ὀρέστης ἐν τῇ Ἰφιγενείᾳ ἀνεγνώρισε τὴν ἀδελφήν, ἀναγνωρισθεὶς ὑπ᾿ ἐκείνης· ἐκείνη μὲν γὰρ διὰ τῆς ἐπιστολῆς, ἐκεῖνος δὲ διὰ σημείων.

Ταῦτα οὖν αὐτὸς λέγει ἃ βούλεται ὁ ποιητής, ἀλλ᾿ οὐχ ὁ μῦθος. Διὸ ἐγγὺς τῆς εἰρημένης ἁμαρτίας ἐστίν· ἐξῆν γὰρ ἂν ἔνια καὶ ἐνεγκεῖν. Καὶ ἐν τῷ Σοφοκλέους Τηρεῖ ἡ τῆς κερκίδος φωνή.

Τρίτη δὲ ἡ διὰ μνήμης, τῷ αἰσθέσθαι τι ἰδόντα, ὥσπερ ἡ ἐν Κυπρίοις τοῖς Δικαιογένους, ἰδὼν γὰρ τὴν γραφὴν ἔκλαυσεν, καὶ ἡ ἐν Ἀλκίνου ἀπολόγῳ, ἀκούων γὰρ τοῦ κιθαριστοῦ καὶ μνησθεὶς ἐδάκρυσεν· ὅθεν ἀνεγνωρίσθησαν.

Τετάρτη δὲ ἡ ἐκ συλλογισμοῦ, οἷον ἐν Χοηφόροις, ὅτι ὅμοιός τις ἐλήλυθεν, ὅμοιος δὲ οὐθεὶς ἀλλ᾿ ἢ Ὀρέστης· οὗτος ἄρα ἐλήλυθεν. Καὶ ἡ Πολυείδου τοῦ σοφιστοῦ περὶ τῆς Ἰφιγενείας· εἰκὸς γὰρ τὸν Ὀρέστην συλλογίσασθαι ὅτι ἥ τ᾿ ἀδελφὴ ἐτύθη καὶ αὐτῷ συμβαίνει θύεσθαι. Καὶ ἡ ἐν τῷ τοῦ θεοδέκτου Τυδεῖ, ὅτι ἐλθὼν ὡς εὑρήσων υἱὸν αὐτὸς ἀπόλλυται. Καὶ ἡ ἐν τοῖς Φινείδαις· ἰδοῦσαι γὰρ τὸν τόπον συνελογίσαντο τὴν εἱμαρμένην, ὅτι ἐν τούτῳ εἵμαρτο ἀποθανεῖν αὐταῖς· καὶ γὰρ ἐξετέθησαν ἐνταῦθα.

Ἔστι δέ τις καὶ συνθετὴ ἐκ παραλογισμοῦ τοῦ θεάτρου, οἷον ἐν τῷ Ὀδυσσεῖ τῷ ψευδαγγέλῳ· τὸ μὲν γὰρ τόξον ἔφη γνώσεσθαι ὃ οὐχ ἑωράκει, ὁ δέ, ὡς δι᾿ ἐκείνου ἀναγνωριοῦντος, διὰ τούτου ἐποίησε παραλογισμόν.

Πασῶν δὲ βελτίστη ἀναγνώρισις ἡ ἐξ αὐτῶν τῶν πραγμάτων, τῆς ἐκπλήξεως γιγνομένης δι᾿ εἰκότων, οἷον ἡ ἐν τῷ Σοφοκλέους Οἰδίποδι καὶ τῇ Ἰφιγενείᾳ· εἰκὸς γὰρ βούλεσθαι ἐπιθεῖναι γράμματα. Αἱ γὰρ τοιαῦται μόναι ἄνευ τῶν πεποιημένων σημείων καὶ περιδεραίων.

Δεύτεραι δὲ αἱ ἐκ συλλογισμοῦ.

Περὶ ποιητικῆς (OCR draft) Perseus (Aristotle, De arte poetica liber. Rudolf Kassel, editor. Oxford: Clarendon Press, 1965. Reference edition for passage alignment.) — 16 focus

ἀναγνώρισις δὲ τί μέν ἐστιν, εἴρηται πρότερον· εἴδη 20 δὲ ἀναγνωρίσεως, πρώτη μὲν ἡ ἀτεχνοτάτη καὶ ᾗ πλείστῃ χρῶνται δι’ ἀπορίαν, ἡ διὰ τῶν σημείων.

τούτων δὲ τὰ μὲν σύμφυτα, οἷον λόγχην ἣν φοροῦσι Γηγενεῖς

ἢ ἀστέρας οἵους ἐν τῷ Θυέστῃ Καρκίνος, τὰ δὲ ἐπίκτητα, καὶ τούτων τὰ μὲν ἐν τῷ σώματι, οἷον οὐλαί, τὰ δὲ ἐκτός, οἷον τὰ 25 περιδέραια καὶ οἷον ἐν τῇ Τυροῖ διὰ τῆς σκάφης.

ἔστιν δὲ καὶ τούτοις χρῆσθαι ἢ βέλτιον ἢ χεῖρον, οἷον Ὀδυσσεὺς διὰ τῆς οὐλῆς ἄλλως ἀνεγνωρίσθη ὑπὸ τῆς τροφοῦ καὶ ἄλλως ὑπὸ τῶν συβοτῶν·

εἰσὶ γὰρ αἱ μὲν πίστεως ἕνεκα ἀτεχνότεραι, καὶ αἱ τοιαῦται πᾶσαι, αἱ δὲ ἐκ περιπετείας, ὥσπερ 30 ἡ ἐν τοῖς Νίπτροις, βελτίους.

δεύτεραι δὲ αἱ πεποιημέναι ὑπὸ τοῦ ποιητοῦ, διὸ ἄτεχνοι. οἷον Ὀρέστης ἐν τῇ Ἰφιγενείᾳ ἀνεγνώρισεν ὅτι Ὀρέστης· ἐκείνη μὲν γὰρ διὰ τῆς ἐπιστολῆς, ἐκεῖνος δὲ αὐτὸς λέγει ἃ βούλεται ὁ ποιητὴς ἀλλ’ 35 οὐχ ὁ μῦθος·

διὸ ἐγγύς τι τῆς εἰρημένης ἁμαρτίας ἐστίν, ἐξῆν γὰρ ἂν ἔνια καὶ ἐνεγκεῖν. καὶ ἐν τῷ Σοφοκλέους Τηρεῖ ἡ τῆς κερκίδος φωνή.

ἡ τρίτη διὰ μνήμης, τῷ αἰσθέσθαι 1455a 1 τι ἰδόντα, ὥσπερ ἡ ἐν Κυπρίοις τοῖς Δικαιογένους, ἰδὼν γὰρ τὴν γραφὴν ἔκλαυσεν, καὶ ἡ ἐν Ἀλκίνου ἀπολόγῳ, ἀκούων γὰρ τοῦ κιθαριστοῦ καὶ μνησθεὶς ἐδάκρυσεν, ὅθεν ἀνεγνωρίσθησαν.

τετάρτη δὲ ἡ ἐκ συλλογισμοῦ, οἷον ἐν Χοηφόροις, ὅτι 5 ὅμοιός τις ἐλήλυθεν, ὅμοιος δὲ οὐθεὶς ἀλλ’ ἢ Ὀρέστης, οὗτος ἄρα ἐλήλυθεν. καὶ ἡ Πολυίδου τοῦ σοφιστοῦ περὶ τῆς Ἰφιγενείας· εἰκὸς γὰρ ἔφη τὸν Ὀρέστην συλλογίσασθαι ὅτι ἥ τ’ ἀδελφὴ ἐτύθη καὶ αὐτῷ συμβαίνει θύεσθαι. καὶ ἐν τῷ Θεοδέκτου Τυδεῖ, ὅτι ἐλθὼν ὡς εὑρήσων τὸν υἱὸν αὐτὸς 10 ἀπόλλυται. καὶ ἡ ἐν τοῖς Φινείδαις· ἰδοῦσαι γὰρ τὸν τόπον συνελογίσαντο τὴν εἱμαρμένην ὅτι ἐν τούτῳ εἵμαρτο ἀποθανεῖν αὐταῖς, καὶ γὰρ ἐξετέθησαν ἐνταῦθα.

ἔστιν δέ τις καὶ συνθετὴ ἐκ παραλογισμοῦ τοῦ θεάτρου, οἷον ἐν τῷ Ὀδυσσεῖ τῷ 14 ψευδαγγέλῳ· τὸ μὲν γὰρ τὸ τόξον ἐντείνειν, ἄλλον δὲ 14a μηδένα, πεποιημένον ὑπὸ τοῦ ποιητοῦ καὶ ὑπόθεσις, 14b καὶ εἴ γε τὸ τόξον ἔφη γνώσεσθαι ὃ οὐχ 15 ἑωράκει· τὸ δὲ ὡς δι’ ἐκείνου ἀναγνωριοῦντος διὰ τούτου ποιῆσαι παραλογισμός.

