Poetics. Aristotle. Theodore Alois Buckley (Translator). London. 1857.
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.
Poetics
1. mvp-aristotle-comment-342
1.
mvp-aristotle-comment-343
1451a36
φανερὸν δὲ κτέ.
In Aristotle's view a history is a chronicle, or register, of events taken just as they came in order of time, however separate and disconnected they may have been in themselves (
23, 1459 a 21
).
The present distinction between a history, in this sense of the term, and a poetic story is a corollary to what he lays down in chaps. 7-8 on the unity and logical coherence of the parts in a well-constructed story.
The action in such a story is a
πρᾶξις μία καὶ ὅλη (
6, 1449 b 32
), i. e. a whole with a beginning, middle, and end (
7, 1450 b 26
) ; each incident resulting from something that goes before it, and the entire series from the state of things presupposed, as the
ἀρχή of the whole, at the opening.
Given a personage of a certain character and in a certain position as the beginning of the story, all the rest must be the natural or necessary consequence of this initial situation.
Hence it follows that the incidents in the poetic story are not only possible but also always possible, because they are such as may or must happen at any time, whenever the man and the circumstances are found together.
Aristotle accordingly notes two great points of contrast between history and poetry: (1) whereas the former is a record of actual events (
τὰ γενόμενα), the latter describes rather possible incidents of another kind,
τὰ δυνατὰ κατὰ τὸ εἰκὸς ἢ τὸ ἀναγκαῖον (a 38); (2) whereas the one tells us what is true only of some particular person (or persons) at a particular time, the other tells us something universally true (
τὰ καθόλου b 7), something that will hold good at all times of all persons of the same type in a similar set of circumstances.
1.
mvp-aristotle-comment-344
1451a38
τὰ δυνατά
scil.
γενέσθαι (comp. b 32).
The qualifying
κατὰ τὸ εἰκὸς ἢ τὸ ἀναγκαῖον excludes the third kind of
δυνατά, viz.
τὰ γενόμενα.
These also are obviously possible (see b 17 and
De interpr. 13, 23 a 7
), but as mere
γενόμενα they belong to history rather than poetry.
A little further on, however (b 29), Aristotle explains that under certain conditions even historic incidents may be a legitimate subject for poetry.
1451b1
2.
mvp-aristotle-comment-345
οὐ τῷ ἢ ἔμμετρα λέγειν κτέ.
see
1, 1447 b 17
, where it is shown that metre is only one of the accidents of poetry.
2.
mvp-aristotle-comment-346
1451b4
διαφέρει
scil.
ὁ ἱστορικὸς τοῦ ποιητοῦ.
1451b5
3.
mvp-aristotle-comment-347
σπουδαιότερον
is the opposite of
φαυλότερον.
In Plato also
σπουδαῖος (v. Ast, Lex. s.v.) is applied to things in the sense of
axius spoudēs, 'of serious value or interest', as the opposite of either 'trivial' (
φαῦλος) or 'ludicrous' (
γελοῖος: see on
4, 1448 b 34
).
Poetry, as Aristotle conceives it, is 'more philosophic', because of the large and generalized view of human nature which it implies; it tells us in effect what all men of a certain character may or must do in a certain set of circumstances, whereas historic truth is limited to particular times and persons.
A great master of rhetoric, Diderot, has enlarged on this text in a well-known passage in his
Éloge de Richardson (
Œuvres t. 3 p. 18 ed. 1821
):
'O Richardson! j'oserai dire que l'histoire la plus vraie est pleine de mensonges, et que ton roman est plein de vérités. L'histoire peint quelques individus; tu peins l'espèce humaine: l'histoire attribue à quelques individus ce qu'ils n'ont ni dit, ni fait; tout ce que tu attribues à l'homme, il l'a dit et fait l'histoire n'embrasse qu'une portion de la durée, qu'un point de la surface du globe; tu as embrassé tous les lieux et tous les temps. Le cœur humain, qui a été, est et sera toujours le même, est le modèle d'après lequel tu copies. Si l'on appliquait au meilleur historien une critique sévère, y en a-t-il aucun qui la soutînt comme toi? Sous ce point de vue, j'oserai dire que souvent l'histoire est un mauvais roman; et que le roman, comme tu l'as fait, est une bonne histoire. O peintre de la nature c'est toi qui ne mens jamais.'.
