Search the Perseus Catalog for:

View: By Chapter

← Previous Next →

and whatever else there may be of this kind. ¹ For from the knowledge or ignorance of these, the poetic art incurs no blame of any moment. For who would think that Homer errs in what he is reproved for by Protagoras? viz. that while he fancies he prays, he commands,

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.) — 19 focus

Περὶ μὲν οὖν τῶν ἄλλων ἤδη εἴρηται, λοιπὸν δὲ περὶ λέξεως ἢ διανοίας εἰπεῖν.

Τὰ μὲν οὖν περὶ τὴν διάνοιαν ἐν τοῖς περὶ ῥητορικῆς κείσθω· τοῦτο γὰρ ἴδιον μᾶλλον ἐκείνης τῆς μεθόδου.

Ἔστι δὲ κατὰ τὴν διάνοιαν ταῦτα, ὅσα ὑπὸ τοῦ λόγου δεῖ παρασκευασθῆναι.

Μέρη δὲ τούτων τό τε ἀποδεικνύναι καὶ τὸ λύειν καὶ τὸ πάθη παρασκευάζειν, οἷον ἔλεον ἢ φόβον ἢ ὀργὴν καὶ ὅσα τοιαῦτα, καὶ ἔτι μέγεθος καὶ μικρότητα.

Δῆλον δὲ ὅτι καὶ ἐν τοῖς πράγμασιν ἀπὸ τῶν αὐτῶν ἰδεῶν δεῖ χρῆσθαι, ὅταν ἢ ἐλεεινὰ ἢ δεινὰ ἢ μέγαλα ἢ εἰκότα δέῃ παρασκευάζειν.

Πλὴν τοσοῦτον διαφέρει, ὅτι τὰ μὲν δεῖ φαίνεσθαι ἄνευ διδασκαλίας, τὰ δὲ ἐν τῷ λόγῳ ὑπὸ τοῦ λέγοντος παρασκευάζεσθαι καὶ παρὰ τὸν λόγον γίγνεσθαι. Τί γὰρ ἂν εἴη τοῦ λέγοντος ἔργον, εἰ φανοῖτο ἡδέα καὶ μὴ διὰ τὸν λόγον;

Τῶν δὲ περὶ τὴν λέξιν ἓν μέν ἐστιν εἶδος θεωρίας τὰ σχήματα τῆς λέξεως, ἅ ἐστιν εἰδέναι τῆς ὑποκριτικῆς καὶ τοῦ τὴν τοιαύτην ἔχοντος ἀρχιτεκτονικήν, οἷον τί ἐντολὴ καὶ τί εὐχὴ καὶ διήγησις καὶ ἀπειλὴ καὶ ἐρώτησις καὶ ἀπόκρισις, καὶ εἴ τι ἄλλο τοιοῦτον.

Παρὰ γὰρ τὴν τούτων γνῶσιν ἢ ἄγνοιαν οὐδὲν εἰς τὴν ποιητικὴν ἐπιτίμημα φέρεται, ὅ τι καὶ ἄξιον σπουδῆς. Τί γὰρ ἄν τις ὑπολάβοι ἡμαρτῆσθαι ἃ Πρωταγόρας ἐπιτιμᾷ, Ὅτι εὔχεσθαι οἰόμενος ἐπιτάττει εἰπὼν

Μῆνιν ἄειδε θεά;

Τὸ γὰρ κελεῦσαι, φησί, ποιεῖν τι ἢ μὴ ἐπίταξίς ἐστιν.

Διὸ παρείσθω ὡς ἄλλης καὶ οὐ τῆς ποιητικῆς ὂν θεώρημα.

Περὶ ποιητικῆς (OCR draft) Perseus (Aristotle, De arte poetica liber. Rudolf Kassel, editor. Oxford: Clarendon Press, 1965. Reference edition for passage alignment.) — 19 focus

περὶ μὲν οὖν τῶν ἄλλων εἰδῶν εἴρηται, λοιπὸν δὲ περὶ λέξεως καὶ διανοίας εἰπεῖν.

τὰ μὲν οὖν περὶ τὴν διάνοιαν ἐν 35 τοῖς περὶ ῥητορικῆς κείσθω· τοῦτο γὰρ ἴδιον μᾶλλον ἐκείνης τῆς μεθόδου.

ἔστι δὲ κατὰ τὴν διάνοιαν ταῦτα, ὅσα ὑπὸ τοῦ λόγου δεῖ παρασκευασθῆναι.

μέρη δὲ τούτων τό τε ἀποδεικνύναι καὶ τὸ λύειν καὶ τὸ πάθη παρασκευάζειν (οἷον 1456b 1 ἔλεον ἢ φόβον ἢ ὀργὴν καὶ ὅσα τοιαῦτα) καὶ ἔτι μέγεθος καὶ μικρότητας.

δῆλον δὲ ὅτι καὶ ἐν τοῖς πράγμασιν ἀπὸ τῶν αὐτῶν ἰδεῶν δεῖ χρῆσθαι ὅταν ἢ ἐλεεινὰ ἢ δεινὰ ἢ μεγάλα ἢ εἰκότα δέῃ παρασκευάζειν·

πλὴν τοσοῦτον 5 διαφέρει, ὅτι τὰ μὲν δεῖ φαίνεσθαι ἄνευ διδασκαλίας, τὰ δὲ ἐν τῷ λόγῳ ὑπὸ τοῦ λέγοντος παρασκευάζεσθαι καὶ παρὰ τὸν λόγον γίγνεσθαι. τί γὰρ ἂν εἴη τοῦ λέγοντος ἔργον, εἰ φαίνοιτο ᾗ δέοι καὶ μὴ διὰ τὸν λόγον;

τῶν δὲ περὶ τὴν λέξιν ἓν μέν ἐστιν εἶδος θεωρίας τὰ σχήματα τῆς λέξεως, 10 ἅ ἐστιν εἰδέναι τῆς ὑποκριτικῆς καὶ τοῦ τὴν τοιαύτην ἔχοντος ἀρχιτεκτονικήν, οἷον τί ἐντολὴ καὶ τί εὐχὴ καὶ διήγησις καὶ ἀπειλὴ καὶ ἐρώτησις καὶ ἀπόκρισις καὶ εἴ τι ἄλλο τοιοῦτον.