πασῶν δὲ βελτίστη ἀναγνώρισις ἡ ἐξ αὐτῶν τῶν πραγμάτων, τῆς ἐκπλήξεως γιγνομένης δι’ εἰκότων, οἷον ἐν τῷ Σοφοκλέους Οἰδίποδι καὶ τῇ Ἰφιγενείᾳ· εἰκὸς γὰρ βούλεσθαι ἐπιθεῖναι γράμματα. αἱ γὰρ τοιαῦται 20 μόναι ἄνευ τῶν πεποιημένων σημείων καὶ περιδεραίων.

δεύτεραι δὲ αἱ ἐκ συλλογισμοῦ.

Poetics, Greek text (Ingram Bywater, 1909) (OCR draft) Experimental (Ingram Bywater's Greek text of Aristotle's Poetics, published in 1909.) — 16 focus

Ἀναγνώρισις δὲ τί μέν ἐστιν, εἴρηται πρότερον· εἴδη
δὲ ἀναγνωρίσεως, πρώτη μὲν ἡ ἀτεχνοτάτη καὶ πλείστῃ
χρῶνται δι᾽ ἀπορίαν, ἡ διὰ τῶν σημείων.

τούτων δὲ τὰ μὲν
σύμφυτα, οἷον “λόγχην ἣν φοροῦσι Γηγενεῖς”

ἢ ἀστέρας
οἵους ἐν τῷ Θυέστῃ Καρκίνος, τὰ δὲ ἐπίκτητα, καὶ τούτων
τὰ μὲν ἐν τῷ σώματι, οἷον οὐλαί, τὰ δὲ ἐκτός, τὰ περιδέραια
καὶ οἷον ἐν τῇ Τυροῖ διὰ τῆς σκάφης.

ἔστιν δὲ καὶ
τούτοις χρῆσθαι ἢ βέλτιον ἢ χεῖρον, οἷον ὁ Ὀδυσσεὺς διὰ
τῆς οὐλῆς ἄλλως ἀνεγνωρίσθη ὑπὸ τῆς τροφοῦ καὶ ἄλλως
ὑπὸ τῶν συβοτῶν·

εἰσὶ γὰρ αἱ μὲν πίστεως ἕνεκα ἀτεχνότεραι,
καὶ αἱ τοιαῦται πᾶσαι, αἱ δὲ ἐκ περιπετείας, ὥσπερ
ἡ ἐν τοῖς Νίπτροις, βελτίους.

δεύτεραι δὲ αἱ πεποιημέναι
ὑπὸ τοῦ ποιητοῦ, διὸ ἄτεχνοι. οἷον ὁ Ὀρέστης ἐν τῇ
Ἰφιγενείᾳ ἀνεγνώρισεν ὅτι Ὀρέστης· ἐκείνη μὲν γὰρ διὰ τῆς
ἐπιστολῆς, ἐκεῖνος δὲ αὐτὸς λέγει ἃ βούλεται ὁ ποιητὴς ἀλλ᾽
οὐχ ὁ μῦθος·

διό τι ἐγγὺς τῆς εἰρημένης ἁμαρτίας ἐστίν, ἐξῆν
γὰρ ἂν ἔνια καὶ ἐνεγκεῖν. καὶ ἐν τῷ Σοφοκλέους Τηρεῖ ἡ
τῆς κερκίδος φωνή.

ἡ τρίτη διὰ μνήμης, τῷ αἰσθέσθαι
τι ἰδόντα, ὥσπερ ἡ ἐν Κυπρίοις τοῖς Δικαιογένους, ἰδὼν γὰρ
τὴν γραφὴν ἔκλαυσεν, καὶ ἡ ἐν Ἀλκίνου ἀπολόγῳ, ἀκούων
γὰρ τοῦ κιθαριστοῦ καὶ μνησθεὶς ἐδάκρυσεν, ὅθεν ἀνεγνωρίσθησαν.

τετάρτη δὲ ἡ ἐκ συλλογισμοῦ, οἷον ἐν Χοηφόροις,
ὅτι ὅμοιός τις ἐλήλυθεν, ὅμοιος δὲ οὐθεὶς ἀλλ᾽ ἢ ὁ Ὀρέστης,
οὗτος ἄρα ἐλήλυθεν. καὶ ἡ Πολυίδου τοῦ σοφιστοῦ περὶ τῆς
Ἰφιγενείας· εἰκὸς γὰρ τὸν Ὀρέστην συλλογίσασθαι ὅτι ἥ τ᾽
ἀδελφὴ ἐτύθη καὶ αὐτῷ συμβαίνει θύεσθαι. καὶ ἐν τῷ
Θεοδέκτου Τυδεῖ, ὅτι ἐλθὼν ὡς εὑρήσων υἱὸν αὐτὸς ἀπόλλυται.
καὶ ἡ ἐν τοῖς Φινείδαις· ἰδοῦσαι γὰρ τὸν τόπον συνελογίσαντο
τὴν εἱμαρμένην ὅτι ἐν τούτῳ εἵμαρτο ἀποθανεῖν
αὐταῖς, καὶ γὰρ ἐξετέθησαν ἐνταῦθα.

ἔστιν δέ τις καὶ συνθετὴ
ἐκ παραλογισμοῦ τοῦ θατέρου, οἷον ἐν τῷ Ὀδυσσεῖ τῷ
ψευδαγγέλῳ· τὸ μὲν γὰρ τὸ τόξον ἔφη γνώσεσθαι ὃ οὐχ
ἑωράκει, τὸ δὲ ὡς δὴ ἐκείνου ἀναγνωριοῦντος διὰ τούτου
ποιῆσαι παραλογισμός.

πασῶν δὲ βελτίστη ἀναγνώρισις ἡ ἐξ
αὐτῶν τῶν πραγμάτων τῆς ἐκπλήξεως γιγνομένης δι᾽ εἰκότων,
οἷον τὸ ἐν τῷ Σοφοκλέους Οἰδίποδι καὶ τῇ Ἰφιγενείᾳ·
εἰκὸς γὰρ βούλεσθαι ἐπιθεῖναι γράμματα. αἱ γὰρ τοιαῦται
μόναι ἄνευ τῶν πεποιημένων σημείων καὶ δεραίων.

δεύτεραι
δὲ αἱ ἐκ συλλογισμοῦ.

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.) — 16 focus

Αναγνώρισις δὲ τί μέν ἐστιν, εἴρηται πρότερον εἴδη δὲ ἀναγνωρίσεως, πρώτη μὲν ἡ ἀτεχνοτάτη, καὶ ᾗ πλεῖστοι χρῶνται δι᾽ ἀπορίαν, ἡ διὰ τῶν σημείων.

τούτων δὲ τὰ μὲν σύμφυτα, οἷον “λόγχην ἣν φοροῦσι Γηγενεῖς”

ἢ ἀστέρας οἷους ἐν τῷ Θυέστῃ Καρκίνος, τὰ δὲ ἐπίκτητα, καὶ τούτων τὰ μὲν ἐν τῷ σώματι, οἷον οὐλαί, τὰ δὲ ἐκτός, τὰ περιδέραια, καὶ οἷον ἐν τῇ Τυροῖ διὰ τῆς σκάφης.

ἔστι δὲ καὶ τούτοις χρῆσθαι ἢ βέλτιον ἢ χεῖρον, οἷον Ὀδυσσεὺς διὰ τῆς οὐλῆς ἄλλως ἀνεγνωρίσθη ὑπὸ τῆς τροφοῦ καὶ ἄλλως ὑπὸ τῶν συβοτῶν·

δεύτεραι δὲ αἱ πεποιημέναι ὑπὸ τοῦ ποιητοῦ, διὸ ἄτεχνοι· οἷον Ὀρέστης ἐν τῇ Ιφιγενείᾳ ἀνεγνώρισεν ὅτι Ὀρέστης· ἐκείνη μὲν γὰρ διὰ τῆς ἐπιστολῆς, ἐκεῖνος δὲ αὐτὸς λέγει ἃ βούλεται ὁ ποιητής, ἀλλ' οὐχ ὁ μῦθος.

διότι¹ ἐγγὺς τῆς εἰρημένης ἁμαρτίας ἐστίν· ἐξῆν γὰρ ἂν ἔνια καὶ ἐνεγκεῖν. καὶ ἐν τῷ Σοφοκλέους Τηρεῖ “ἡ τῆς κερκίδος φωνή.” τρίτη δὲ

ἡ διὰ μνήμης, τῷ αἰσθέσθαι τι ἰδόντα, ὥσπερ ἡ ἐν Κυπρίοις τοῖς Δικαιογένους, ἰδὼν γὰρ τὴν γραφὴν ἔκλαυσεν, καὶ ἡ ἐν Ἀλκίνου ἀπολόγῳ, ἀκούων γὰρ τοῦ κιθαριστοῦ καὶ μνησθεὶς ἐδάκρυσεν· ὅθεν ἀνεγνωρίσθησαν.