3.
mvp-aristotle-comment-348
μᾶλλον τὰ καθόλου
μᾶλλον implies a qualification, which reappears in another form in b 9
οὗ στοχάζεται ἡ ποίησις ὀνόματα ἐπιτιθεμένη.
Poetry deals with 'characters' rather than actual individuals, and with universal rather than particular truth.
Its universality, however, is somewhat disguised by the proper names it attaches to its characters, which acquire in this way a certain resemblance to the real personages of history.
A reason for the retention in Tragedy of traditional names is given further on, in b 15.
3.
mvp-aristotle-comment-349
1451b7
τὰ καθόλου... τὰ καθ᾿ ἕκαστον
The present explanation of the terms may be compared with that in
De interpr. 7, 17 a 39
λέγω δὲ καθόλου μὲν ὃ ἐπὶ πλειόνων πέφυκε κατηγορεῖσθαι, καθ᾿ ἕκαστον δὲ μὴ, οἷον ἄνθρωπος μὲν τῶν καθόλου, Καλλίας δὲ τῶν καθ᾿ ἕκαστον; comp. also
Rhet. 1. 2, 1356 b 28
οὐδεμία δὲ τέχνη σκοπεῖ τὸ καθ᾿ ἕκαστον, οἷον ἡ ἰατρικὴ (οὐ) τί Σωκράτει τὸ ὑγιεινόν ἐστιν ἢ Καλλίᾳ, ἀλλὰ τί τῷ τοιῷδε ἢ τοῖς τοιοῖσδε. —
2. 4, 1382 a 4
ἡ μὲν ὁργὴ ἀεὶ περὶ τὰ καθ᾿ ἕκαστα, οἷον Καλλίᾳ ἢ Σωκράτει, τὸ δὲ μίσος καὶ πρὸς τὰ γένη.
For a similar use of
καθόλου see
17, 1455 b 1
.
The element of 'universality' in Greek Tragedy, as Aristotle understands it, means no more than is indicated in his present distinction between a poem and a history; and it is in no wise peculiar to Tragedy.
Aristotle tells us it was to be seen in the Comedy of his time (b 11); and it is found in just the same way in the modern novel—even in the historical and in the so-called realistic novel.
In all these forms of imaginative literature the personages are, as we say, 'characters', in other words, ideal personalities, made to act and speak in accordance with the law of character which the author has assumed for each.
The novel, however (owing in some degree to its length), admits of characters of a subtlety and complexity which would have been simply impossible in the ancient Drama.
The Greek dramatist was practically restricted to the larger and more obvious types of character, which did not require much explanation to make them intelligible to his public in the brief space of time allotted to his work.
1451b10
4.
mvp-aristotle-comment-350
ὀνόματα ἐπιτιθεμένη
=
καίπερ ὀνόματα ἐπιτιθεμένη; comp.
25, 1461 a 30
οὐ πινόντων οἶνον.
The characters in the Drama are 'universals', i. e. types of character rather than actual individuals; that is what poetry really means them to be, notwithstanding the individualizing proper names it attaches to them.
The alternative rendering of
ὀνόματα ἐπιτιθεμένη, 'in giving names to its personages' (
'dum nomina imponit'
Heinsius
), would imply that the names were definitely chosen as significant of character.
This would be true to some extent of those in Comedy (see infra on b 13
τὰ τυχόντα ὀνόματα), but not of those in Tragedy.
As abstracts of character the personages ought to have general names, like those in Theophrastus, instead of the individualizing proper names given them in Drama.
For the use of the middle verb in this connexion comp.
21, 1457 b 34
and
Homer Od. 8. 552
οὐ μὲν γάρ τις πάμπαν ἀνώνυμός ἐστ᾿ ἀνθρώπων ... ἀλλ᾿ ἐπὶ πᾶσι τίθενται, ἐπεί κε τέκωσι, τοκῆες.
