1447a 8 Let ¹ us here deal with Poetry, its essence and its several species, with the characteristic function of each species and the way in which plots must be constructed if the poem is to be a success; and also with the number and character of the constituent parts of a poem, and similarly with all other matters proper to this same inquiry; and let us, as nature directs, begin first with first principles.

Epic poetry, then, and the poetry of tragic drama, and, moreover, comedy and dithyrambic poetry, and most flute-playing and harp-playing, these, speaking generally, may all be said to be representations of life. ²

But they differ one from another in three ways: either in using means generically different ³ or in representing different objects or in representing objects not in the same way but in a different manner.

For just as by the use both of color and form people represent many objects, making likenesses of them— 20 some having a knowledge of art and some working empirically—and just as others use the human voice; so is it also in the arts which we have mentioned, they all make their representations in rhythm and language and tune, using these means either separately or in combination.

For tune and rhythm alone are employed in flute-playing and harp-playing and in any other arts which have a similar function, as, for example, pipe-playing.

Rhythm alone without tune is employed by dancers in their representations, for by means of rhythmical gestures they represent both character and experiences and actions. ⁴

But the art which employs words either in bare prose or in metres, 1447b 1 either in one kind of metre or combining several, happens up to the present day to have no name.

For we can find no common term to apply to the mimes of Sophron and Xenarchus ⁵ and to the Socratic dialogues:

nor again supposing a poet were to make his representation in iambics or elegiacs or any other such metre—

except that people attach the word poet(maker)to the name of the metre and speak of elegiac poets and of others as epic poets. Thus they do not call them poets in virtue of their representation but apply the name indiscriminately in virtue of the metre.

For if people publish medical or scientific treatises in metre the custom is to call them poets. But Homer and Empedocles ⁶ have nothing in common except the metre, so that it would be proper to call the one a poet and the other not a poet but a scientist.

20 Similarly if a man makes his representation by combining all the metres, as Chaeremon did when he wrote his rhapsody The Centaur, a medley of all the metres, he too should be given the name of poet. ⁷ On this point the distinctions thus made may suffice.

There are certain arts which employ all the means which I have mentioned, such as rhythm and tune and metre—dithyrambic and nomic poetry, ⁸ for example, and tragedy too and comedy. The difference here is that some use all these at once, others use now one now another.

These differences then in the various arts I call the means of representation.

I propose to treat of Poetry in itself and of its various
kinds, noting the essential quality of each; to inquire into
the structure of the plot as requisite to a good poem;
into the number and nature of the parts of which a
poem is composed; and similarly into whatever else falls
within the same inquiry. Following, then, the order of
nature, let us begin with the principles which come
first.

Epic poetry and Tragedy, Comedy also and Dithyrambic
poetry, and the music of the flute and of the lyre in
most of their forms, are all in their general conception
modes of imitation.

They differ, however, from one another in three respects,—the
medium, the objects, the manner or mode of imitation,
being in each case distinct.

For as there are persons who, by conscious art or mere
habit, imitate and represent various objects through the
medium of colour and form, or again by the voice; so in the
arts above mentioned, taken as a whole, the imitation is
produced by rhythm, language, or 'harmony,' either singly
or combined.

Thus in the music of the flute and of the lyre, 'harmony'
and rhythm alone are employed; also in other arts, such
as that of the shepherd's pipe, which are essentially
similar to these.

In dancing, rhythm alone is used without 'harmony';
for even dancing imitates character, emotion, and action,
by rhythmical movement.

There is another art which imitates by means of language
alone, and that either in prose or verse—which verse, again,
may either combine different metres or consist of but one
kind—but this has hitherto been without a name.

For there is no common term we could apply to the
mimes of Sophron and Xenarchus and the Socratic
dialogues on the one hand;

and, on the other, to poetic imitations in iambic, elegiac,
or any similar metre.

People do, indeed, add the word 'maker' or 'poet' to the
name of the metre, and speak of elegiac poets, or epic
(that is, hexameter) poets, as if it were not the imitation
that makes the poet, but the verse that entitles them all
indiscriminately to the name.

Even when a treatise on medicine or natural science is
brought out in verse, the name of poet is by custom given
to the author; and yet Homer and Empedocles have
nothing in common but the metre, so that it would be
right to call the one poet, the other physicist rather than
poet.

On the same principle, even if a writer in his poetic
imitation were to combine all metres, as Chaeremon did in
his Centaur, which is a medley composed of metres of all
kinds, we should bring him too under the general term
poet. So much then for these distinctions.