παρὰ γὰρ τὴν τούτων γνῶσιν ἢ ἄγνοιαν οὐδὲν εἰς τὴν ποιητικὴν ἐπιτίμημα φέρεται ὅ τι καὶ ἄξιον 15 σπουδῆς. τί γὰρ ἄν τις ὑπολάβοι ἡμαρτῆσθαι ἃ Πρωταγόρας ἐπιτιμᾷ, ὅτι εὔχεσθαι οἰόμενος ἐπιτάττει εἰπὼν

μῆνιν ἄειδε θεά;

τὸ γὰρ κελεῦσαι, φησίν, ποιεῖν τι ἢ μὴ ἐπίταξίς ἐστιν.

διὸ παρείσθω ὡς ἄλλης καὶ οὐ τῆς ποιητικῆς ὂν θεώρημα.

Poetics, Greek text (Ingram Bywater, 1909) (OCR draft) Experimental (Ingram Bywater's Greek text of Aristotle's Poetics, published in 1909.) — 19 focus

Περὶ μὲν οὖν τῶν ἄλλων ἤδη εἴρηται, λοιπὸν δὲ περὶ
λέξεως καὶ διανοίας εἰπεῖν.

τὰ μὲν οὖν περὶ τὴν διάνοιαν ἐν
τοῖς περὶ ῥητορικῆς κείσθω· τοῦτο γὰρ ἴδιον μᾶλλον ἐκείνης
τῆς μεθόδου.

ἔστι δὲ κατὰ τὴν διάνοιαν ταῦτα, ὅσα ὑπὸ
τοῦ λόγου δεῖ παρασκευασθῆναι.

μέρη δὲ τούτων τό τε ἀποδεικνύναι
καὶ τὸ λύειν καὶ τὸ πάθη παρασκευάζειν (οἷον
ἔλεον ἢ φόβον ἢ ὀργὴν καὶ ὅσα τοιαῦτα) καὶ ἔτι μέγεθος
καὶ μικρότητα.

δῆλον δὲ ὅτι καὶ ἐν τοῖς πράγμασιν ἀπὸ
τῶν αὐτῶν ἰδεῶν δεῖ χρῆσθαι ὅταν ἢ ἐλεεινὰ ἢ δεινὰ ἢ
μεγάλα ἢ εἰκότα δέῃ παρασκευάζειν·

πλὴν τοσοῦτον διαφέρει,
ὅτι τὰ μὲν δεῖ φαίνεσθαι ἄνευ διδασκαλίας, τὰ δὲ
ἐν τῷ λόγῳ ὑπὸ τοῦ λέγοντος παρασκευάζεσθαι καὶ παρὰ
τὸν λόγον γίγνεσθαι. τί γὰρ ἂν εἴη τοῦ λέγοντος ἔργον, εἰ
φαίνοιτο ᾗ δέοι καὶ μὴ διὰ τὸν λόγον;

τῶν δὲ περὶ τὴν λέξιν
ἓν μέν ἐστιν εἶδος θεωρίας τὰ σχήματα τῆς λέξεως,
ἅ ἐστιν εἰδέναι τῆς ὑποκριτικῆς καὶ τοῦ τὴν τοιαύτην ἔχοντος
ἀρχιτεκτονικήν, οἷον τί ἐντολὴ καὶ τί εὐχὴ καὶ διήγησις
καὶ ἀπειλὴ καὶ ἐρώτησις καὶ ἀπόκρισις καὶ εἴ τι
ἄλλο τοιοῦτον.

παρὰ γὰρ τὴν τούτων γνῶσιν ἢ ἄγνοιαν οὐδὲν
εἰς τὴν ποιητικὴν ἐπιτίμημα φέρεται ὅ τι καὶ ἄξιον σπουδῆς.
τί γὰρ ἂν τις ὑπολάβοι ἡμαρτῆσθαι ἃ Πρωταγόρας
ἐπιτιμᾷ, ὅτι εὔχεσθαι οἰόμενος ἐπιτάττει εἰπὼν “μῆνιν ἄειδε
θεά”; τὸ γὰρ κελεῦσαι, φησίν, ποιεῖν τι ἢ μὴ ἐπίταξίς
ἐστιν.

διὸ παρείσθω ὡς ἄλλης καὶ οὐ τῆς ποιητικῆς ὂν
θεώρημα.

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.) — 19 focus

Περὶ μὲν οὖν τῶν ἄλλων ἤδη εἴρηται, λοιπὸν δὲ περὶ λέξεως ἢ διανοίας εἰπεῖν.

τὰ μὲν οὖν περὶ τὴν διάνοιαν ἐν τοῖς περὶ ῥητορικῆς κείσθω· τοῦτο γὰρ ἴδιον μᾶλλον ἐκείνης τῆς μεθόδου.

ἔστι δὲ κατὰ τὴν διάνοιαν ταῦτα, ὅσα ὑπὸ τοῦ λόγου δεῖ παρασκευασθῆναι.

μέρη δὲ τούτων τό τε ἀποδεικνύναι καὶ τὸ λύειν καὶ τὸ πάθη παρασκευάζειν, οἷον ἔλεον ἢ φόβον ἢ ὀργὴν καὶ ὅσα τοιαῦτα, καὶ ἔτι μέγεθος καὶ μικρότητα.

δῆλον δὲ ὅτι καὶ ἐν τοῖς πράγμασιν ἀπὸ τῶν αὐτῶν ἰδεῶν δεῖ χρῆσθαι, ὅταν ἢ ἐλεεινὰ ἢ δεινὰ ἢ μεγάλα ἢ εἰκότα ιοδέῃ παρασκευάζειν.