τετάρτη δὲ ἡ ἐκ συλλογισμοῦ, οἷον ἐν Χοηφόροις, ὅτι ὅμοιός τις ἐλήλυθεν, ὅμοιος δὲ οὐθεὶς ἀλλ᾽ ἢ Ὀρέστης· οὗτος ἄρα ἐλήλυθεν. καὶ ἡ Πολυείδου τοῦ σοφιστοῦ περὶ τῆς Ἰφιγενείας· εἰκὸς γὰρ τὸν Ὀρέστην συλλογίσασθαι ὅτι ἥ τ᾽ ἀδελφὴ ἐτύθη καὶ αὐτῷ συμβαίνει θύεσθαι. καὶ ἡ ἐν τῷ τοῦ Θεοδέκτου Τυδεῖ, ὅτι ἐλθὼν ὡς εὑρήσων υἱὸν αὐτὸς ἀπόλλυται. καὶ ἡ ἐν τοῖς Φιν²είδαις· ἰδοῦσαι γὰρ τὸν τόπον συνελογίσαντο τὴν εἱμαρμένην, ὅτι ἐν τούτῳ εἵμαρτο ἀποθανεῖν αὐταῖς· καὶ γὰρ ἐξετέθησαν ἐνταῦθα.

ἔστι δέ τις καὶ συνθετὴ ἐκ παραλογισμοῦ τοῦ θεάτρου, οἷον ἐν τῷ Ὀδυσσεῖ τῷ ψευδαγγέλῳ· τὸ μὲν γὰρ τόξον ἔφη γνώσεσθαι ὃ οὐχ ἑωράκει, τὸ δέ, ὡς δι᾽ ἐκείνου ἀναγνωριοῦντος, διὰ τούτου ἐποίησε παραλογισμόν.

πασῶν δὲ βελτίστη ἀναγνώρισις ἡ ἐξ αὐτῶν τῶν πραγμάτων, τῆς ἐκπλήξεως γιγνομένης δι᾿ εἰκότων, οἷον ἡ ἐν τῷ Σοφοκλέους Οἰδίποδι καὶ τῇ Ἰφιγενείᾳ· εἰκὸς γὰρ βούλεσθαι ἐπιθεῖναι γράμματα. αἱ γὰρ τοιαῦται μόναι ἄνευ τῶν πεποιημένων σημείων καὶ περιδεραίων.

δεύτεραι δὲ αἱ ἐκ συλλογισμοῦ.

Translations (13)

Poetics (W. H. Fyfe) (OCR draft) Perseus (William Hamilton Fyfe's English translation of Aristotle's Poetics, Loeb Classical Library, 1939 printing.) — 16 focus

What a Discovery is has been already stated.¹ 20 As for kinds of Discovery, first comes the least artistic kind, which is largely used owing to incompetence—discovery by tokens.

These may be congenital, like the spear the Earth-born bear or stars, like those which Carcinus² uses in his Thyestes³;

or they may be acquired and these may be on the body, for instance, wounds, or external things like necklaces, and in the Tyro⁴ the discovery by means of the boat.

There is a better and a worse way of using these tokens; for instance Odysseus, by means of his wound, was discovered in one way by the nurse and in another way by the swine-herds.⁵

Discovery scenes constructed to prove the point are inartistic and so are all such scenes, but those are better which arise out of a reversal scene, as, for instance, in The Washing.⁶

In the second place come those which are manufactured by the poet and are therefore inartistic. For instance, in the Iphigeneia⁷ Orestes revealed himself. She was revealed to him through the letter,

but Orestes says himself what the poet wants and not what the plot requires. So this comes near to the fault already mentioned, for he might just as well have actually brought some tokens.⁸ And there is the voice of the shuttle⁹ In Sophocles’ Tereus.

The third kind is due to memory, to showing distress on seeing something. 1455a 1 An example of this is the scene in the Cyprians by Dicaeogenes; on seeing the picture he burst into tears¹⁰: and again in the Tale of Alcinous,¹¹ hearing the minstrel he remembered and burst into tears; and thus they were recognized.

The fourth kind results from an inference; for instance, in the Choephoroe Someone like me has come; but nobody is like me except Orestes; therefore he has come. And there is Polyidus’s¹² idea about Iphigeneia, for it is likely enough that Orestes should make an inference that, whereas his sister was sacrificed, here is the same thing happening to him. And in Theodectes’ Tydeus that having come to find a son, he is perishing himself. And the scene in the Phineidae, where on seeing the spot the women inferred their fate, that they were meant to die there for it was there that they had been exposed.¹³

There is also a kind of fictitious discovery which depends on a false inference on the part of the audience, for instance in Odysseus the False Messenger, he said he would recognize the bow, which as a matter of fact he had not seen, but to assume that he really would reveal himself by this means is a false inference.¹⁴

Best of all is the discovery which is brought about directly by the incidents, the surprise being produced by means of what is likely—take the scene in Sophocles’ Oedipus or in the Iphigeneia—for it is likely enough that she should want to send a letter. These are the only discovery scenes which dispense with artificial tokens, like necklaces.¹⁵

20 In the second place come those that are the result of inference.

Arabic Poetics (Badawī edition, 1953) (OCR draft) (The ancient Arabic translation of Aristotle's Poetics in ʿAbd al-Raḥmān Badawī's 1953 edition.) — 16 focus

〈فى الاستدلالات〉

وقد تكلم أيضاً فى الاستدلال. وأما أنواع الاستدلالات فمنها أولاً ذلك الذى هو بلا صناعة، وهو الذى يستعمله كثيرون بسبب الشك، 〈وهو الذى يكون〉 بتوسط العلامات. 〈أ〉ما كان منها متهيئة، فبمنزلة «الحربة التى كان يتمسك بها المعروفون بغاغانس» أو الكواكب بمنزلة التى «بثواسطس» الشبيهة بالسرطان ومنها ما هى مقتناة بمنزلة التى تمسك باليد وتوضع على الجسم بمنزلة الطوق فى العنق والسيف باليد.

وقد يمكن أن تستعمل هذه إما بالفاضلة منها، وإما بالرذلة، بمنزلة ما عرف أودوسوس بالبثرة التى كانت فى رجله من مربيته [على جهة أخرى] ومما حزره على جهة أخرى. وذلك أن منها ما هو فى أمر التصديق أكثر فى باب الصناعة، وجميع هذه التى هى أمثالها؛ ومنها ما يوجد فيها الإدارة والتقليب أكثر، مثل أن هذه التى تكون بالتغسل أجود.

والثوانى التى علمها الشاعر لهذا السبب بلا صناعة مثل جانب المعروفة بباغانيا، وهو الذى به استدلت إباغانيا أنه أرسطس. وذلك أنه أما تلك فبالرسالة إلى ذاك، وأما هذا فيخبر بما يريده الشاعر، لا الخرافة وحكاية الحديث. ولهذا السبب صارهذا بالقرب من الزلل الذى خبر به. وقد يوجد آخر يقتضب بحسب هذا الرأى، وهذه فيما قاله سوفقلس من أنه سمع صوت ساعد يمتهن.

والثالث هو أن يكون ينال الانسان أن يحس عندما يرى، كالحال فيما كان بأهل ديقوغانس فى قبرس، فانه قال إنه لما رأى الكتابات بكى؛ وكذلك أمر أهل ألقينس من القول، فانه لما سمع العواد وتذكر، دمع؛ ومن هناك عرف بعضهم بعضا.

وأما الرابع فما يخطر بالفكر بمنزلة أنه أتى من هو شبيه بالمكفنين لانسان، ولم يأت أحد يشبه إلا أرسطس. فهذا إذاً هو الذى أتى. وأما السوفسطائى فعندما نظر فى الأمور نظراً كثيراً قبل إيباغانيا على الحقيقة ظن بأرسطس أنه هو نفسه فكر أن أخته ذبحت، وأنه عرض أنها إنما كانت تضحى له. وقال أيضاً ثا أودقطس أنه عندما لسفيندس من أنها عندما جاءت ونظرت إلى الموضع فكرت فى باب القضاء وأخطرته ببالها أنه جميعهن بهذا قضى عليهم أن يمتن، وذلك أنهم يتخرجون بالأمر.

وقد يوجد ضرب آخر أيضاً مركب 〈هو〉 المأخوذ من مغالطة القياس التى لثااطرن بمنزلة ما فيما دون من أمر «أودوسيا ذلك المبشر الطاهر»؛ وذلك أن من القوس زعم أنه ليس يمكن إنسان آخر. فقد قال ذلك الشاعر، والخبر أيضاً الذى أتى فى ذلك قد خبر فيه فى أمر القوس ليعرف ما لم يروا ما القول أنه بتوسط ذاك كانت تعرف، ففى هذا كانت المغالطة فى القياس.

غير أن الاستدلال الفاضل على كل شىء فهو المأخوذ من أمور الفعل الإرادى، ولذلك مثل هذا أرى سوفقلس فى «أوديفس» وفى «إباغانيا» أيضاً. وذلك أنه قد كان يريد على الحقيقة أن يدون فى ذلك كلام. وذلك أن هذه الأمور هى وحدها فقط بلا أشياء معمولة، وبلا أشياء فى العنق. والثانى من القياس.

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.) — 16 focus

What Recognition is has been already explained.
We will now enumerate its kinds.
First, the least artistic form, which, from poverty of
wit, is most commonly employed — recognition by signs.

Of these some are
congenital, such as 'the spear which the earth-born race bear on
their bodies,'

or the stars
introduced by Carcinus in his Thyestes.
Others are
acquired after birth; and of these some are bodily marks,
as scars;
some external tokens, as necklaces, or the little
ark in the Tyro by which the discovery is effected.