1451b12
1.
mvp-aristotle-comment-232
9.1
Il eſt aisé de voir que ce n'est pas le propre du Poëte, de dire les chofes, comme elles font arrivées, mais comme elles ont på ou du arriver neceffairement ou vray-semblablement.
1
2.
mvp-aristotle-comment-233
3.
mvp-aristotle-comment-234
9.2
Car l'Historien & le Poëte ne different pas entr'eux, en ce que l'un écrit en profe, & l'autre en vers.
3
4.
mvp-aristotle-comment-235
9.2
Mais ils different en ce que l'Hiſtorien écrit ce qui eft arrivé, & le Poëte ce qui a pû ou dû arriver.
4
5.
mvp-aristotle-comment-236
9.3
C'est pourquoy la Poësie eft plus grave & plus morale que l'Histoire, parce que la Poëfie dit les chofes generales, & l'Hiſtoire raporte les choses particulieres.
5
6.
mvp-aristotle-comment-237
9.4
Une choſe generale, c'eſt ce que tout homme d'un tel, ou d'un tel caractère a dû dire, ou faire vrayſembllablement ou neceffairement.
6
7.
mvp-aristotle-comment-238
69.
mvp-aristotle-comment-69
NOTE 69. P. 82.
9.1
POSSIBLE, ACCORDING TO PROBABLE, OR NECESSARY, CONSEQUENCE.
Compare
cap. xv.
Χρη δε και ἐν τοις ήθεσιν. κ. τ. αλ.—[Transl. Part II. Sect. 15. p. 93.] The expression,
δυνατα κατα το ἀναγκαιον, "possible---according to necessity," appears strange at the first glance: but in fiction, events may be supposed to happen, as in real life they do happen, not only probably, but necessarily; that is, not only as they were likely to happen, but as, morally speaking, they could not
but happen.
"Puisque la fonction du vraissemblable dans la Tragedie, est d'empêcher l'esprit de s'appercevoir de la feinte, le vraissemblable qui le trompe le mieux est le plus parfait, et c'est celui qui devient necessaire. Un caractere etant supposé, il y a des effets qu'il doit necessairement produire, et d'autres qu'il peut produire, ou ne produire pas." Again—
"La perfection est de faire agir les personnages, de maniere qu'ils n'ayent pas pu agir autrement, leur caractere supposé," &c. Thus Fontenelle, in his excellent
Reflexions sur la Poetique; in several parts of which, that clear and philosophical writer has, I believe without any such intention, coincided with, and illustrated, the positions of Aristotle. See particularly, Sect. 58, to 65, inclusively.
70.
mvp-aristotle-comment-70
NOTE 70. P. 82.
9.2
A SPECIES OF HISTORY-
Ἱσορια ΤΙΣ—"a sort of history." It is singular, that almost all the translators should have neglected a word so important as the pronoun
τις in this passage. May we not infer from this expression, that if Aristotle had been asked, whether an Epic imitation in prose would be a Poem, or not, he would have allowed it to be,
ποιημα ΤΙ, a kind of Poem, as having the essence of Poetry, invention and imitation? See NOTE V. P. 153.
71.
mvp-aristotle-comment-71
NOTE 71. P. 82.
9.3
A MORE EXCELLENT THING THAN HISTORY.
Σπουδαιότερον. It means no more than, in plain English, a better thing. The word occurs frequently in Aristotle's works, in this general sense. So,
Rhet. I. vii. p. 528, B.
και ὧν αἱ ἐπισημαι καλλιους σπουδαιότεραι, και τα πραγματα καλλιω και σπουδαιότερα.—And,
ibid. I. ix. p. 531, E.
Και αἱ των φύσει σπουδαιοτέρων (superior by nature) ἀρεται καλλιους, και τα ἐργα· οἱον ἀνδρος [sc. σπουδαιοτεραι αἱ ἀρεται, &c.] γυναικ.—See, also,
Ethic. Nicom. lib. vi. cap. vii. p. 78, C.