There are, again, some arts which employ all the means
above mentioned, namely, rhythm, tune, and metre. Such
are Dithyrambic and Nomic poetry, and also Tragedy and
Comedy; διαφέρουσι δὲ ὅτι αἱ μὲν ἅμα πᾶσιν αἱ δὲ κατὰ
μέρος.

Such, then, are the differences of the arts with respect
to the medium of imitation.

Our subject being Poetry, I propose to speak not only of the
art in general but also of its species and their respective
capacities; of the structure of plot required for a good poem;
of the number and nature of the constituent parts of a poem;
and likewise of any other matters in the same line of inquiry.
Let us follow the natural order and begin with the primary
facts.

Epic poetry and Tragedy, as also Comedy,
Dithyrambic poetry, and most flute-playing and lyre-playing,
are all, viewed as a whole, modes of imitation.

But at the same time they differ from one another in three ways,
either by a difference of kind in their means, or by differences
in the objects, or in the manner of their imitations.

Just as form and colour are used as means by some,
who (whether by art or constant practice) imitate and portray
many things by their aid, and the voice is used by others;
so also in the above-mentioned group of arts, the means
with them as a whole are rhythm, language, and harmony
-used, however, either singly or in certain combinations.

A combination of rhythm and harmony alone is the means in
flute-playing and lyre-playing, and any other arts there may
be of the same description, e.g. imitative piping.

Rhythm
alone, without harmony, is the means in the dancer's imitations;
for even he, by the rhythms of his attitudes, may represent
men's characters, as well as what they do and suffer.

There is further an art which imitates by language
alone, without harmony, in prose or in verse, and if in verse,
either in some one or in a plurality of metres.
This form of imitation is to this day without a name.

We have no
common name for a mime of Sophron or Xenarchus and
a Socratic Conversation;

and we should still be without one
even if the imitation in the two instances were in trimeters
or elegiacs or some other kind of verse

-though it is the way
with people to tack on 'poet' to the name of a metre, and
talk of elegiac-poets and epic-poets, thinking that they call
them poets not by reason of the imitative nature of their
work, but indiscriminately by reason of the metre they write
in.

Even if a theory of medicine or physical philosophy be
put forth in a metrical form, it is usual to describe the writer
in this way; Homer and Empedocles, however, have really
nothing in common apart from their metre; so that, if the
one is to be called a poet, the other should be termed a
physicist rather than a poet.

We should be in the same
position also, if the imitation in these instances were in all
the metres, like the Centaur (a rhapsody in a medley of all
metres) of Chaeremon; and Chaeremon one has to recognize
as a poet. So much, then, as to these arts.

There are,
lastly, certain other arts, which combine all the means
enumerated, rhythm, melody, and verse, e.g. Dithyrambic
and Nomic poetry, Tragedy and Comedy; with this difference,
however, that the three kinds of means are in some of them
all employed together, and in others brought in separately,
one after the other.

These elements of difference in the
above arts I term the means of their imitation.

1.1 MY design is to treat of POETRY in general, and of its several species—to inquire, what is the proper effect of each—what construction of a fable, or plan, is essential to a good Poem—of what, and how many, parts, each species consists; with whatever else belongs to the same subject: which I shall consider in the order that most naturally presents itself.

[1] 1.2 Epic Poetry, Tragedy, Comedy, Dithyrambics, as also, for the most part, the Music of the flute, and of the lyre—all these are, in the most general view of them, IMITATIONS ¹ ; 1.3 differing, however, from each other in three respects, according to the different means, the different objects, or the different manner, of their imitation.

1.4 For, as men, some through art, and some through habit, imitate various objects, by means of colour and figure, and others, again, by voice ² ; so, with respect to the arts above-mentioned, rhythm, words, and melody, are the different means by which, either single, or variously combined, they all produce their imitation.

1.5 For example: in the imitations of the flute, and the lyre, and of any other instruments capable of producing a similar effect—as the syrinx, or pipe—melody and rhythm only are employed. 1.6 In those of Dance, rhythm alone, without melody; for there are dancers who, by rhythm applied to gesture ³ , express manners, passions, and actions.