πλὴν τοσοῦτον διαφέρει, ὅτι τὰ μὲν δεῖ φαίνεσθαι ἄνευ διδασκαλίας, τὰ δὲ ἐν τῷ λόγῳ ὑπὸ τοῦ λέγοντος παρασκευάζεσθαι καὶ παρὰ τὸν λόγον γίγνεσθαι. τί γὰρ ἂν εἴη τοῦ λέγοντος ἔργον, εἰ φανοῖτο ἡδέα καὶ μὴ διὰ τὸν λόγον;

τῶν δὲ περὶ τὴν λέξιν ἓν μέν ἐστιν εἶδος θεωρίας τὰ σχήματα τῆς λέξεως, ἃ ἐστιν εἰδέναι τῆς ὑποκριτικῆς καὶ¹ τοῦ τὴν τοιαύτην ἔχοντος ἀρχιτεκτονικήν, οἷον τί ἐντολὴ καὶ τί εὐχὴ καὶ διήγησις καὶ ἀπειλὴ καὶ ἐρώτησις καὶ ἀπόκρισις, καὶ εἴ τι ἄλλο τοιοῦτον.

παρὰ γὰρ τὴν τούτων γνῶσιν ἢ ἄγνοιαν οὐδὲν εἰς τὴν ποιητικὴν ἐπιτίμημα φέρεται, ὅ τι καὶ ἄξιον σπουδῆς. τί γὰρ ἄν τις ὑπολάβοι ἡμαρτῆσθαι ἃ Πρωταγόρας ἐπιτιμᾷ, ὅτι εὔχεσθαι οἰόμενος ἐπιτάττει εἰπὼν “μῆνιν ἄειδε θεά;” τὸ γὰρ κελεῦσαι, φησί, ποιεῖν τι ἢ μὴ ἐπίταξίς ἐστιν.

διὸ παρείσθω ὡς ἄλλης καὶ οὐ τῆς ποιητικῆς ὂν θεώρημα.

Translations (13)

Poetics (W. H. Fyfe) (OCR draft) Perseus (William Hamilton Fyfe's English translation of Aristotle's Poetics, Loeb Classical Library, 1939 printing.) — 19 focus

The other factors have been already discussed. It remains to speak of Diction and Thought.

All that concerns Thought may be left to the treatise on Rhetoric, for the subject is more proper to that inquiry.¹

Under the head of Thought come all the effects to be produced by the language.

Some of these are proof and refutation, 1456b 1 the arousing of feelings like pity, fear, anger, and so on, and then again exaggeration and depreciation.²

It is clear that in the case of the incidents, too, one should work on the same principles, when effects of pity or terror or exaggeration or probability have to be produced.

There is just this difference, that some effects must be clear without explanation,³ whereas others are produced in the speeches by the speaker and are due to the speeches. For what would be the use of a speaker, if the required effect were likely to be felt without the aid of the speeches?

Under the head of Diction one subject of inquiry is the various modes of speech, the knowledge of which is proper to elocution or to the man who knows the master art⁴—I mean for instance, what is a command, a prayer, a statement, a threat, question, answer, and so on.

The knowledge or ignorance of such matters brings upon the poet no censure worth serious consideration. For who could suppose that there is any fault in the passage which Protagoras censures, because Homer, intending to utter a prayer, gives a command when he says, Sing, goddess, the wrath? To order something to be done or not is, he points out, a command.

So we may leave this topic as one that belongs not to poetry but to another art.

Arabic Poetics (Badawī edition, 1953) (OCR draft) (The ancient Arabic translation of Aristotle's Poetics in ʿAbd al-Raḥmān Badawī's 1953 edition.) — 19 focus

〈الفكرة والمقولة〉

أما فى الأنواع الأخر فقد قلنا. فينبغى الآن أن نتكلم فى المقولة وفى الضمير والذهن.

وقد وضعت الأشياء التى هى نحو الذهن والضمير فى كتاب «البلاغة» وذلك أن هذا هو من شأن تلك الصناعة ومما يخصها. والأشياء التى فى الذهن قد يجب أن ترتب وتعد تحت القول. وأجزاء هذه هى أن يبين، 〈وأن يفند〉 وأن يستثير الألم بمنزلة الحزن أو الخوف أوالحرد أو أشباه هذه، وأيضاً الكبر والصغر.

وظاهر أن فى الأمور أيضاً من هذه الصور والخلق ينبغى أن يستعمل متى كان إما الأمران وإما الصفات وإما العظائم، ويستعد التى هى حقائق. غير أن مقدار الفرق فى هذا هو أن منها 〈ما〉 يرى دائماً بلا تعظيم ومنها ما يعدها الذى يتكلم والقائل، وهى خارج عن القول. وإلا فما فعل ذلك الذى إما أن يقول، وإما أن يبين فيه اللذات؟

وليس سبب القول ونوع النظر للى هى نحو المقولة هو نوعاً واحداً، مثلا أشكال المقولة، وهذه ترى الأخذ بالوجوه والذى له مثل أعنى النبأ وصناعة القيام عليه، بمنزلة ما الأمر وما الصلاة أو حديث أو جزم أو سؤال أو جواب، وإن كان شىء آخر مما هو نظير لهذه. وذلك أنه لا شىء آخر خارج عن علم هذه، ولا علم مما هو تهجين يؤتى به فى صناعة الشعر يستحق الحرص والعناية. وإلا فماذا للإنسان أن يتوهم أنه وقع فى الزلل فى التى كان فروطاغورس يهجن بها من أنه كان يأمر [يظن] غير ما كان يظن أن يصلى ويقول: «خبرى أيتها الإلهة على السخطة والحرد...»؛ وذلك أنه زعم أن معنى أنه أمر بأن يفعل شىء أو لا يفعل هو: أمر، ولذلك يتخلى ذلك لصناعة 〈أخرى〉 لا على أنه من شأن صناعة الشعراء، ويترك.

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.) — 19 focus

It remains to speak of Diction and Thought, the
other parts of Tragedy having been already discussed.

Concerning Thought, we may assume what is said in
the Rhetoric, to which inquiry the subject more strictly
belongs.

Under Thought is included every effect which
has to be produced by speech,

the subdivisions being,—
proof and refutation;
the excitation of the feelings, such as pity, fear, anger, and the like;
the suggestion of importance or its opposite.