Even
these admit of more or less skilful treatment.
Thus in
the recognition of Odysseus by his scar, the discovery is
made in one way by the nurse, in another by the swine-
herds.

The use of tokens for the express purpose of proof
— and, indeed, any formal proof with or without tokens
— is a less artistic mode of recognition.
A better kind
is that which comes about by a turn of incident, as in
the Bath Scene in the Odyssey.

Next come the recognitions invented at will by the
poet, and on that account wanting in art.
For example,
Orestes in the Iphigenia reveals the fact that he is
Orestes.
She, indeed, makes herself known by the letter;

but he, by speaking himself, and saying what the poet,
not what the plot requires.
This, therefore, is nearly
allied to the fault above mentioned: — for Orestes might
as well have brought tokens with him. And in the Tereus of
Sophocles the 'voice of the shuttle.'

The third kind depends on memory when the sight of
some object awakens a feeling: as in the Cyprians of
Dicaeogenes, where the hero breaks into tears on seeing
the picture;
or again in the 'Lay of Alcinous,' where
Odysseus, hearing the minstrel play the lyre, recalls the
past and weeps;
and hence the recognition.

The fourth kind is by process of reasoning. Thus in
the Choëphori: — 'Some one resembling me has come:
no one resembles me but Orestes: therefore Orestes has
come.'
Such too is the discovery made by Iphigenia
in the play of Polyidus the Sophist.
It was a natural
reflexion for Orestes to make, 'So I too must die at the
altar like my sister.'
So, again, in the Tydeus of
Theodectes, the father says, 'I came to find my son, and
I lose my own life.'
So too in the Phineidae: the
women, on seeing the place, inferred their fate: — 'Here
we are doomed to die, for here we were cast forth.'

Again, there is a composite kind of recognition involving
false inference on the part of one of the characters, as in
the Odysseus Disguised as a Messenger.
A said that
no one else was able to bend the bow; hence B
(the disguised Odysseus) imagined that A would recognize
the bow which, in fact, he had not seen; and to bring
about a recognition by this means — the expectation that A
would recognize the bow — is false inference.

But, of all recognitions, the best is that which arises
from the incidents themselves, where the startling dis-
covery is made by natural means.
Such is that in the
Oedipus of Sophocles, and in the Iphigenia;
for it was
natural that Iphigenia should wish to dispatch a letter.
These recognitions alone dispense with the artificial aid
of tokens or amulets.

Next
come the recognitions by process of reasoning.

Aristotle on the Art of Poetry (Ingram Bywater, 1909) (OCR draft) Experimental (Ingram Bywater's English translation of Aristotle's Poetics, published in 1909.) — 16 focus

Discovery in general has been explained already. As
for the species of Discovery, the first to be noted is (1) the
least artistic form of it, of which the poets make most use
through mere lack of invention, Discovery by signs or marks.

Of these signs some are congenital, like the 'lance-head
which the Earth-born have on them,'
or 'stars,' such as
Carcinus brings in in his Thyestes;

others acquired after birth
—these latter being either marks on the body, e. g. scars, or
external tokens, like necklaces, or to take another sort of
instance, the ark in the Discovery in Tyro.

Even these,
however, admit of two uses, a better and a worse; the
scar of Ulysses is an instance; the Discovery of him through
it is made in one way by the nurse and in another by the
swineherds.

A Discovery using signs as a means of assu-
rance is less artistic, as indeed are all such as imply reflexion;
whereas one bringing them in all of a sudden, as in the
Bath-story, is of a better order.

Next after these are (2)
Discoveries made directly by the poet; which are inartistic
for that very reason; e.g.
Orestes' Discovery of himself in
Iphigenia: whereas his sister reveals who she is by the letter,
Orestes is made to say himself what the poet rather than
the story demands.

This, therefore, is not far removed
from the first-mentioned fault, since he might have presented
certain tokens as well. Another instance is the 'shuttle's
voice' in the Tereus of Sophocles.

(3) A third species is
Discovery through memory, from a man's consciousness
being awakened by something seen or heard. Thus in The
Cyprioe of Dicaeogenes, the sight of the picture makes
the man burst into tears; and in the Tale of Alcinous,
hearing the harper Ulysses is reminded of the past and
weeps; the Discovery of them being the result.

(4) A fourth
kind is Discovery through reasoning; e.g. in The Choephoroe:
'One like me is here; there is no one like me but Orestes;
he, therefore, must be here.' Or that which Polyidus the
Sophist suggested for Iphigenia; since it was natural for
Orestes to reflect: 'My sister was sacrificed, and I am to
be sacrificed like her.' Or that in the Tydeus of Theodectes:
'I came to find a son, and am to die myself.' Or that in
The Phinidae: on seeing the place the women inferred their
fate, that they were to die there, since they had also been
exposed there.

(5) There is, too, a composite Discovery
arising from bad reasoning on the side of the other party.
An instance of it is in Ulysses the False Messenger: he
said he should know the bow—which he had not seen;
but to suppose from that that he would know it again (as
though he had once seen it) was bad reasoning.

(6) The
best of all Discoveries, however, is that arising from the
incidents themselves, when the great surprise comes about
through a probable incident, like that in the Oedipus of
Sophocles; and also in Iphigenia; for it was not improbable
that she should wish to have a letter taken home. These
last are the only Discoveries independent of the artifice
of signs and necklaces.

Next after them come Discoveries
through reasoning.

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.) — 16.6 focus

Secondly-Discoveries invented, at pleasure, by the Poet, and, on that account, still inartificial. For example; in the Iphigenia, Orestes, after having discovered his sister, discovers himself to her. She, indeed, is discovered by the letter; but Orestes, by [verbal proofs:] and these are such, as the Poet chuses to make him produce, not such, as arise from the circumstances of the fable¹. This kind of discovery, therefore, borders upon the fault of that first mentioned: for, some of the things from which those proofs are drawn, are even such, as might have been actually produced as visible signs.

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.) — 16.6 focus

but from saying what the poet chose to put in his mouth; therefore this borders on the error blamed in the first mentioned species, since some [G] of the things from which the proofs are drawn might have been introduced themselves as visible tokens. The same objection may be made to the discovery by the voice of the shuttle [H], in the Tereus¹²³⁴

The third form is by recollection, either when the sight of some object causes the discovery as in the Cyprii of D.cæogenes, where a person bursts into tears, on seeing a picture; or as in the fable of Alcinous, Ulyfies hearing the musician and remembering the story, weeps and is thence discovered. The fourth is by reasoning. As, in the Coephori, Electra reasons thus [1] : A person resembling me is arrived but no one resembles • me except Orestes, therefore Orestes is arrived.' And in the tragedy of Iphigenia, written by Polyides the sophist, it is natural for Orestes to reason thus: My sister was sacrificed and I am going to be facri- • ficed likewise.' Or as in the Tydeus of Theodectus, where it is said [K], ' A person coming to see his son, is destroyed himself.' Or as in the Phinidæ, where, seeing the place to which they are conducted and reasoning on the response of the oracle, they conclude they are doomed to perish there as it is the place where they were exposed. There is also a compound species of discovery arising from a false reasoning of the spectators. As [L] in the Ulysses Pfeudangelus, where he says⁵⁶⁷

he shall know the bow which he has never seen and the spectator [м], reasoning falsely, supposes he is discovered by those means.

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.) — 16 focus

[Agnitio quid sit, ante dictum est: species autem agnitionis, et prima quidem maxime rudis, et qua plerique utuntur propter consilii inopiam, quae fit per signa.

horum autem alia innata sunt,

ut "hastam quam gestant Terrigenae" vel stellas quales in Thyeste Carcinus, alia adquisita, et horum alia in corpore, ut cicatrices, alia extra, monilia, et quemadmodum in Tyrone per scapham.

licet vero etiam his uti aut melius aut peius, sicut Ulixes per cicatricem aliter agnitus est a nutrice et aliter a subulcis:

sunt enim quae fidei causa fiunt rudiores, et quaecumque huiusmodi, sed quae ex inopinato casu, ut quae in Niptris, meliores.

secundae autem sunt quae fictae a poeta, quare rudes; sic Orestes in Iphigenia notum fecit se esse Orestem: illa enim per epistolam, ille autem ipse dicit quae vult poeta, sed non fabula.

quapropter prope abest a dicto peccato: nam nonnulla ctiam gestare poterat. atque in Sophoclis Tereo “radii vox." tertia autem quae recordatione fit,

cum aliquid conspiciens commovetur, quemadmodum illa in Cypriis Dicaeogenis, conspiciens enim picturam lacrimavit, et illa in Alcini apologo, audiens enim citharoedum et recordatus lacrimnas fudit; inde noti ficti sunt.

quarta autem quae fit per conclusionem, sicut in Chocphoris: scilicet similis aliquis venit, similis autem nemo nisi Orestes: is igitur venit. et illa Polyidi sophistae circa Iphigeniam verisimile enim Orestem concludere, quoniam soror mactata esset, se quoque mactatum iri. et quae in Theodectis Tydeo, quoniam venerit filium inventurus, se ipsum interiturum esse. et quae in Phinidis; conspicatae enim locum quod fatale erat collegerunt, scilicet in hoc sibi moriendum esse : ibi enim etiam expositae erant.

est vero etiam quaedam composita ex falsa ratiocinatione theatri, ut in Ulixe mendace nuntio: arcum enim aiebat se agniturum esse quem non viderat, illud autem, quasi per hoc agniturus esset, sic falsam rationem iniit.

omnium autem optima agnitio est quae fit ex ipsis factis, stupore per verisimilia excitato, quemadmodum illa in Sophoclis Oedipo atque in Iphigenia: nam verisimile est tradere velle litteras. tales enim solae sine fictis signis et monilibus.

proximae autem quae fiunt ex conclusione.]