ἀτοπον γαρ εἴ τις την ἐπισημην πολιτικην -- ΣΠΟΥΔΑΙΟΤΑΤΗΝ οἴεται εἶναι, εἴ μη το ΑΡΙΣΤΟΝ των ἐν τῷ κοσμῳ ἀνθρωπος ἐστι. Dacier translates the word, "morale;" Batteux, "instructive;" but this is rather giving the reason why it is
σπουδαιότερον, or, a superior thing.
9.1.
mvp-aristotle-comment-22
9.2
IF THE WORK OF HERODOTUS WERE PUT INTO VERSE, IT WOULD BE NO LESS A SPECIES OF HISTORY IN VERSE THAN IT IS IN PROSE.
I ACKNOWLEDGE myself to have been one of the many translators, justly blamed by Mr. Twining, for neglecting the force of the expression Ἱςορία τις, a fort, or species of history, and which, in this edition, I have corrected from his observation, which I shall take the liberty of inserting. May we not infer from this expreffion [A], ' that if Ariftotle had been asked whether an epic compofition in profe, ' would be a poem or not, he would have allowed it to be wποίημα τι, a • kind of poem, as having the essence of poetry, invention and imitation ?' To this, however, he would probably have added, that it would only be an imperfect kind of poem, from wanting the ornament of verfification, as the work of Herodotus in verse would be only a spurious kind of history from possessing it. Metastasio has rendered this passage properly; (B) ' it would still ' continue, though in verse, a species of history, as it was in profe.' Yet in his observations, anxious to support the hypothefis he had [A] See Note III. Chap. 1. [B] ' Rimarreble come era in prosa, sempre una specie d'istoria, ancora in verfi.' advanced,
POETIC OF ARISTOTLE. advanced, that poetry was, in any sense, incompatible with prose, and yet finding it impossible to avoid feeing the contrary doctrine was in some measure supported by Aristotle's assertion that it is the conftruction of the fable, and not of the verse, that diftinguishes the poet from the hiftorian, he runs into an unjustifiable refinement on the words and sense of the critic, and says he only means, that a person who writes on unpoetical subjects in verse, is not a good poet: just as we call a man that is awkward, dirty, and cowardly, no foldier, though enlisted, and receiving pay, and really a foldier in the legal and political sense of the word. The fallacy of this argument must strike every one in a variety of instances; and it is, befides, in direct oppofition to the doctrine of Ariftotle, since, on this supposition, verse is the essential requifite of poetry, and imitation only a quality. The sum of Ariftotle's reasoning on the subject, which is directly contrary to the idea of Metaftafio, seems to be this; • Whoever forms a fable, imitative of human ، actions, is a poet, a maker, an inventor. If his fable is ill conducted, ⚫ he is a bad poet. If he writes it in prose, he errs as to the proper material, or means of imitation. But if he forms no imitative fable, ' he is no poet.'
9.2.
mvp-aristotle-comment-23
9.3
POETRY IS THEREFORE MORE PHILOSOPHICAL AND INSTRUC- TIVE THAN HISTORY.
LORD BACON, in his Treatise of the Advancement of Learning, has so good a comment on this passage, that I trust the reader will not be displeased with me for saving him the trouble of referring to it. вь The
[c] • The use of this feigned history hath been to give some shadow ' of fatisfaction to the mind of man in those points, wherein the nature ' of things doth deny it; the world being, in proportion, inferior to ' the foul; by reason whereof there is, agreeable to the spirit of man, " a more ample greatness, a more exact goodness, and a more absolute variety, than can be found in the nature of things. Therefore, because the acts or events of true history have not that magnitude which • satisfieth the mind of man, poesy feigneth acts and events greater, and ، more heroical: because true history propoundeth the successes and • issues of actions not so agreeable to the merits of virtue and vice, there- • fore poefy feigns them more just in retribution, and more according to • revealed providence: because true history representeth actions and events more ordinary, and less interchanged; therefore poesy endueth • them with more rareness, and more unexpected and alternative varia- ' tions: so as it appeareth that poesy serveth and conferreth to magnanimity, morality, and to delectation. And, therefore, it was ever ، thought to have some participation of divineness, because it doth raise ' and erect the mind, by fubmitting the shews of things to the defires ' of the mind; whereas reason doth buckle and bow the mind unto the nature of things.' [c] It must be owned, that an eminent writer of the present day, professes to be of the contrary opinion. The Cyropædia is vague and languid, the Anabasis circumstantial and animated; such is the eternal difference between fiction and truth.' DECLINE AND FALL OF THE ROMAN EMPIRE, Chap. xxiv. Note 115. Some persons will, possibly, be inclined to doubt the infallibility as well as the eternity of this doctrine, and even the comparison that occafioned it; and may doubt whether this eternal distinction between truth and fiction would be easily difcoverable in a comparifon between Homer and Thucydides. We may, however, readily excuse Mr. Gibbon, for his partiality to a species of literature, in which he has shewn fo much excellence. NOTE
9.3.