Now, it is evident that
the dramatic incidents must be treated from the same
points of view as the dramatic speeches, when the object
is to evoke the sense of pity, fear, importance, or probability.

The only difference is, that the incidents
should speak for themselves without verbal exposition;
while the effects aimed at in speech should be produced by the speaker, and as a result of the speech.
For what were the business of a speaker, if the Thought were revealed quite apart from what he says?

Next, as regards Diction. One branch of the inquiry
treats of the Modes of Utterance.
But this province of knowledge belongs to the art of Delivery and to
the masters of that science.
It includes, for instance, —what is a command, a prayer, a statement,
a threat, a question, an answer, and so forth.

To know or not to know these things involves no serious
censure upon the poet's art.
For who can admit the fault imputed
to Homer by Protagoras,—that in the words, 'Sing,
goddess, of the wrath,' he gives a command under the
idea that he utters a prayer? For to tell some one to do a thing or not to do it is, he says, a command.

We may, therefore, pass this over as an inquiry that belongs
to another art, not to poetry.

Aristotle on the Art of Poetry (Ingram Bywater, 1909) (OCR draft) Experimental (Ingram Bywater's English translation of Aristotle's Poetics, published in 1909.) — 19 focus

The Plot and Characters having been discussed, it remains
to consider the Diction and Thought.

As for the Thought,
we may assume what is said of it in our Art of Rhetoric,
as it belongs more properly to that department of inquiry.

The Thought of the personages is shown in everything to
be effected by their language-

in every effort to prove or
disprove, to arouse emotion (pity, fear, anger, and the like),
or to maximize or minimize things.

It is clear, also, that
their mental procedure must be on the same lines in their
actions likewise, whenever they wish them to arouse pity
or horror, or have a look of importance or probability.

The
only difference is that with the act the impression has to
be made without explanation; whereas with the spoken word
it has to be produced by the speaker, and result from his
language. What, indeed would be the good of the speaker,
if things appeared in the required light even apart from
anything he says?

As regards the Diction, one subject for inquiry under
this head is the turns given to the language when spoken;
e. g. the difference between command and prayer, simple
statement and threat, question and answer, and so forth.

The theory of such matters, however, belongs to Elocution
and the professors of that art. Whether the poet knows
these things or not, his art as a poet is never seriously criti-
cized on that account. What fault can one see in Homer's
'Sing of the wrath, Goddess'?-which Protagoras has criti-
cized as being a command where a prayer was meant, since
to bid one do or not do, he tells us, is a command.

Let us
pass over this, then, as appertaining to another art, and
not to that of poetry.

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.) — 19.7 focus

With respect to DICTION, one part of its theory is that, which treats of the figures of speech¹; such as, commanding, entreating, relating, menacing, interrogating, answering, and the like. But this belongs, properly, to the art of acting, and to the professed masters of that kind.

[23]

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.) — 19.7 focus

There is one part of the theory of elocution relating to the mode of expression, which principally belongs to the player and the professed¹²³

teachers of that art. Such as to distinguish between supplication, command, narration, question, answer and any other circumstances of the same kind.

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.) — 19 focus

De ceteris iam expositum est, restat autem ut de dictione vel sententia dicamus.

sed quae ad sententiam pertinent in libris de arte dicendi exprompta sunto: hoc enim proprium est magis illius disputationis.

pertinent autem ad sententiam haec, quaecumque oratione parari debent.

partes eorum sunt demonstrare et solvere et perturbationes facere, veluti miserationem vel timorem vel iram et quae sunt ciusdem generis, ac praeterea exaggerationem et extenuationem.

patet vero etiam in factis hauriendum esse ex isdem locis, cum sive miseranda sive timenda sive exaggerata sive verisimilia afferenda sunt.

nisi quod hoc intercedit discrimen, quod alia prodire debent sine expositione, alia per orationem a dicente parari et secundum orationem fieri. nam quid dicente opus esset, si iucunda comparerent etiam sine oratione?

ex iis autem quae ad dictionem pertinent unum est genus contemplationis quod figuras dictionis complectitur, quas cognitas habere est artis histrionalis et eius qui talem architecturam profitetur, veluti quid sit mandatum et quid precatio et enarratio et comminatio et interrogatio et responsio, et si quid aliud eiusdem generis.

nam ex horum intellectu aut ignoratione nulla in poeticam vituperatio manat, quae quidem operae pretium sit. quid enim est quod quis existimet peccatum esse in iis quae reprehendit Protagoras, quod precari se opinatus imperet dicens "iram cane dea?” iubere enim, inquit, facere aliquid aut non praeceptio est.

quare mittatur haec ratio, ut quae ad aliam artem et non ad poeticam pertineat.

La poëtique d'Aristote (André Dacier, 1692) (OCR draft) Experimental (André Dacier's French translation of Aristotle's Poetics, published in 1692.) — 19.7 focus

Pour ce qui eſt de la diction, il y en a une partie qui eſt pour le Spectacle & pour le Theatre, c'eſt la prononciation & le geſte; mais cela regarde proprement l'art des Comediens, ou de ceux qui font une ſemblable profeſſion. Car c'eſt à eux d'enſeigner ce que c'eſt qu'un commandement, une priere, une ſimple narration, une menace, une interrogation, une réponſe, & autres choſes ſemblables.

5.

Poetica d'Aristotile (Bernardo Segni, 1549) (OCR draft) Experimental (Bernardo Segni's 1549 Florentine Italian translation, aligned to the Kassel reference passage sequence.) — 19 focus

Tquanto alle coſe, che fon'nel Diſcorſo, nella Rettotica ſen'è parlato.¹

Che inuero tal ragionamento è più propio di quella inſtitutione. Nel Difcorſo fi dicono eſſere tutte quelle coſe, che col parlare ſi debbono andare preparando;

delle quali parte ne conſiſte in dimostrare, & in foluere, & in eccitare gli affetti;

come è la Mifericordia, ò il Timore, ò l'Ira, ò altre fimili perturbationi:& parte d'eſſe ne conſiſte circa alla Amplificatione, & alla Diminutione.

