Aristotle Poetics 22.14

Theodore Alois Buckley (Translator)

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and other expressions of the like kind.

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.) — 22 focus
Περὶ ποιητικῆς (OCR draft) Perseus (Aristotle, De arte poetica liber. Rudolf Kassel, editor. Oxford: Clarendon Press, 1965. Reference edition for passage alignment.) — 22 focus
Poetics, Greek text (Ingram Bywater, 1909) (OCR draft) Experimental (Ingram Bywater's Greek text of Aristotle's Poetics, published in 1909.) — 22 focus
Poetics, Greek text (Franz Ritter, 1839) (OCR draft) Experimental (Franz Ritter's 1839 Greek edition, corrected against OCR of the represented copy and aligned to the conventional Perseus chapter-and-subchapter sequence.) — 22 focus
Translations (13)
Poetics (W. H. Fyfe) (OCR draft) Perseus (William Hamilton Fyfe's English translation of Aristotle's Poetics, Loeb Classical Library, 1939 printing.) — 22 focus
Arabic Poetics (Badawī edition, 1953) (OCR draft) (The ancient Arabic translation of Aristotle's Poetics in ʿAbd al-Raḥmān Badawī's 1953 edition.) — 22 focus
Poetics (S. H. Butcher, 1911) (OCR draft) Experimental (S. H. Butcher's English translation from Aristotle's Theory of Poetry and Fine Art, fourth edition, 1911.) — 22 focus
Aristotle on the Art of Poetry (Ingram Bywater, 1909) (OCR draft) Experimental (Ingram Bywater's English translation of Aristotle's Poetics, published in 1909.) — 22 focus
Poetics (Thomas Twining, 1789) (OCR draft) Experimental (Thomas Twining's English translation of Aristotle's Poetics, published in 1789 and aligned to the Kassel reference passage sequence.) — 22.14 focus
Ariphrades, also, endeavoured to throw ridicule upon the Tragic Poets, for making use of such expressions as no one would think of using in common speech; as, δωματων απο, instead of απο δωματων: and ΣΕΘΕΝ-and, εγω δε ΝΙΝ-and, Αχιλλεως περι, instead of περι Αχιλλεως, &c.
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.) — 22.14 focus
we should say ' resounded with the noise.' Ariphrades also ridicules the tragic poets for employing forms of language that are not used in common conversation and inverting [E] 1
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.) — 22 focus
La poëtique d'Aristote (André Dacier, 1692) (OCR draft) Experimental (André Dacier's French translation of Aristotle's Poetics, published in 1692.) — 22.14 focus
Il s'eſt auſſi trouvé un Ariphrades, qui a voulu ſe moquer des Poëtes tragiques ſur ce qu'ils employent des expreſſions, dont perſonne n'oferoit ſe ſervir dans le Langage ordinaire, par exemple, qu'ils renverſent les prépoſitions, & les mettent aprés les noms, & autres choſes ſemblables.
Poetica d'Aristotile (Bernardo Segni, 1549) (OCR draft) Experimental (Bernardo Segni's 1549 Florentine Italian translation, aligned to the Kassel reference passage sequence.) — 22 focus
De poetica (Antonio Riccobono, 1587) (OCR draft) Experimental (Antonio Riccobono's Latin translation, first published in 1587; text represented from Immanuel Bekker's 1831 edition.) — 22 focus
De arte poetica liber (William of Moerbeke, ca. 1277) (OCR draft) Experimental (William of Moerbeke's medieval Latin translation, represented by the 1953 Aristoteles Latinus edition.) — 22 focus
Arabic Poetics (Abū Bishr Mattā; Tkatsch edition) (OCR draft) Experimental (The Arabic translation attributed to Abū Bishr Mattā, edited by Jaroslaus Tkatsch in 1928 and aligned to the Kassel reference passage sequence.) — 22 focus
Arabic Poetics (Abū Bishr Mattā; Tkatsch edition, unaligned) (OCR draft) Experimental (Tkatsch's edition of the medieval Arabic translation in its original, unaligned segmentation.) — 22 focus

Commentary

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

14. mvp-aristotle-comment-849

Ἀριφράδης is perhaps the Ariphrades whose name occurs in Aristophanes, and who is said to have been a κιθαρῳδός by profession ( Bergk, De rel. com. Att. p. 232 ). It is not necessary to suppose him to have given expression to this criticism in a book.