mvp-aristotle-comment-24
9.4
IN COMEDY, POETS FIRST FORM THE FABLE, AND THEN ADD ANY CASUAL NAMES.
WE have already been shewn, as the first distinction between history and poetry, that one describes the real actions of a particular person, the other fictitious, though probable events that are supposed to happen to an imaginary one. And fuch qualities are to be given to this imaginary person, as will best suit these events, and the part he takes in them; and these qualities are not only to be marked by the action and sentiments, but even the names given to the characters should be expressive of them. It seems, however, that having faid this, the critic recollected, that in tragedy the practice was different: for though the incidents, the manners, and the sentiments, were to be formed on general nature, the names were to be those of real historical persons. In comedy, however, he says, names expressive of the quality of the character are used. And, indeed, by this contrivance, the inconvenience attending comedy, mentioned in the fragment, quoted in Note 1. Chap. VII. is, in great measure, obviated. For if the quality of the tragic person is known as foon as his name is announced from recollection, the fame thing will happen in comedy, if such characteristic appellations are given as Pamphilus, or Parmeno, Dapperwit, or Wellbred. Steele, however, in the first number of his paper, called The Lover, intended as a kind of sequel to the Spectator, makes the following observation on this practice. • I shall shun also names significant of the person's • character of whom I talk; a trick used by playwrights, which I have Bb 2 long
، long thought no better a device than of underwriting the name of an • animal on a poft, which the painter conceived too delicately drawn to • be known by common eyes, or by his delineation of the limbs.' It is remarkable, than in this identical paper, an old bachelor is called Wildgoose; and, in the next, the supposed author of the work, the Lover, is named Marmaduke Myrtle. Indeed, the mixture of characteristic names with common ones, though very abfurd, is not unusual. In the Jealous Wife we meet with Mr. and Mrs. Oakly, Sir Harry Beagle, and Terence Ocutter: and, in its archetype Tom Jones, Allworthy stands alone among an hoft of common names. Another impropriety often attends characteriftic names in modern comedy, from the husband and wife having the fame name; in confequence of this a very quiet nobleman, in one of Congreve's comedies, is called Lord Touchwood; and this impropriety is still greater when the characters of the husband and wife are particularly contrafted as to their conduct to each other. Where is the propriety of Mrs. Bruin, and Mrs. Sneak, in the Mayor of Garrat? In Mr. Cumberland's Observer, there is a very well conducted and interesting fable, where the principal person, from his indolence of disposition, is called Ned Drowsy. This gentleman, like Cymon, is entirely altered by falling in love, and he becomes a very spirited and active young man. His name, therefore, ceafing to be expressive of his character, the poet is obliged to change it by an application to parliament. The introducing a kind of pun on the characteristic name given by the author, one should conceive the lowest effort of dulness to excite a laugh, and yet it is practised by respectable writers; as for example: in the Provoked Husband, Manly says to Sir Francis, O thou head of the wrong- ' heads.' Of all writers, Mr. Anstey has made the most happy use of characteristic names in the Bath Guide. They really contribute greatly to