Et è manifeſto, che nelle ſopradette parti e' biſogni vſare; l'Ampli fication' dico, & la Diminutione dalle medeſime fpetre cioè quando e' s'habbia à preparar coſe compaſsio neuoli,ò terribili, ò grandi,ò verifimili.

Doue nondimanco è da vſare queſta diſtintione, che certe coſe è di neceſsità, che appariſchino ſenza aiuto alcuno di dottrina; & certe altre le debbe, chi dice, preparare co parlare:anzi debbe fare, che elle interuenghino per for za d'effo.

Imperoche qual farebbe l'uffitio di chi dice, ſe le coſe appariſsino piaceuoli; ma non per via del parlare? Vanto alla Locutione, vna parte di lei ſta in cofiderare le figure d'effa, lequali s'appartengono à ſapere all'arte Iſtriouica; ò à chi ſia prepo fto à tale arte:che cofa, dico, fia il Commandamento, che il Prego, che la Narratione, che il Minacciò, che l'Interrogatione, che la Riſpoſta, ò qualunche altra cofa, che à queſte ſia ſimigliante.

Concioſia che' per ſapere,ò non ſaper queſte coſe, la Poetica non ne ſia incari cata per tal cagione di carico, che meriti il pregio. Imperoche chi farebbe mai, che ſtimaſſe eſſere errore in quelle coſe, che Protagora mette per errore?cioè quan do vno penſando di pregare inquel cambio comandi in queſto modo. L'ira contami, o Dea. Perchè il dire, che vn faccia, ò non faccia-vna coſa, dice egli, e' vn comandamento.²

Laſsiſi pertanto queſta confideratione, come ſe ella fuſſe d'altra faculta, & non propia diqueſta.

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.) — 19 focus

Ac de aliis quidem iam dictum est.

reliquum vero est de elocutione vel sententia dicere. ac quae pertinent quidem ad sententiam, in libris de rhetorica posita sunt: hoc enim methodi illius magis est proprium. sunt autem secundum sententiam ea quaecunque ab oratione paranda sunt.

et eorum partes sunt tum demon¿ strare et solvere,

tum perturbationes parare, ut misericordiam vel metum vel iram et quaecunque talia, tum praeterea amplificare et diminuere.

manifestum autem est et in actionibus utendum esse iisdem formis, cum miserabilia aut terribilia aut magna aut verisimilia parare oportuerit;

nisi quod ea sola differentia est, quod haec quidem apparere sine doctrina oportet, quae vero in oratione posita sunt, a dicente parari et per orationem fieri.

quod enim esset dicentis munus, si apparerent iucunda et non per orationem? eorum vero quae pertinent ad elocutionem una species est contemplationis, quae considerat figuras elocutionis, quas scire est histrionicae, et eius qui talem habeat architectonicam, ut quid sit mandatum et quid precatio et narratio et mina et interrogatio et responsio, et si quid aliud huiusmodi.

ab horum enim cognitione vel ignorantia nulla reprehensio in poeticam affertur, quae curanda sit. qui enim fieri potest ut aliquis existimet errorem commissum esse in iis quae Protagoras reprehendit, quod putans precari praecipit, dicens 'iram diya cane?" nam iubere, inquit, ut aliquid faciat aut non faciat praeceptio est.

quamobrem omittatur, ut quae alterius et non poeticae sit contemplatio.

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.) — 19 focus

De aliis quidem igitur iam dictum est. Reliquum autem de locutione aut ratiocinatione dicere.

Que quidem igitur circa dianoiam (idest ratiocinationem) in hiis que de rethorica supponantur; hoc enim proprium magis illius methodi.

Sunt autem secundum dianoiam hec, quecumque a ratione oportet preparari

Partes autem horum demonstrareque et solvere et passiones preparare, puta miserationem aut terrorem aut iram et quecumque talia, et adhuc magnitudinem et parvitatem.

Palam autem quod et in rebus ab eisdem speciebus oportet uti, quando aut miserabilia aut dira aut magna aut verisimilia oportet exhibere;

preter quam tantum differt, quod hec quidem oportet apparere sine doctrina, hec autem in sermone a dicente preparari et preter rationem fieri. Quid enim utique sit dicentis opus, apparebit idea et non propter sermonem. —

Eorum autem que circa locutionem una quidem est species theorie scemata locutionis, que scire est ypocritice et habentis talem architectonicam, puta quid mandatum et quid oratio et narratio et comminatio et interrogatio et responsio et si quid aliud tale.

Preter enim horum cognitionem aut ignorantiam nulla in poeticam increpatio fertur, que sit digna studio. Quid enim utique quis existimet peccasse que Protagoras increpat, quod orare putans precipit dicens «insaniam vide dea» ? Nam iubere, inquit, facere aliquid aut non preceptio est.

Propter quod pretermittatur tamquam alterius et non poetice ens theorema. —

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.) — 19 focus

‏اما فى الانواع الاخر فقد قلنا فينبغى الان ان نتكلم فى المقولة وفى الضمير والذهن

‏وقد وصعت الاشيا التى هى نحو الذهن والضمير فى كتاب البلاغة وذلك ان هذا هو من شان تلك الصناعة ومما يخصها

‏والاشيا التى فى الذهن قد يجب ان ترتب وتعد تحت القول

‏واجزا هذه هى ان يبين وان يستقر للالم بمنزلة الحزن او الخوف او الحرد او اشباه هذه وايضا الكبر والصغر

‏وظاهر ان فى الامور ايضا من هذه الصور والخلق ينبغى ان يستعمل متى كان اما الاحزان واما الصفات واما العظايم ويستعد التى هى حقايق

‏غير [ال] ان مقدار الفرق فى هذا هو ان منها يرى دايما بلا تعطيم ومنها ما يعدها الذى يتكلم والقايل وهى خارج عن القول والا فما فعل ذلك الذى اما ان يقول واما ان يبين فيه اللذات وليس سٮٮ القول