1.7 The EPOPOEIA imitates by words alone, or by verse; and that verse may either be composed of various metres, or confined, according to the practice hitherto established, to a single species ⁴ . 1.8 For we should, otherwise, have no general name which would comprehend the Mimes of SOPHRON and XENARCHUS, and the Socratic dialogues; 1.9 or Poems in Iambic, Elegiac, or other metres, in which the Epic species of imitation may be conveyed. 1.10 Custom, indeed, connecting the poetry or making with the metre, has denominated some Elegiac Poets, i. e. makers ⁵ of elegiac verse; others, Epic Poets; i. e. makers of hexameter verse; thus distinguishing the Poets, not according to the nature of their imitation, but according to that of their metre only. 1.11 For even they, who compose treatises of medicine, or natural philosophy, in verse, are denominated Poets: yet HOMER and EMPEDOCLES have nothing in common, except their metre; the former, therefore, justly merits the name of Poet; while the other should rather be called a Physiologist than a Poet.

1.12 So, also, though any one should chuse to convey his imitation in every kind of metre, promiscuously, as CHAEREMON has done in his Centaur, which is a medley of all sorts of verse, it would not immediately follow, that, on that account merely, he was entitled to the name of Poet. But of this, enough.

1.13 There are, again, other species of Poetry which make use of all the means of imitation, rhythm, melody, and verse. Such are, the Dithyrambic, that of Nomes, Tragedy, and Comedy: with this difference, however, that in some of these, they are employed all together, in others, separately ⁶ . 1.14 And such are the differences of these arts with respect to the means by which they imitate.

2.1 But, as the objects of imitation are the actions of men, and these men must of necessity be either good or bad, (for on this does character principally depend; the manners being, in all men, most strongly marked by virtue and vice,) it follows, that we can only men, either as better than they actually are, or worse, or exactly as they are: 2.2 just as, in Painting, the pictures of Polygnotus were above the common level of nature; those of Pauson, below it; those of Dionysius, faithful likenesses.

2.3 Now it is evident that each of the imitations above-mentioned will admit of these differences, and become a different kind of imitation, as it imitates objects that differ in this respect. 2.4 This may be the case with Dancing; with the Music of the flute, and of the lyre; 2.5 and, also, with the Poetry which employs words, or verse only, without melody, or rhythm: thus, Homer has drawn men superior to what they are ⁷ ; Cleophon, as they are; Hegemon the Thasian, the inventor of parodies, and Nicocharis, the author of the Deliad, worse than they are.

2.6 So, again, with respect to Dithyrambics, and Nomes: in these, too, the imitation may be as different as that of the Persians, by Timotheus, and the Cyclops, by Philoxenus. 2.7 Tragedy, also, and Comedy, are distinguished in the same manner; the aim of Comedy being, to exhibit men worse than we find them, that of Tragedy, better.

3.1 There remains the third difference—that of the manner in which each of these objects may be imitated. 3.2 For the Poet, imitating the same object, and by the same means, may do it either in NARRATION—and that, again, either personating other characters, as HOMER does, or, in his own person throughout, without change:—or, he may imitate by representing all his characters as real, and employed in the very ACTION itself.

3.3 These, then, are the three differences by which, as I said in the beginning, all imitation is distinguished; those of the means, the object, and the manner: 3.4 so that Sophocles is, in one respect, an imitator of the same kind with Homer, as elevated characters are the objects of both; in another respect, of the same kind with Aristophanes, as both imitate in the way of action; whence, according to some, the application of the term DRAMA [i. e. action] to such Poems.

3.5 Upon this it is that the Dorians ground their claim to the invention both of Tragedy and Comedy. For Comedy is claimed by the Megarians; both by those of Greece, who contend that it took its rise in their popular government ⁸ ; and by those of Sicily, among whom the poet Epicharmus flourished long before Chionides and Magnes: and Tragedy, also, is claimed by some of the Dorians of Peloponnesus.—In support of these claims they argue from the words themselves. 3.6 They allege, that the Doric word for a village is COME, the Attic, DEMOS; and that Comedians were so called, not from COMAZEIN—to revel—but from their strolling about the COMAI, or villages, before they were tolerated in the city ⁹ . They say, farther, that, to do, or act, they express by the word DRAN; the Athenians by PRATTEIN.

3.7 And thus much as to the differences of imitation—how many, and what, they are.

4.1 POETRY, in general, seems to have derived its origin from two causes, each of them natural.

4.2 1. TO IMITATE is instinctive in man from his infancy. By this he is distinguished from other animals, that he is, of all, the most imitative, and through this instinct receives his earliest education. All men, likewise, naturally receive pleasure from imitation.

4.3 This is evident from what we experience in viewing the works of imitative art; for in them, we contemplate with pleasure, and with the more pleasure, the more exactly they are imitated, such objects as, if real, we could not see without pain; as, the figures of the meanest and most disgusting animals, dead bodies, and the like.