14. mvp-aristotle-comment-850

32 τοὺς τραγῳδοὺς: i. e. the tragic actors, who are made responsible for what the poet puts into their mouth. It will be observed that the expressions singled out for censure are taken apparently from the dialogue of Tragedy; there would have been no point in saying that the language of the choral part was παρὰ τὴν διάλεκτον. A similar use of the word τραγῳδοί is found, a few years after Aristotle's time, in Diphilus, fr. 30 Kock
& τόνδ᾽ ἐποπτεύουσα καὶ κεκτημένη Βραυρώνος ἱεροῦ θεοφιλέστατον τόπον, Λητούς Διός τε τοξόδαμνε παρθένε, ὡ ς οἱ τραγῳδοί φασιν, οἷς ἐξουσία ἔστιν λέγειν ἅπαντα καὶ ποιεῖν μόνοις
.

14. mvp-aristotle-comment-851

τῇ διαλέκτῳ, the spoken, as distinct from the written language. διάλεκτος has the same sense in 4, 1449a 26
πλεῖστα γὰρ ἰαμβεῖα λέγομεν ἐν τῇ διαλέκτῳ τῇ πρὸς ἀλλήλους
, and in Rhet. 3. 1, 1404a 33
τῶν ὀνομάτων ἀφείκασιν ὅσα παρὰ τὴν διάλεκτόν ἐστιν
. The ordinary meaning of the term in Aristotle is either 'speech' (i. e. articulate language) or 'mode of speech'.

14. mvp-aristotle-comment-852

34 ἐγὼ δέ νιν: Sophocles O. C. 986 . The rest of the instances in the text were no doubt taken from existing plays (v. Nauck, TGF. p. 856 ).
4
1459a4

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

16. mvp-aristotle-comment-526

22.14 16. Il s'eſt auſſi trouvé un Ariphrades qui a voulu ſe moquer des Poëtes tragiques.] 1

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

22.6. mvp-aristotle-comment-93 22.14

ARIPHRADES ALSO RIDICULES THE TRAGIC POETS FOR EMPLOY- ING FORMS OF LANGUAGE THAT ARE NOT USED IN COMMON CONVERSATION, AND INVERTING THE ORDER OF THE WORDS, THOUGH THEIR DIFFERING FROM COMMON USE IS THE VERY CIRCUMSTANCE THAT ELEVATES THE STYLE.

MUCH depends on the judgement of the poet in the proper regulation of this inversion of language. When judicioufly managed it poffefses in a high degree the requisite mentioned by Aristotle, of rendering the style elevated and yet perfpicuous, provided the perfpicuity is not injured by too bold a deviation from the usual forms of speech, which in the [1] modern languages, where the connection of the words in a fentence [1] For a comparison between the French and Italian in this respect, see the defence of Maffei quoted in Note 1. of this Chapter. Indeed the Italian is superior to all modern languages in this. For an instance in the translation of a passage in Horace by Metastasio, see Note v. Chap. xxvI. The arrangement of the words in the following stanza of Tasso cannot be imitated in any other modern European language. " Dio messagier mi manda; io ti rivelo " La sua mente in suo nome; ò quanta spene " Haver d'alta vittoria, ò quanto zelo "De l'hofte a te commessa hor ti conviene." Tacque, e sparito rivolò del cielo ' A le parti più eccelse, e più serene. • Resta Goffredo à i detti, à lo splendore ‹ D'occhi abbagliato, attonito di core.' GIERUS. DELIB. Canto I. Stanza XVII. depends
depends so much on juxta-position and where there is no distinction of case except in the pronouns, will often unavoidably create obscurity. Mr. Jackson of Exeter [K] objects to such transpositions as 'thunders 'the sky,' ' shakes the ground;' for 'the sky thunders,' ' the ground Thakes;' in these cases he says, ' we are inclined to refer to some antecedent nominative.' I think for this reason the impropriety or propriety of fuch expreffion is clearly marked by the examples produced. When, as in the first instance, the verb is strictly neuter the deviation can occafion no ambiguity and is therefore allowable; but in the second instance where the verb has also a transitive sense, the inconvenience and ambiguity mentioned by Mr. Jackson will certainly arife. In the use of this license, narrative poetry has a greater latitude than dramatic; but even there obfcurity and doubt should be avoided. The effect of this arrangement of words in a verfe may be seen in a line of Prior's Henry and Emma, where, without altering the essential cadence, the words may be placed in three different ways, two of which will have different meanings, and the third, which Prior has chosen, may be applied to either, and depends folely on the context and the stops [L] for precifion. The line in question is, ، For feldom, archers say, thy arrows err; remove the first comma and it may mean, • For archers seldom say, thy arrows err;' and may be applied rather to the partiality of his companions than his skill. But the following arrangement puts the meaning of the poet beyond the reach of doubt, [K] Letter III. [L] See Note Ix. Chap. xxv. For
POETIC OF ARISTOTLE. • For archers say, thy arrows feldom err.' In dramatic poetry, and all other poetry that is recited, if juxtaposition is too much violated, though the sense will be sufficiently obvious, it will be impossible to mark it well by the voice. The following passage of Shakespear will defy the powers of elocution to give it proper force. • Foul deeds will rise, Tho' all the earth o'erwhelm them, to men's eyes.' For this reason Latin verse, however clear the whole fentence may be from the place of every word being clearly marked by the construction, can never be pronounced, by us at least, with energy; this occafions that monotony which the best reciters of it always fall into. How often does the whole force of a sentence depend on the connection of two words that relate to each other; but how can this be marked by the voice when they are in different parts of the sentence? as in this instance: • Pan etiam Arcadia mecum fi judice certet.' • Pan etiam Arcadia dicat se judice victum.' Here certainly the force of the boast which arises from the poet's challenging the god to a contest before judges the most partial in his favor, requires the connexion between ARCADIA and JUDICE to be particularly marked, which it is impossible for the voice to execute clearly, or to hinder the hearer of the last line from connecting se and JUDICE in his mind, till he has perfectly convinced himself the speaker had been correct in the last vowel of Arcadia.. Greek verse though poffeffing the same powers, by no means exerts them in the fame arbitrary manner. Virgil also, in the dramatic parts of
of his Æneid, has avoided this. In the speeches of Drances and Turnus all the emphatic epithets are closely connected with their substantives.