‏ونوع النظر للتى هى نحو المقولة هو نوعا واحدا مٮلا اشكال المقولة وهذه ترى للاخر بالوجوه والذى له مثل اعنى البنا وصناعة القيام عليه بمنزلة ما الامر وما الصلاة او حديث او حرض او سوال او جواب وان كان شى اخر مما هو نظير لهذه

‏وذلك انه لا شى اخر خارج عن علم هذه ولا علم من ما هو تهجين يوتا به فى صناعة الشعر يستحق الحرص والعناية والا فماذا للانسان ان يتوهم انه وقع الزلل فى التى كان فروطاغورس يهجن بها من انه كان يامر [ٮطں] عـٮر ما كاں يطں ان يصلى ويقول خبرى انه الاله على السخطة والحرد وذلك انه زعم ان معنى انه امر بان يفعل شى او لا يفعل هو امر

‏ولذلك لٮحلا ذلك الصناعة لا على انه من شان صناعة الشعرا

Arabic Poetics (Abū Bishr Mattā; Tkatsch edition, unaligned) (OCR draft) Experimental (Tkatsch's edition of the medieval Arabic translation in its original, unaligned segmentation.) — 19 focus

‏اما فى الانواع الاخر فقد قلنا فينبغى الان ان نتكلم فى المقولة وفى الضمير والذهن

‏وقد وصعت الاشيا التى هى نحو الذهن والضمير فى كتاب البلاغة وذلك ان هذا هو من شان تلك الصناعة ومما يخصها

‏والاشيا التى فى الذهن قد يجب ان ترتب وتعد تحت القول

‏واجزا هذه هى ان يبين وان يستقر للالم بمنزلة الحزن او الخوف او الحرد او اشباه هذه وايضا الكبر والصغر

‏غير [ال] ان مقدار الفرق فى هذا هو ان منها يرى دايما بلا تعطيم ومنها ما يعدها الذى يتكلم والقايل وهى خارج عن القول

‏والا فما فعل ذلك الذى اما ان يقول واما ان يبين فيه اللذات وليس سٮٮ القول

‏وذلك انه لا شى اخر خارج عن علم هذه ولا علم من ما هو تهجين يوتا به فى صناعة الشعر يستحق الحرص والعناية

‏والا فماذا للانسان ان يتوهم انه وقع الزلل فى التى كان فروطاغورس يهجن بها من انه كان يامر [ٮطں] عـٮر ما كاں يطں ان يصلى ويقول خبرى انه الاله على السخطة والحرد

‏وذلك انه زعم ان معنى انه امر بان يفعل شى او لا يفعل هو امر

‏ولذلك لٮحلا ذلك الصناعة لا على انه من شان صناعة الشعرا

Notes on the current edition

Poetics

1. 5.

Commentary

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

7. mvp-aristotle-comment-699

τῶν δὲ περὶ τὴν λέξιν. Having briefly considered the διάνοια, the intellectual or rhetorical power revealed in the speeches of the dramatic personages, Aristotle passes on to their λέξις, the diction or language in which they are made to express themselves. This point he investigates under three heads:—(1) the parts or constituents of the diction as a whole; (2) the various kinds of names in it; and (3) the limits within which unusual names or forms of names are admissible in poetry. Before entering on this line of discussion, however, he sets aside a matter which might perhaps seem germane to his subject, the elocutionary element in the spoken language. The word βαδίζει, for instance, according to one's tone in uttering it, may mean

‘he walks’

, or

‘does he walk?’

; and ἄειδε may be uttered as a command (

‘sing!’

) or as a prayer. These and similar distinctions, in Aristotle's view, belong to the language as spoken rather than to the language as written, and thus come within the province of elocution ( ὑποκριτική) rather than that of poetry or literature proper.

7. mvp-aristotle-comment-700

τὰ σχήματα τῆς λέξεως means literally the different

‘attitudes’

or turns of meaning given to the language when it comes to be actually spoken. The same idea underlies the expression σχήματα λέξεως of the grammarians, as one may see from Cicero Orator 83

Verborum collocationem illuminat iis luminibus quae Graeci quasi aliquos gestus orationis σχήματα appellant.

Quintilian 9. 1. 13

Si habitus quidam et quasi gestus sic [scil. σχήματα] appellandi sunt.

σχῆμα

‘gestus’

occurs in 17, 1455 29 and 26, 1462 3 (comp. 1, 1447 a27 ). Aristotle's σχήματα τῆς λέξεως, however, must not be identified with the σχήματα λέξεως or

‘figures of speech’

, as we call them, of later writers. A

‘figure of speech’

is a literary artifice, a deviation from the simple and usual mode of expression for purposes of literary effect; Quintilian defines it as a

conformatio quaedam orationis remota a communi et primum se offerente ratione

( 9. 1. 4 ), or as an

oratio a simplici rectoque loquendi genere deflexa

( 9.3.3 ; comp. Ernesti, Lex. techn. gr. p. 338 ). In a

‘figure of speech’

, as compared with the simple form of expression (e.g.

‘Macedonia's madman’

and

‘Alexander’

), we have a difference of words without any difference of sense; whereas in the Aristotelian σχήματα τῆς λέξεως we have the same words and a different sense—the difference of sense resulting from a difference of some kind in the mode of enunciation.

7. mvp-aristotle-comment-701

ὑποκριτικῆς. υπόκρισις, the Latin pronunciatio, means

‘delivery’

‘elocution’

. In the Rhetoric two styles of oratory are distinguished, the

‘graphic’

style in which the sense is fully expressed by the actual language, and the

‘hypocritic’

style, which requires certain artifices of elocution to bring out the meaning: Rhet. 3. 12, 1413 b 17

τὰ ὑποκριτικὰ ἀφῃρημένης τῆς ὑποκρίσεως οὐ ποιοῦντα τὸ αὑτῶν ἔργον φαίνεται εὐήθη, οἷον τά τε ἀσύνδετα καὶ τὸ πολλάκις τὸ αὐτὸ εἰπεῖν ἐν τῇ γραφικῇ ὀρθῶς ἀποδοκιμάζεται, ἐν δὲ (τῇ) ἀγωνιστικῇ καὶ οἱ ῥήτορες χρῶνται· ἔστι γὰρ ὑποκριτικά

(comp. 3. 12, 1414 b 5 ).