POETIC OF ARISTOTLE. to the humour of a poem, which draws it, besides, from a thousand different fources. On the Greek theatre, the comic scene, like the tragic, was always laid at home. Indeed, it could be laid no where else. They knew the manners of no other people. Terence adopted Athenian manners from Menander; and Moliere, in many of his pieces, from Terence. The whole interest of L'Etourdi turns on the purchase of a flave. Our older comedies are generally founded on foreign stories. The only comedy of Shakespear, where the scene is laid in England, (except the comic parts of his historical plays), is The Merry Wives of Windfor. The fame remark is, in general, applicable to Beaumont and Fletcher. A [D] Spanish story, with some English characters introduced, was, for a confiderable time, much the fashion here, and is still a favorite fubject for the musical drama. The regular comedy, at present, I believe, confines itself to domeftic fable and character, if not to domeftic scene; for, I believe, the comic muse has ventured to cross both the Indian and Atlantic Oceans, to visit our colonies. [D] I would recommend to those critics who think they can explain every passage in the ancient dramatic writers, to turn their thoughts to the following speech, in one of Dryden's comedies, which, to me, has always been perfectly unintelligible. It is in the Mock Astrologer, where a Spanish character, refusing to enter into a scheme as inconfiftent with his honor, an Englishman says to him, Nay, and you talk of honor; by your leave, Sir, I hate your Spanish honor ever since it spoiled our English plays WITH FACES ABOUT, AND < T'OTHER SIDE.' ، NOTE
1.
mvp-aristotle-comment-63
Ritter, cap. 9 § 1
Quid sit discriminis inter poetam et historiae scriptorem. quomodo materia ex historia petita uti poetam deceat, quid in argumentis mere fabulosis cavendum sit. tragoedia imitari timenda et miseranda ita debet, ut in his causae effectusque successio agnoscatur. Quae de fabula sive argumento tragoediae adhuc exposita sunt (c. 7 et 8), inde nonnulla colliguntur, quibus non solum tragicae poesis indoles sed simul totius poeticae artis ratio et natura illustratur ac definitur. nam ut poetae opus pulchritudine splendeat, unitatem ille consectari debet (c.7). unitas autem turbatur ac tollitur multitudine partium iusto vinculo carentium. sed illud vinculum subest actionis cuiusdam partibus, si unum eius actionis momentum ex altero consequitur. itaque non quae facta sunt poeta imitari debet, sed quae fieri possunt, quamquam nihil obstat quo minus materia ab historia oblata utatur, dummodo hanc apte eligere ac probe disponere et pertractare sciat. rursus non est satis, si tragoediae argumentum ex fabularum cyclo sumptum tractatur: immo eiusmodi argumenta pessima sunt, si ex partibus non cohaerentibus conserta proponuntur. Lessingius partem huius disputationis in patriam linguam convertit et Aristotelis sententiam tum vere tum falso explicuit in Dramaturgia Hamburgensi tom. II. c. 89-91. او : · §. 1.
φανερὸν δὲ ἐκ τῶν εἰρημένων - ἀλλ' οἷα ἂν γένοιτο : quae dicta sunt de unitate partiumque actionis nexu, inde consequitur a poeta non quae facta sunt, sed quae fieri possunt, imitando exprimi: nam quae in hominum vita accidunt, ea plerumque varia sunt ac nullo vinculo continentur.
οἷα ἂν γένοιτο sive
τὰ δυνατὰ dum scribit, unum respexit contrarium id quod re vera contigit (
τὰ γενόμενα), ut ex una parte
τὰ γενόμενα, ex altera
οἷα ἂν γένοιτο sive
τὰ δυνατά ponantur. haec
δυνατά sive
οἷα ἂν γένοιτο in duas species dividuntur, in
δυνατὰ κατὰ τὸ εἰκὸς et
δυνατὰ κατὰ τὸ ἀναγκαῖον. itaque quod fieri potest, id aut ita comparatum est ut nihil nisi hoc ipsum fieri possit (
τὰ δυνατὰ κατὰ τὸ ἀναγκαῖον), aut ita ut hoc fieri nemo miretur (
τὰ δυνατὰ κατὰ τὸ εἰκός). exemplo rem planam faciam. cum Agamemno Achillem offendit, hunc pro moribus vehementer irasci iramque ostendere facto quodam necesse est, idque est
δυνατὸν κατὰ τὸ ἀναγκαῖον. sed quod ille ab Achivis plane discedit oculosque clade eorum pavet eoque irae suae gratificatur, id est
δυνα-
τὸν κατὰ τὸ εἰκὸς. conf. c. 15, 6. Madii et Buhlii de hoc loco dubitationes dextre discussit Hermannus.