La poëtique d'Aristote (André Dacier, 1692) (OCR draft) Experimental (André Dacier's French translation of Aristotle's Poetics, published in 1692.) — 16.6 focus

La ſeconde eſpece de reconnoiſſance eſt celle qui eſt imaginée par le Poëte, voilà pourquoy elle eſt ſans art. C'eſt ainſi que dans l'Iphigenie d'Euripide, Oreſte ayant reconnu ſa fœur par le moyen d'une Lettre, eſt reconnu d'elle à certaines enſeignes qu'il luy donne; car c'eſt le Poëte qui dit alors tout ce qu'il veut; ce n'eſt pas ſon ſujet qui parle & qui s'explique. Auſſi cette reconnoiſſance tombe-t-elle preſque dans le même défaut, dont j'ay déja parlé, car le Poëte avoit la liberté de faire reconnoître Oreſte par Iphigenie à tels autres ſignes qu'il auroit voulu, & qu'Oreſte auroit pû porter.

Poetica d'Aristotile (Bernardo Segni, 1549) (OCR draft) Experimental (Bernardo Segni's 1549 Florentine Italian translation, aligned to the Kassel reference passage sequence.) — 16 focus

Ella Ricognitione, che che ella fia n'ho io detto innazi. Spetie d'effa,& la principale,è quella, che mancando d'artificio (& nondimanco vſata da piu) fi fa ò per via di dubitatione, ò per via di ſegni.¹

Et queſta vltima parte fi diuide in ſegni ingenerati inſieme(come è la Lancia, che ſogliono portare i figliuoli della Terra ò le ſtelle, ficome l'uſanel ſuo Thieſte Carcino) ò in ſegni acquiſtati di fuori;

parte de'quali ne ſieno ò nel corpo ſteſſo impreſsi, come ſono le margini, ò che di fuori ſe gli accoſtino, come fono le Collane: & come è nella Fauola detta Tiro la Scafa.

Poſſonſitali vſare in migliore, & in peggior modo, ſicome interuenne à Vliffe, che per via della margine fu riconoſciuto della Balia in vn modo,& da' guardiani de'porci in vnaltro. Che inuero tutte queſte ſimili ricognitioni, che in tal modo s'acquiſtano fede, mancano d'artifitio.

Et migliori fono quelle ricognitioni, che fi fan per via della Peripetia, come ſono quelle della Tragedia detta Nittre, Nel ſecondo luogo di bontà ſono quelle Ricogni tioni, le quali eſſendo finte da eſsi Poeti, però non man cano d'artificio;ficome è l'Oreſte nella Ifigenia, che co nobbe la forella, & fu da lei cognofciuto egli la conobbe per via d' una lettera, & da lei fu riconoſciuto per via della haſta di Pelope.

Queſte Recognitioni intal modo fatte il Poeta le finge come gli piace e; ; & non le finge effa Fauola: laonde elle caſcano ageuolmente nello errore ſopra detto.

Che egli è ben lecito di produrne alcune, ficome è nel Thereo di Sofocle prodotta la voce dalla ſcuola da teſsere. La terza ſpetie di Recognitione fi fa per via della memoria, cioè nel conofcere vna coſa mentre che vno la riguarda; ficome è nella Fauola di Diceogene chiamata Ciprii, doue colui riſguardando quella immagine dipinta, pianſe.

Et acome è nella Odiſſea quella, che è nell'Apologo d'Al cinoo; doue Vliffe vdendo il fonatore della Cetera, ritornando in memoria,pianfe; & perciò fu riconoſciuro. La quarta ſpetie d'eſſa ſi fa per via del Silogifmo, co meenella Cleofove; Che egliera cioè venuto vn certo fimile, & che nelluno l'era fimile, in fuori che Oreftes adunche egli era venuto Orefte.

Et come è detto da яя ( Polide Sofiſta di Ifigenia, Egli è, diſſe, verifimile che Oreſte haueſſe diſcorſo, che eſſendo ſtata facrificata la forella, à lui parimente doueffe incontrare il medefimo. Et come è nella Fauola di Teodette detta il Tideo;doue colui, che viene per trouare il ſuo figliuolo, è ammazzato. Et come è nella Fauola detta Fenide, do ue coloro, hauendo rifguardato il luogo,conchiuſono, quiui ſopraſtare loro il fato, che haueua predetto loro, che elle doueuon' quiui morire; conciofia che in detto luogo elle fuſsino ſtate eſpoſte:

A' queſta anchora s'aggiugne quella, che ſi fa nel Teatro per via del falfo Silo gifmo, come fi vede nello Vliſſe chiamato Non vero nuntio, che quiui è vno, che dice eſſere per conoſcer quello arco, il quale e' non haueua veduto, & quell'al tro, come ſe tale arco doueſſe da lui eſſere riconoſciuto: però vi fece la conclufion' falſa.

Ottima Ricognitione infra tutte è quella, che, dalle cofe ſteſſe nafcendo, commuoue gli animi à marauiglia per via de' verifimili; come è quella dello Edippo di Sofocle, & della Ifigenia per effer' verifimil cofa, che ella defideraffe di fcriuergli.Conciofia che tali recognitionı fole ſi facci no & ſenza ſegni finti, & ſenza gli eſtrinfechi; come fo no le collane :

& nel ſecondo luogo ſono quelle, che fi fanno per via del Silogifmo

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.) — 16 focus

Ac agnitio quid sit, dictum est prius. species autem agnitionis prima est, quae maxime expers est artis et qua plurimi utuntur propter penuriam,

quae per signa fit; eaque partim innata, ut lanceam quam Terrigenae ferunt, aut stellas, quales in Thyeste dicit Carcinus;

partim adventicia, aut in corpore, ut cicatrices, aut extra, ut monilia, et ut in Tyrone per scapham.

ac licet his uti vel melius vel peius, ut Ulysses per cicatricem aliter agnitus est a nutrice, aliter a subulcis.

et sunt quidem, quae fidei causa adhibentur, magis artis expertes, etiam huiusmodi omnes. quae vero ex peripetia, ut quae in Niptris, meliores. secundae sunt quae a poëta factae sunt. itaque expertes artis, ut Orestes in Iphigenia agnovit sororem agnitus ab ipsa.

haec quidem agnita per epistolam, ille vero per signa. ac ipse quidem dicit quae vult poëta, sed non fabula.

quare a dicto peccato non longe abest (licebat enim quaedam interponere) etiam in Sophoclis Tereo radii vox. tertia agnitio est quae per memoriam fit, cum quis sentit aliquid videndo, ut quae in Cypriis Dicaeogenis: cum enim picturam inspexisset, luxit; et quae in Alcinoi apologo: citharoedum audiens et recordatus lacrimavit;

unde agniti sunt. quarta quae ex syllogismo, ut in Choephoris, quia similis quidam venit: atqui similis nullus praeterquam Orestes: ergo iste venit.

et quae Polyidis sophistae de Iphigenia: verisimile namque est Orestem ratiocinari et sororem immolatam esse et ipsi contingere immolari. et in Tydeo Theodectis, quod cum venisset ut inventurus filium, ipse periit. et quae in Phoenicibus: cum enim locum vidissent, ratiocinatae sunt fatum, quod fato statutum esset ipsis moriendum esse: etenim ibi expositae sunt.

est etiam quaedam composita ex paralogismo theatri, ut in Ulysse falso nuntio: hic enim inquit se arcum cogniturum, quem non viderat; ille vero quasi is agnovisset, propterea paralogismum fecit. omnium autem optima agnitio est, quae ex ipsis rebus est, facta consternatione per verisimilia,

ut in Sophoclis Oedipode et in Iphigenia: verisimile enim est eam velle dare litteras: tales enim solae sine factis signis et monilibus sunt.

at secundae sunt quae per syllogismum fiunt.