7. mvp-aristotle-comment-702

ἀρχιτεκτονικήν. The ἀρχιτέκτων is properly the master-builder, who knows the scheme of the whole work and directs the artisans and others under him: Plato Polit. 259 E

ἀρχιτέκτων γε πᾶς οὐκ αὐτὸς ἐργατικὸς ἀλλ᾽ ἐργατῶν ἄρχων ... παρεχόμενός γέ που γνῶσιν ἀλλ᾽ οὐ χειρουργίαν.

Aristotle recognizes a similar distinction in other arts, even in medicine: Pol. 3. 11, 1282 b 3

ἰατρὸς ὁ τε δημιουργὸς καὶ ὁ ἀρχιτεκτονικός.

The

‘architectonic’

form of ὑποκριτική involves a knowledge of its rationale and general principles, as distinct from the empiric knowledge possessed by rhapsodists, actors, orators, and other practicians.

7. mvp-aristotle-comment-703

οἷον τί ἐντολὴ κτέ. refers back to τὰ σχήματα τῆς λέξεως in 9 (comp. on 7, 1451 a 2 ). The classification in the text originated with Protagoras, who is said to have distinguished four (or perhaps seven) fundamental differences in our mode of speech: Diog. Laert. 9. 53

διεῖλέ τε τὸν λόγον πρῶτος εἰς τέτταρα, εὐχωλὴν ἐρώτησιν ἀπόκρισιν ἐντολήν —οἱ δὲ¹ εἰς ἑπτά, διήγησιν ἐρώτησιν ἀπόκρισιν ἐντολὴν ἀπαγγελίαν εὐχωλὴν κλῆσιν —, οὓς καὶ πυθμένας εἶπε λόγων,

— Quintilian 3. 4. 10

Protagoram transeo, qui interrogandi respondendi mandandi precandi, quod εὐχωλὴν dixit, partes solas putat.

It will be seen that Aristotle has arranged the σχήματα in pairs; one kind of speech may be made by a difference of intonation to mean either a command or a prayer, another either a simple statement or a threat, another either a question or an answer, and so forth with the rest. Aristotle's instances may be compared with those in Dion. Hal. 5. 46 R.

τὰ μὲν ὡς ἀποφαινόμενοι λέγομεν, τὰ δ᾽ ὡς πυνθανόμενοι, τὰ δ᾽ ὡς εὐχόμενοι, τὰ δ᾽ ὡς ἐπιτάττοντες, τὰ δ᾽ ὡς διαποροῦντες, τὰ δ᾽ ὡς ὑποτιθέμενοι, τὰ δ᾽ ἄλλως πως σχηματίζοντες.

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

5. mvp-aristotle-comment-461

19.7 5. Pour ce qui est de la diction, il y en a une partie qui eft pour le Spectacle & pour le Theatre; c'est la prononciation & le geſte; mais cela regarde proprement l'art des Comediens, ou de ceux qui font une ſemblable profeſſion.]¹

6. mvp-aristotle-comment-462

19.7 6. Mais cela regarde proprement l'art des Comediens, ou de ceux qui font une semblable profeſion.]²

7. mvp-aristotle-comment-463

19.7 7. Car c'est à eux d'enſeigner ce que c'est qu'un commandement, une priere, une ſimple narration, une menace.]³

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

163. mvp-aristotle-comment-163

NOTE 163. P. 104.

19.7 FIGURES OF SPEECH

Τα σχηματα της λεξεως

—. Dacier , Batteux , and indeed almost all the commentators, seem to take

σχηματα

, here, for the gestures, modifications of countenance, and tones of voice, that accompany speech.

But, first, I much doubt whether the Greek will fairly admit of such a sense. Aristotle says,

σχηματα ΛΕΞΕΩΣ

, figures, or forms, of the speech itself, not of the speaker. The same expression occurs several times in the Rhetoric, and always means the form of the diction itself; ¹ never the gesture with which it is delivered.—2. Aristotle explains himself by—

διον, ΤΙ εντολη και ΤΙ ευχη

, &c. i. e. what they are, not, what action or tone of voice they require;

"avec quel ton et quel geste on ordonne,"

as M. Batteux ² unwarrantably translates it. ³ —3. Aristotle says, that no blame, or none worth regarding, (

άξιον σπεδης

,) can fall upon the Poetry, (

εις την ποιητικην

,) in consequence of the Poet's ignorance of these matters, or of his not knowing them technically. A remark, surely, very unnecessary, if mere action and pronunciation were intended by

σχηματα

.—But, 4. The thing seems evident from the instance given of a criticism of this kind. Protagoras plainly charged Homer with ignorance, or inaccuracy, with respect to these

σχηματα λεξεως

, whatever they were. Now, according to the common explanation, the criticism could fall only on Homer's pronunciation or action: but, of this, Protagoras knew nothing; all he appears to have meant, is, that Homer had made an improper use of the imperative mood; that is, had used one

σχημα λεξεως

, where he should have used another.

But what, then, are we to understand by these

σχηματα λεξεως

?—The learned reader will immediately see, that, as Victorius has observed, they are not to be confounded with those

σχηματα λεξεως

, of which we hear so much from Cicero , Quintilian , Dion. Hal. &c. those

"figuræ verborum,"

which are opposed to the

σχηματα διανοἰας

, the

figuræ mentis, sententiarum

, &c. Indeed, no such division of

σχηματα

is, I believe, to be found in Aristotle. It seems to have been the invention of the later Rhetoricians; and how little they were agreed, as to the number and the species of these

σχηματα

, the propriety of the division itself, and even the precise sense of the word

σχημα

, may be seen in Quintilian IX. 1. —The

σχηματα λεξεως

of Aristotle, in this place, are plainly such, as would have been denominated by later writers,

σχηματα διανοἰας

—figures of the thought or sense. Indeed we find them actually enumerated among the figures of that class. See Dionys. Halicarn. de Struct. &c. Sect. 8. —So Quintilian :

"Figuras quoque mentis, quæ

σχηματα διανοιας

dicuntur, res eadem recipit omnes, in quas nonnulli diviserunt species dictorum, (i. e. of jokes, bons mots.) Nam et interrogamus, et dubitamus, et affirmamus, et minamur, et optamus."