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

8. mvp-aristotle-comment-166

Ritter, cap. 22 § 8

ἔτι δὲ ᾿Αρειφράδης - ἐκεῖνος δὲ τοῦτο 2) Bene Ammonius de Differentia affin. vocab. τὸ μὲν γὰρ ὀλίγον ἐπ᾿ ἀριθμοῦ τὸ δὲ μικρὸν ἐπὶ μεγέθους τάσσεται, ἠγνόει: quid attinebat obscurissimi hominis ineptissimam reprehensionem ex secreto secessu excitare? nihil nisi ut curiosi ineptique grammatici doctrina ostentaretur. nam quid ineptius excogitari potest quam tragicis poetis vitio dari (ex. gr. anastropham praepositionum) id quod omnium poetarum commune et ne a vulgari quidem locutione alienum est ? advertas etiam velim quam perturbate exempla afferantur: primum enim ponitur anastropha praepositionis δομάτων ἄπο, tum tamquam singularia σέθεν et viv, deinde quarto loco rursus anastrophae exemplum recurrit. advertas putidam diligentiam δομάτων ἄπο ἀλλὰ μὴ ἀπὸ δομάτων, et rursus ᾿Αχιλλέως πέρι ἀλλὰ μὴ περὶ ᾿Αχιλλέως. tertium exemplum (viv) mire ita producitur, ut particula versus Sophoclei (Oed. Colon. 987) afferatur, sic ἐγὼ δένιν ἄκων ἔγημα φθέγγομαί τ' ἄκων τάδε. quod equidem defendere nolim exemplo illo simili c. 21, 10. μία γίνεται ἀμφοτέρων ὄψ. vide etiam quanto cum fastu doctus magistellus sententiam suam concludat: ἐκεῖνος δὲ τοῦτο ἠγνόει. restat aliud. tragoediarum scriptores iste appellat τραγῳδούς, sua sibi loquendi consuetudine, non Aristotelia. serioris aetatis scriptores minus accurate loquentes interdum haec nomina commiscent, ut Athenaeus qui II. p. 35 D. Chaeremonem tragicum poetam τραγῳδὸν appellavit. - ᾿Αρειφράδης quis tandem sit nescimus. Aristophanes pluribus locis (Equit. 1281 sqq. Vesp. 1280 sqq. cf. Suidas s. v.) ᾿Αριφράδην Arignoti fratrem citharoedum insectatur, quippe qui nefandam linguam infandis locis turpiter admoverit, sed hic potius obscurus quidam grammaticus intelligitur. neque vero id diligentem lectorem effugiet, veram et dignam Aristotele disputationem his illatis non solum non iuvari sed importune interrumpi.