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.) — 16 focus

Anagnorisis autem quid quidem sit, dictum est prius;

species autem anagnoriseos, prima quidem inartificiosissima et qua plurima utuntur propter defectum,

que per signa. Horum autem hec quidem connaturalia, puta «lancea quam ferunt terrigene » aut «stellas » quales in Thyeste Cancros,

hec autem adventitia, et horum hec quidem in corpore, puta cicatrices, hec autem extra, puta que circa collum et que in Tyrei per skafam. —

Est autem et hiis uti aut melius aut peius, puta ' Odyseus per cicatricem alius recognitus est a trofo, et alius a sybotis;

sunt enim que quidem fidei gratia inartificialiores, et que tales omnes, hee autem ex peripeteia, sicut qui in Niptris, meliores. —

Secunde autem que poetizate a poeta, propter quod inartificiales, velut Horestes in Ifigeneia recognovit quia Horestes ; illa quidem enim per epistolam, ille autem ipse dicit que vult poeta sed non fabula,

quia prope dictum peccatum est ; licebat enim utique quedam et inferre. Et in eo qui Sophoclei Tyrei que «spate texentium vox»

aut per memoriam fore aliquid scientem, sicut qui in Cypriis ipsius Dykeogenis, videns enim scripturam flevit ; et que in Alkini apologon, audiens enim cytharistam et memoratus lacrimatus est, unde recogniti sunt. —

Quarta autem que ex sillogismo, puta in Khloiforis, quod similis aliquis venit, similis autem nullus sed aut Horestes' iste ergo venit. Et que Polyeidis sophiste de Ifigenia ; verisimile enim Horestem sillogizasse quod si soror immolata est et ipsi accidere immolari. Et in Theodecti Tvdei, quod veniens tamquam inventurus filium ipse periit. Et que in Finides ; videntes enim locum sillogizaverunt fatum, quod in hoc fatatum erat mori ipsis, et enim exposite fuerunt hic. —

Est autem quedam et composita ex paralogismo theatri, puta in Odyssee falsi nuntio ; hoc quidem enim, scilicet arcum, ait cognoscere quod non viderat, hoc autem ut per illum recognoscentem, per hoc fecisse paralogismum. —

Omnium autem optima recognitio que ex ipsis rebus stupefactione facta per verisimilia, puta quod in Sophoclei Oidipode et Ifigeneia ; verisimile enim velle imponi litteras. Tales enim sole sine poetizatis signis et collaribus. —

Secunde autem que ex sillogismo.

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.) — 16 focus

‏وقد تكلم ايضا فى الاستدلال واما انواع الاستدلالات فمنها اولا ذلك الذى هو بلا صناعة وهو الذى يستعمله كثيرون بسبب السل بتوسط العلامات

‏ما كان منها متهيية فبمنزلة الحرية التى كان يتمسك بها المعروفون بقاغانس

‏او الكواكب بمنزلة التى ٮٮواسطس الشبيهة بالسرطان ومنها ما هى مقناة بمنزلة التى تمسك باليد وتوضع على الجسم بمنزلة الطوق فى العنق والسيف باليد

‏وقد يمكن ان تستعمل هذه اما بالفاضلة منها واما بالرذلة بمنزلة ما عرف اودوسوس بالبثرة التى كانت فى رجله من مربيته على جهة اخرى ومما حرره على جهة اخرى

‏وذلك ان منها ما هو فى امر التصديق اكثر فى باب الصناعة وجميع هذه التى هى امثالها ومنها ما يوجد فيها الادارة والتقليب اكثر مثل ان هذه التى تكون بالتغسل اجود

‏والثوانى التى علمها الشاعر لهذا السبب بلا صناعة مثل جانب المعروفة بباغانيا وهو الذى به استدلت اباغانيا انه ارسطس وذلك انه اما تلك فبالرسالة الى ذاك واما هذا فيخبر بما يريده الشاعر لا الخرافة وحكاية الحديث

‏ولهذا السبب صار هذا بالقرب من الزلل الذى خبر به وقد يوجد اخر يقتصب بحسب هذا الراى وهذه فيما قاله سوفقلس من انه سمع صوت ساعد ممتهن

‏والثالث هو ان يكون ينال الانسان ان يحس عند ما يرى كالحال فيما كان باهل ديقوغانس فى قبرس فانه قال انه لما راى الكتابات بكا وكذلك امر اهل القينس من القول فانه لما سمع العواد وتذكر دمع ومن هنالك عرف بعضهم بعضا

‏واما الرابع فما يخطر بالفكر بمنزلة انه اتا من هو شبيه بالمكفنين لانسان ولم يات احد يشبه الا ارسطس فهذا اذا هو الذى اتا واما السوفسطانى فعند ما نظر فى لامور نظرا كثيرا قبل ايباغانيا على الحقيقة ظن بارسطس انه هو نفسه فكر ان اخته ذبحت وانه عرض انها انما كانت تضحى له وقال ايضا ثااودقطس انه عندما لسفينيدس من انها عند ما جات ونظرت الى الموضع فكرت فى باب القضا واخطر به ببالها انه جميعهن بهذا قضى عليهم ان يمتن وذلك انهم ٮٮحرحوں بالامر

‏وقد يوجد ضرب اخر ايضا مركب الماخوذ من مغالطة القياس التى لثااطرن بمنزلة فيما دون من امر اودوسيا ذلك المبشر الطاهر وذلك ان من القوس زعم انه ليس يمكن انسان اخر فقد قال ذلك الشاعر والخير ايضا الذى اتى فى ذلك قد خبر فيه في امر القوس ليعرف ما لم يروا ما القول انه بتوسط ذاك كاٮٮ ٮعرف ففى هذا كانت المغالطة فى القياس

‏غير ان الاستدلال الفاضل على كل شى فهى الماخوذة من امور الفعل الارادى ولذلك مثل هذا ارى سوفقلس فى اوديفس وفى ايباغانيا ايضا وذلك انه قد كان يريد على الحقيقة ان يدون فى ذلك كلام وذلك ان هذه الامور هى وحدها فقط بلا اشيا معمولة وبلا اشيا فى العنق

‏والثانى من القياس

Arabic Poetics (Abū Bishr Mattā; Tkatsch edition, unaligned) (OCR draft) Experimental (Tkatsch's edition of the medieval Arabic translation in its original, unaligned segmentation.) — 16 focus

‏وقد تكلم فيها كلاما كافيا فى الاقاويل التى اتى بها وقد تكلم ايضا فى الاستدلال واما انواع الاستدلالات فمنها اولا ذلك الذى هو بلا صناعة وهو الذى يستعمله كثيرون بسبب السل بتوسط العلامات

‏ما كان منها متهيية فبمنزلة الحرية التى كان يتمسك بها المعروفون بقاغانس او الكواكب بمنزلة التى ٮٮواسطس الشبيهة بالسرطان ومنها ما هى مقناة بمنزلة التى تمسك باليد وتوضع على الجسم بمنزلة الطوق فى العنق والسيف باليد

‏وقد يمكن ان تستعمل هذه اما بالفاضلة منها واما بالرذلة بمنزلة ما عرف اودوسوس بالبثرة التى كانت فى رجله من مربيته على جهة اخرى ومما حرره على جهة اخرى وذلك ان منها ما هو فى امر التصديق اكثر فى باب الصناعة وجميع هذه التى هى امثالها ومنها ما يوجد فيها الادارة والتقليب اكثر مثل ان هذه التى تكون بالتغسل اجود

‏والثوانى التى علمها الشاعر لهذا السبب بلا صناعة مثل جانب المعروفة بباغانيا وهو الذى به استدلت اباغانيا انه ارسطس وذلك انه اما تلك فبالرسالة الى ذاك واما هذا فيخبر

‏بما يريده الشاعر لا الخرافة وحكاية الحديث

‏ولهذا السبب صار هذا بالقرب من الزلل الذى خبر به وقد يوجد اخر يقتصب بحسب هذا الراى

‏وهذه فيما قاله سوفقلس من انه سمع صوت ساعد ممتهن

‏واما الرابع فما يخطر بالفكر بمنزلة انه اتا من هو شبيه بالمكفنين لانسان ولم يات احد يشبه الا ارسطس فهذا اذا هو الذى اتا

‏واما السوفسطانى فعند ما نظر فى لامور نظرا كثيرا قبل ايباغانيا على الحقيقة ظن بارسطس انه هو نفسه فكر ان اخته ذبحت وانه عرض انها انما كانت تضحى له

‏وقال ايضا ثااودقطس

‏انه عندما لسفينيدس من انها عند ما جات ونظرت الى الموضع فكرت فى باب القضا واخطر به ببالها انه جميعهن بهذا قضى عليهم ان يمتن وذلك انهم ٮٮحرحوں بالامر

‏غير ان الاستدلال الفاضل على كل شى فهى الماخوذة من امور الفعل الارادى ولذلك مثل هذا ارى سوفقلس فى اوديفس وفى ايباغانيا ايضا وذلك انه قد كان يريد على الحقيقة ان يدون فى ذلك كلام

‏وذلك ان هذه الامور هى وحدها فقط بلا اشيا معمولة وبلا اشيا فى العنق

‏والثانى من القياس

Commentary

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

6. mvp-aristotle-comment-577

ἀνεγνώρισεν ὅτι Ὀρέστης:

'manifestum fecit se esse Orestem'

( Ritter), as the context shows, ἐκείνη μὲν γὰρ διὰ τῆς ἐπιστολῆς, ἐκεῖνος δὲ αὐτὸς λέγει κτέ. ; comp. the parallel in 17, 1455 a 9

θύεσθαι μέλλων ἀνεγνώρισεν ... εἰπὼν ὅτι κτέ

. For the senses of ἀἀναγνωρίζειν in the Poetics see on 11, 1452 b 5 .

6. mvp-aristotle-comment-578

διὰ τῆς ἐπιστολῆς, scil. ἀνεγνώρισεν ὅτι Ἰφιγένεια. The reference is to Iph. Taur. 727 sqq.