⁴

I see, therefore, not the least reason, why the expression

σχημα λέξεως

should not be rendered here, exactly as in the other passages above referred to,

"figura orationis"

—form, or configuration, of speech. For

λέξις

, it must be observed, is here used, not in the particular sense of diction, or style and manner of expression, (as it is used Rhet. III. 8. ) but in the general sense of

λογ

, speech, as we find it used in the beginning of the next chapter.

But though I cannot admit, that

σχηματα

means

"configurationes oris,"

&c. or, should be so rendered, yet I certainly admit, that Aristotle appears plainly to consider these different forms of speech, or sentences, with a view to action, or delivery; and, possibly, the observation of Victorius may be well founded, that—

"vocatæ hæ figuræ ita videntur, quia aliter atque aliter vultus, totumque corpus, cum variantur illa, conformantur; ut meritò hâc de causâ,

σχηματα

, figuræ, ipsæ appellatæ sint."

—I find the same thing in the following passage of Aristides Quintilianus , which seems evidently to allude to this very part of Aristotle's treatise, and may be thought to afford some illustration.—

Περι δε της των ΣΧΗΜΑΤΩΝ φυσεως, δις προσαγειν χρη τα νοηματα, πολλα λέγειν δειν ήγομαι. ΙΚΑΝΗ ΓΑΡ Ἡ ὙΠΟΚΡΙΣΙΣ ΤΑΥΤΑ ΔΗΛΩΣΑΙ. Και γαρ τατων ἐκασον [i. e. each of these

σχηματα διανοἰας

, or

νοηματων

,] συςέλλει πως, ὡς αι παραιτησεις, ἀνιησιν, ὡς ἁι συγχωρησεις, την διανοιαν και ήτοι μικροπρεπεις, ὡς ἀι διορθωσεις, μεγαλειες, ὡς αι γνωμολογίαι και ἀφηγησεις, ἀπεργαζονται. ὧν ἐκασε την ἐνεργειαν ΕΚ ΤΩΝ ΤΥΠΩΝ ΑΡΙΣΤ᾿ ΑΝ ΔΙΑΓΝΟΙΗΜΕΝ, ΩΝ [leg. forte ΟΥΣ] ΕΚΑΣΤΟΝ, ΚΑΤΑ ΤΟΝ ΤΗΣ ΥΠΟΚΡΙΣΕΩΣ ΚΑΙΡΟΝ, ΤΟΙΣ ΣΩΜΑΣΙΝ ΕΝΤΙΘΗΣΙ· ΠΑΡ Ὁ ΚΑΙ ΣΧΗΜΑΣΙΝ ΑΥΤΟΙΣ ΣΥΝΕΒΗ ΚΛΗΘΗΝΑΙ

. I rather suspect, we should read

ΠΡΟΑΓΕΙΝ

, in the beginning of this passage; in the sense of

ἐκφερειν, προφερειν

, &c. Meibomius ⁵ renders

σχηματων

"gestuum,"

which cannot be the meaning; for by the

τετων ἐκασον

, and the exemplification which follows, (

παραιτησεις, συγχωρησεις

, &c.), and, indeed, by all the rest of the passage, it is clear, that he speaks of the configurations of the speech or sentence, of which he goes on to describe the different effects, first on the mind, and, ultimately, on the action, of the speaker. The version should, therefore, have been thus:—

"De figurarum natura quibus animi notiones proferenda,"

&c. Or, if

προσαγαν

be right, the meaning, I think, must be—"to which those

νοηματα

are to be referred under which they are to be classed." See the passage above, from Quintilian , and that of Dion. Hal. Sect. 8. which is much to the purpose.

Why Aristotle should dismiss this subject, as of much more concern, to the Actor, than to the Poet, requires no explanation. There could scarce, indeed, be any other occasion for the study of these

σχηματα

, but in order to learn, or to teach, in what manner, with what variations of tone, countenance, and gesture, propriety required them to be pronounced. At the same time, it will not appear strange that he should mention them, if we recollect, that the Poets themselves were, at first, actors also, in their own pieces, and, afterwards, no doubt, instructed their actors; and hence perhaps, after all—not, as is commonly understood, from the moral teaching of the drama itself—the well known phrases,

διδασκειν τραγῳδιαν

docere fabulam

, &c. ⁶ may, most naturally, be accounted for.

Nor was this practice peculiar to antient times. We know with what eagerness and animation Voltaire taught his Tragedies, almost to his latest hour. During his last visit to Paris, where he died,

"Il n'y vit rien, ne songea à y rien voir; il n'y vécut que pour des Comediens, qu'il fatiguoit, en voulant leur donner des leçons de declamation"

. ⁷

164. mvp-aristotle-comment-164

NOTE 164. P. 104.

19.7 THE PROFESSED MASTERS OF THAT KIND—

Τε την τοιαυτην ἐχοντα ᾿ΑΡΧΙΤΕΚΤΟΝΙΚΗΝ

.—For this word, see Eth. Nicom. I. 1, 2. Thus, here, it seems to mean that master art, which teaches the principles of elocution, the art of public speaking, in general.

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-133

Ritter, cap. 19 § 4

τὰ σχήματα τῆς λέξεως: potuit etiam scribere τὰ πάθη τῆς λέξεως. σχήματα non tam dictionis sunt quam dicentis vel oris eius qui dicit; sed ab ore transferuntur ad vocem et dictionem.

Aristotle Poetics 19.7

Theodore Alois Buckley (Translator)

Search the Perseus Catalog for:

Current edition Experimental

5.

Notes on the current edition

Commentary

NOTE 163. P. 104.

NOTE 164. P. 104.

Ritter, cap. 19 § 4

Stable identifiers