2.
mvp-aristotle-comment-64
Ritter, cap. 9 § 2
μετά μέτρου ἢ ἄνευ μέτρων: cum scribit
μετὰ μέτρου, cogitat de uno aliquo metri genere, cui Herodoti historias includere quis posset, cum
ἄνευ μέτρων, quodcumque genus metrorum ab illis abesse significat.
3.
mvp-aristotle-comment-65
Ritter, cap. 9 § 3
διὸ καὶ φιλοσοφώτερον - ἐστίν: poesis cogitandi facultatem et rationem hominis exercet, eo quod a singulis abstinens universa (
τὰ καθόλου) consectatur. qui circa singula versatur, eius adspiciendi et singulas imagines rerum considerandi facultas praecipue occupatur, id quod omnibus hominibus et quovis tempore facile potest contingere. sed singula mittere et sequi universa philosophi est. praeterea quae fieri verisimile est aut necesse, causas eorum anquirere mens humana compellitur. sed causas rerum invenire et cognoscere, id rursus praecipuum philosophiae negotium est.
σπουδαιότερον est
σπουδῆς ἀξιώτερον, h. e. dignius sive gravius.
4.
mvp-aristotle-comment-66
Ritter, cap. 9 § 4
ἔστι δὲ καθόλου μὲν: subintellige
λέγειν, universe dicere est proferre quae genus quoddam hominum dicere aut facere consentaneum est. quae generi contingunt, non singulis generis hominibus, ea sibi constant et aeterna durant, non subiecta mutationis vicibus. vid. Metaph. 4. 9. p. 1017 b 35.
τὰ γὰρ καθόλου καθ᾽ αὑτὰ ὑπάρχει,
τὰ δὲ συμβε βηκότα οὐ καθ' αὑτὰ ἀλλ᾽ ἐπὶ τῶν καθ᾽ ἕκαστα ἁπλῶς λέγεται. conf.
Ζ. 13. p. 1039 a 1. (
τὸ καθόλου οὐ σημαίνει)
τόδε τι ἀλλὰ τοιόνδε.
τὰ δὲ καθ᾽ ἕκαστον κτλ. singularia sunt quae huic illive acciderunt, v. c. quae Alcibiades egit aut passus est.
οὗ στοχάζεται ἡ ποίησις ὀνόματα ἐπιτιθεμένη: excellit totius capitis huiusce explicatio praeclara perspicuitate et luculenta rerum expositarum veritate, neque alia huius libri pars tantis et tam iustis laudibus excepta est. sed quid dicemus de his verbis, quae non solum explanationis iustum ordinem subito impediunt, sed etiam obscuram quandam et falsam sententiam pronuntiant? impediri ordinem disputationis unusquisque et viderit et concesserit: definitur enim quid sit dicere
τὰ καθόλου et
τὰ καθ'᾿ ἕκαστον, quorum prius illud ab altero istis illatis male disiungitur. sed id fortasse quocumque tandem modo excusaveris; id gravius est, falsa esse quae inserta legimus: falso enim affirmatur nominibus imponendis
τὰ καθόλου sectari poesin, h. e. omnia poesis genera. sed continuo Aristoteles vere hoc dicit, comoediam qualis iam sit adhibere nomina communia, tragoediam fere singulorum hominum nomina a maioribus tradita tenere. itaque interpolator illud, quod de sui temporis comoedia apte recteque observavit sapientissimus auctorum, sinistre falsoque ad totam poesin putavit pertinere. Lessingius in libro laudato c. 89. multa molitus est ut sanam sententiam his verbis subesse monstraret, sed facile agnoscas ab homine acutissimo desperatam causam defendi.