6. mvp-aristotle-comment-579

34 αὐτὸς λέγει: Iph. Taur. 800 sqq. In Aristotle's view this latter Discovery is very like that in Od. 21. 205 : just as Ulysses points to his scar to convince the herdsmen, so Orestes, to convince his sister (comp. 808

ἔχεις τι τῶνδέ μοι τεκμήριον;

), makes a statement showing his familiarity with their family history and the old home in Argos (comp. 822 ἃ δ᾽ εἶδον αὐτός, τάδε φράσω τεκμήρια ).

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

9. mvp-aristotle-comment-397

16.6 La seconde espece de reconnoiſſance est celle qui est imagi-née par le Poëte, voilà pourquoy elle eſt ſans art.]¹

10. mvp-aristotle-comment-398

16.6 C'est ainsi que dans l'Iphigenie d'Euripide, Oreſte ayant reconnu sa fœur par le moyen d'une Lettre, est reconnu d'elle à certaines enſeignes qu'il luy donne.]²

11. mvp-aristotle-comment-399

16.6 Eſt reconnu à certaines enſeignes qu'il luy donne.]³

12. mvp-aristotle-comment-400

16.6 Car le Poëte avoit la liberté de faire reconnoître Oreſte à Iphigenie par tels autres ſignes qu'il auroit voulu, & qu'Ore-ſte auroit pû porter.]⁴

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

123. mvp-aristotle-comment-123

NOTE 123. P. 96.

16.6 DISCOVERIES INVENTED, AT PLEASURE, BY THE POET, AND, ON THAT ACCOUNT, STILL INARTIFICIAL.

Δευτεραι δε, αι πεποιημεναι ὑπο του ποιητου, διο ἀτεχνοι

. — The expression,

πεποιημεναι ὑπο του ποιητου

, must necessarily, I think, be understood emphatically, and must mean, not merely invented, (for so are the other discoveries also, which follow,) but arbitrarily invented by the Poet, and obviously so, upon the spur of the occasion; in opposition to such means of discovery and recognition, as, though still indeed of the Poet's invention, are artfully prepared in the very texture of his plot, and appear to arise, necessarily or pro- bably, from the action itself. And thus I find it well explained by Piccolomini:

"Chiama Aristotele questa seconda spetie di riconoscimento, fatto dal Poeta e cosi lo chiama, non perche in tutte le spetie il Poeta non sia quello che li riconoscimenti, siccome le altre parti dell' attione e della favola ponga e formi coi versi suoi; ma ha dato à questa spetie più ch' all' altre questo nome, perche in essa, non fondandosi il Poeta, nè nello stesso connettimento delle cose, e nella stessa favola, nè in segno alcuno che la persona stessa, che s'ha da riconoscere, gli offerisca inanzi; egli, per questo, come libero divenuto, à suo mero (quasi) arbitrio, reca, finge, e pone in bocca della persona à voglia sua, quella occasione di riconoscimento che più gli piace,"

&c. [p. 230.] — Yet, as this sense is rather inferred from the explanation subjoined, (

ταυτα γὰρ αυτος λεγει ῾Α ΒΟΥΛΕΤΑΙ Ὁ ΠΟΙΗΤΗΣ, ἀλλ' οὐχ Ὁ ΜΥΘΟΣ

) than expressed by the words themselves, I am much inclined to suppose some omission in the text.

The other reading,

ΟΥΚ ἀτεχνοι

, is very plausibly supported by the Abbé Batteux, from a passage of Aristotle's Rhetoric, which has been already mentioned in NOTE 104. ¹ I doubt, however, whether that passage be fairly applicable to this. But though it were, the sense above given, and which I think must be given, to the expression

πεποιημεναι ὑπο του Π.

seems hardly reconcilable with this reading. For can we conceive that Aristotle would assign as a reason why such discoveries are not inartificial, that they are arbitrarily (and therefore easily,) invented by the Poet? —

ΔΙΟ οὐκ ἀτεχνοι

I must observe, however, that though these two readings are diametrically opposite,

ἀτεχνοι

οὐκ ἀτεχνοι

— yet, it is some comfort, that whichever we adopt, the general sense of the passage will be the same. As such discoveries are of the Poet's invention, they are not

ἀτεχνοι

, in the rhetorical sense: as they require very little invention, compared with those which arise from the action itself, they may, in this view, be denominated,

ἀτεχνοι

. In either reading, therefore, Aristotle will be found to say the same thing; i. e. that the discoveries of this second species are, in point of art and ingenuity, superior to the first species, and inferior to all the rest.

124. mvp-aristotle-comment-124

NOTE 124. P. 96.

16.6 ORESTES, AFTER HAVING DISCOVERED HIS SISTER, DISCOVERS HIMSELF TO HER.

The Greek is —

ἀνεγνωρισε την ἀδελφην, ἀνεγνωρισθεις ὑπ᾿ ἐκεινης

: — this, as Victorius has observed, seems to say the reverse; i. e. that Orestes discovered his sister after having been discovered by her: which is not the fact. One would rather have expected —

ἀναγνωρισας την ἀδελφην, ἀνεγνωρισθη ὑπ᾿ ἐκεινης

: which would also have been clearer, and not have given occasion to the commentators to suppose, that the discovery of Iphigenia by the letter was meant to be included in this second and faulty species of discovery; whereas the expression

ΟΙΟΝ Ορ. ΑΝΕΓΝΩΡΙΣΕ την ἀδελφην

, leads very naturally to that idea. But it is easy to see, upon the least reflection, that the discovery of Orestes only is the example here intended. This is sufficiently explained by Dacier after Victorius. It was natural enough, however, for Aristotle to mention the other discovery, in passing, as being the counterpart of a double

ἀναγνωρισις

in the same drama. [See cap. xi. at the end. Transl. Part II. Sect. 9.] — But this whole passage, I may say, this whole chapter, has undoubtedly been most miserably mangled in transcription.

125. mvp-aristotle-comment-125

NOTE 125. P. 96.

16.6 BUT ORESTES, BY [VERBAL PROOFS] &c.

The reading which Victorius regarded as most authentic is this: —

ἐκεινος δε * * * * ταυτα γὰρ αυτος λέγει ἃ βέλεται ὁ ποιητης, ἀλλ᾿ οὐχ ὁ μυθος

. — But four Medicean manuscripts, and, it seems, all those in the King of France's library, agree in reading —

ἐκεινου δε αυτος λέγει, κ. τ. λ.

² and, in the latter, we are told, the words are written without any hiatus. This last reading, however, appears to me short and deficient. I cannot but think that the author, after the words

ἐκεινος δε

, — had expressed the means of the discovery, and by them denominated this species, as he has all the others: —

δια σημειων

—

δια μνημης

—

ἐκ συλλογισμου

—. But how the vacancy was filled, it is impossible to determine; and it is of the less consequence to determine, as we are in possession of the Tragedy itself. —

Δια σημείων

, which Victorius found in one MS. or,

δια τεκμηρίων

, as Dacier ingeniously conjectured from the words of Euripides himself, seem most probable.

In point of meaning, it is indifferent by which of these appellations these discoveries were distinguished;

τεκμηριον

being, according to Aristotle's own definition in his Rhetoric, only a species of

σημειον

Τουτων δε ( . . των σημείων,) το μεν ἀναγκαιον, τεκμηριον

. ³

Σημειον

is a sign, or token:

Τεκμηριον

, a certain, decisive sign, such as puts an end to all doubt, according to the derivation of the word given by Aristotle in the passage just referred to. We see, therefore, with what strict propriety the word is used by Euripides, when Iphigenia demands, and Orestes professes to give, a decisive proof: Iphig. in Taur. v. 808.

ἔχεις τι τωνδε μοι ΤΕΚΜΗΡΙΟΝ ;

And Orestes, presently after, when he produces his last and strongest proof, says — Iphig. in Taur. v. 822.

῾Αδ᾽ ἐιδον αυτος, ταδε φρασω ΤΕΚΜΗΡΙΑ.

⁴

It is, indeed, some objection to

δια σημειων

, in this passage of Aristotle, that it would appear to confound this discovery with the first, by giving it the same denomination. But this, perhaps, would be sufficiently obviated by the explanation immediately subjoined: —

δια σημείων ΤΑΥΤΑ γὰρ αυτος ΛΕΓΕΙ ἃ βέλεται

, &c.

Σημειον

, in the first species of discovery, is used for visible, external proofs: here, it would be used for verbal, argumentative proofs; as it is used, continually, in this treatise. And it may also be observed, that Aristotle himself, at the end of this chapter, (if the integrity of the text be admitted,) refers to this sort of discovery, among others, under the denomination of

πεποιημενα ΣΗΜΕΙΑ

126. mvp-aristotle-comment-126

NOTE 126. P. 96.

16.6 FOR SOME OF THE THINGS, FROM WHICH THOSE PROOFS ARE DRAWN, ARE EVEN SUCH AS MIGHT HAVE BEEN PRODUCED AS VISIBLE SIGNS.

Εξην γαρ ἂν ἐνια και ἐνεγκαν

. In the sense which I have given to this obscure sentence, the only sense that I thought could fairly be extracted from the words, I am glad to find myself supported by the judgment of Victorius.

"Quare propè dictum peccatum est: (ὅ ἐγγυς της ειρημενης ἁμαρτιας ἐστιν.) quia si illa quibus usus est Orestes non omninò signa fuerunt; neque enim ostendi potuerunt; — propè tamen illa accesserunt; atque ita propè ut quædam ex ipsis illius prorsus generis fuerint, quamvis ita ipsis ille usus non sit. Hoc enim arbitror valere, 'licebat enim quædam etiam portare' id est, manu tenere, et jubere ut ipsa videret ac reminisceretur,"

&c.

Ενια

, because all the proofs of Orestes were not of this kind, but only Electra's work, and the lance.

Commentary on the Poetics (Henry James Pye, 1792) (OCR draft) (Henry James Pye's 1792 English commentary, aligned to the Kassel reference edition.) focus

16.3. mvp-aristotle-comment-60 16.6

THE THIRD FORM IS BY RECOLLECTION.

THIS cannot mean that the recollection is itself the immediate cause of the discovery, but that it occafions the person recollecting to discover himself by some sudden exclamation, passion, or action. For fuch are the two examples given by Aristotle. A person bursting into tears on the fight of a picture [G], and Ulyffes weeping at the recital of his [E] This is however greatly softened by the very probable conjecture of Mr. Twining, that this expreffion is not the language of Aristotle but a quotation from the tragedy. Suppose the words in answer to a question of Tereus, 'Whose voice condemns me?' and accompanied with the production or mention of the web. [F] See Note VII. Chap. xv. [G] Virgil if he had chosen it, might have availed himself of this circumstance, which he has used in his first Æneid, to have discovered Æneas to Dido, but he preferred the mode mentioned in the first note on this chapter. own

own adventures. The discovery of Lady Randolph to the old Shepherd in Douglas, and that of Julia in the Two Gentlemen of Verona, where she faints on hearing Valentine offer Sylvia to his rival, are exactly in the same predicament. Perhaps the most whimsical discovery in any drama, and which is also caused by a fudden exclamation, is in the original French opera of Richard Cœur de Lion, where the old Knight is discovered to be an Englishman by saying GODDAM.

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

4. mvp-aristotle-comment-113

Ritter, cap. 16 § 4

δεύτεραι δὲ - διὸ ἄτεχνοι: hoc manifestum alienae manus vestigium, quod secundum genus est eiusmodi, ut idem primum et tertium et quartum esse possit: poetae enim cuiusvis generis agnitiones excogitare licet. sed hic noster suo arbitrio pronuntiavit agnitiones a poeta inventas ob eam ipsam causam rudes esse, cum tamen et optimas et pessimas invenire possit. tarde succedit et hiante iunctura διὸ ἄτεχνοι. quae sequuntur, merae nugae sunt. οἷον Ὀρέστης ἐν τῇ Ἰφιγενείᾳ ἀνεγνώρισεν ὅτι Ὀρέστης: talem hunc locum exhibent AcBcNa et M omnes et GLPQ, quos cur deseramus iusta causa deest. technicus noster ἀνεγνώρισεν ὅτι Ὀρέστης nove dixit pro manifestum fecit se esse Orestem, dativum Ἰφιγενείᾳ lectori supplendum relinquens, sinistre sane utrumque, sed idem in admittendis ellipsibus omnem modum egredi solet. respexit Iphigeniae Euripideae Tauricensis v. 811-826. sed vide quomodo editores antiqui huic loco succurrere conati sint, siquidem legunt οἷον Ὀρέστης ἐν τῇ Ἰφιγενείᾳ ἀνεγνώρισε τὴν ἀδελφήν, ἀναγνωρισθεὶς ὑπ᾽ ἐκείνης ὅτι 1) Ὀρέστης, sed eo additamento nihil proficiunt novi interpolatores nisi ut veteri turpem errorem iniungant: nam apud Euripidem Orestes sororem non agnoscit postquam ipse ab ea iam agnitus est, sed prior sacerdotem illam sororem Iphigeniam esse intelligit ac tum demum sese illi agnoscendum praebet. lege v. 759-792 et 811-826. ἐκείνη μὲν γὰρ διὰ τῆς ἐπιστολῆς, ἐκεῖνος δὲ αὐτὸς λέγει ἃ βούλεται ὁ ποιητής, ἀλλ' οὐχ ὁ μῦθος: haec scriptura est codicum AcBeNa et M omnium et GLPQ, cui haec subiecta est sententia, Iphigeniam per epistolam sese notam Oresti fecisse (verbum ἀνεγνώρισε novo significatu praeditum ex prioribus assumendum est), Orestem vero ipsum protulisse (scilicet ut soror illum fratrem esse intelligeret) quae poeta suggesserit, non quae fabula sive fabulosa 2) historia. posteriorem agnoscendi modum tamquam ab arte alienum notat, priorem paulo post (§. 8) laudat. verum enim vero difficultatibus vix expediendis hunc locum implicuit quod Victorius in uno codice se dicit legisse, acceptum illud ab editoribus tantum non omnibus, ἐκεῖνος δὲ διὰ σημείων. ταῦτα οὖν αὐτὸς λέγει – ὁ μῦθος. sed auctor hic noster σημεῖα dixit signa quae ipsis agentium oculis aut corpori cuiusdam personae inhaerescentia aut extra corpus conspicua visuntur, nisi forte illum sibi omnino non constitisse statuere volumus. iam si illa, quae Orestes fratrem se esse probaturus sorori narrat de telis ab ipsa pertextis et in paterna domo asservatis, σημεῖα dixis- 1) Nonnulli ex editoribus haec probantibus verba ὅτι Ὀρέστης expungunt, sed hi eodem in loco quaedam ex coniectura Italorum interpolatorum adsciscunt, quaedam a codicibus oblata negligunt. 2) μύθον h. 1. non argumentum tragoediae sive τῶν πραγμάτων σύστασιν intelligi sed fabulosam narrationem, tam ex illis αἱ πεποιημέναι ὑπὸ τοῦ ποιητοῦ quam ex altero exemplo liquet.set, etiam haec agnitio διὰ σημείων facta et in primo genere, non in secundo, reponenda esset. praeterea quae statim sequuntur huic lectioni plane adversa sunt. διότι ἐγγὺς τῆς εἰρημένης ἁμαρτίας - ἐστίν· ἐξῆν γὰρ ἂν ἔνια καὶ ἐνεγκεῖν: dictum vitium est si quis agentium signis conspicuis ad fidem faciendam utitur. prope ab hoc vitio abest Orestes ille Euripideus, cum quae res sorori suae in paternis aedibus cordi sint exponit: quippe poeta non multum aberat quin Orestem signis nonnullis conspicuum eaque Iphigeniae ostendentem inducere auderet. hoc est illud ἐξῆν γὰρ ἂν ἔνια καὶ ἐνεγκεῖν ( τὸν Ὀρέστην). arguta disputatio et obscura. καὶ ἐν τῷ Σοφοκλέους Τηρεῖ ἡ “ τῆς κερκίδος φωνή”: ecce alterum doctrinae specimen mire et γραμματικῶς prolatum, non ut sententia illustretur, quod factum iam est, sed ut eruditionis thesauri magis etiam recluderentur. loci perobscuri sensum acute explanavit Tyrwhittus. nimirum κερκίδος φωνή ex ipsa Sophoclis tragoedia sumpta tela illa est vel potius radius textorius, cuius ope Philomela Procnae sorori declaravit, quae ipsa ab eius coniuge Tereo indigna perpessa sit, cum lingua excisa loqui non posset. vid. Ovid. Metamorph. VI, 424 sqq. Hygin. Fab. 45. eandem telam Procna alloquitur in Attii Tereo apud Nonium p. 96, 27. o suavem linguae sonitum, o dulcitas conspirantis animae. vid. Welckeri Trilogia Aeschyl. p. 503. sed in co Tyrwhitto non assentior, quod ille κερκίδα pro tela accipiendam esse dicit: immo κερκὶς nunquam tela est, sed audaci metaphora usus Sophocles posuit κερκίδος φωνὴν (der Spule Stimme), quoniam Philomela radii textorii auxilio in tela eas notas intexuit, quibus Procna infelicem sororis sortem agnovit. sed unde hic noster tam accurate rescivit hoc a Sophocle excogitatum, non autem fama traditum esse ? credo hunc technicum illam fabulam a Sophocle aliter et ingeniosius tractatam repperisse, quam in fabularum cyclo perscriptam vel ab aliis poetis conformatam eandem legisset. item iste non multo ante epistolam illam IphigeniaeEuripideae (759-792) fabulosae historiae ( τῷ μύθῳ) tribuit, sed illa quae Orestes v. 811-826. expromit, ab Euripide inventa esse dicit: quippe de epistola illa etiam aliunde aliquid inaudiverat, sed quae Orestes dum se sorori agnoscendum praebet profert, ea apud unum Euripidem invenerat. sed quid tandem in agnitione Sophoclia illa reprehendendum sit tamquam ἄτεχνον, alii viderint: ego illud technico dicendum relinquo, quem ad dubitationem meam sic fere respondentem audio ἔστι γὰρ πεποιημένη, διὸ ἄτεχνος.

Aristotle Poetics 16.6

Theodore Alois Buckley (Translator)

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NOTE 123. P. 96.

NOTE 124. P. 96.

NOTE 125. P. 96.

NOTE 126. P. 96.

THE THIRD FORM IS BY RECOLLECTION.

Ritter, cap. 16 § 4

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