4.4 And the reason of this is, that to learn, is a natural pleasure, not confined to philosophers, but common to all men; with this difference only, that the multitude partake of it in a more transient and compendious manner. 4.5 Hence the pleasure they receive from a picture: in viewing it they learn ¹⁰ , they infer, they discover, what every object is—that this, for instance, is such a particular man, &c. ¹¹ 4.6 For if we suppose the object represented to be something which the spectator had never seen, his pleasure, in that case, will not arise from the imitation, but from the workmanship, the colours, or some such cause.

4.7 Imitation, then, being thus natural to us, and, 2ndly, MELODY and RHYTHM being also natural, (for as to metre, it is plainly a species of rhythm ¹² ,) those persons, in whom, originally, these propensities were the strongest, were naturally led to rude and extemporaneous attempts, which, gradually improved, gave birth to POETRY.

4.8 But this Poetry, following the different characters of its authors, naturally divided itself into two different kinds. They who were of a grave and lofty spirit, chose, for their imitation, the actions and the adventures of elevated characters: while Poets of a lighter turn, represented those of the vitious and contemptible. And these composed, originally, Satires; as the former did Hymns and Encomia.

4.9 Of the lighter kind, we have no Poem anterior to the time of HOMER, though many such, in all probability, there were; 4.10 but, from his time, we have; as, his Margites, and others of the same species, in which the Iambic was introduced as the most proper measure; and hence, indeed, the name of Iambic, because it was the measure in which they used to IAMBIZE, [i. e. to satirize,] each other.

4.11 And thus these old Poets were divided into two classes—those who used the heroic, and those who used the iambic, verse ¹³ .

4.12 And as, in the serious kind, HOMER alone may be said to deserve the name of Poet, not only on account of his other excellences, but also of the dramatic spirit of his imitations; so was he likewise the first who suggested the idea of Comedy, by substituting ridicule for invective, and giving that ridicule a dramatic cast: for his MARGITES bears the same analogy to Comedy, as his ILIAD and ODYSSEY to Tragedy. 4.13 But when Tragedy and Comedy, had once made their appearance, succeeding Poets, according to the turn of their genius, attached themselves to the one, or the other, of these new species: the lighter sort, instead of Iambic, became Comic Poets; the graver, Tragic, instead of Heroic: and that, on account of the superior dignity and higher estimation of these latter forms of Poetry.

Whether Tragedy has now, with respect to its constituent parts ¹⁴ , received the utmost improvement of which it is capable ¹⁵ , considered both in itself, and relatively to the theatre, is a question that belongs not to this place.

4.14 Both Tragedy, then, and Comedy, having originated in a rude and unpremeditated manner—the first from the Dithyrambic hymns, the other from those Phallic songs ¹⁶ , which, in many cities, remain still in use—each advanced gradually towards perfection, by such successive improvements as were most obvious.

4.15 TRAGEDY, after various changes, reposed at length in the completion of its proper form. 4.16 ÆSCHYLUS first added a second actor ¹⁷ ; he also abridged the CHORUS, and made the dialogue the principal part of Tragedy. SOPHOCLES increased the number of actors to three, and added the decoration of painted scenery. 4.17 It was also late before Tragedy threw aside the short and simple fable, and ludicrous language, of its satyric original ¹⁸ , and attained its proper magnitude and dignity. 4.18 The Iambic measure was then first adopted: for, originally, the Trochaic tetrameter was made use of, as better suited to the satyric and saltatorial genius ¹⁹ of the Poem at that time; but when the dialogue was formed, nature itself pointed out the proper metre. 4.19 For the iambic is, of all metres, the most colloquial; as appears evidently from this fact, that our common conversation frequently falls into iambic verse; seldom into hexameter, and only when we depart from the usual melody of speech.

4.20 Episodes were, also, multiplied, and every other part of the drama successively improved and polished.

But of this enough: 4.21 to enter into a minute detail would, perhaps, be a task of some length.

5.1 COMEDY, as was said before, is an imitation of bad characters: bad, not with respect to every sort of vice, but to the RIDICULOUS only, as being a species of turpitude or deformity; 5.2 since it may be defined to be a fault or deformity of such a sort as is neither painful nor destructive. A ridiculous face, for example, is something ugly and distorted, but not so as to cause pain.

5.3 The successive improvements of Tragedy, and the respective authors of them, have not escaped our knowledge; but those of Comedy, from the little attention that was paid to it in its origin, remain in obscurity. For it was not till late, that Comedy was authorized by the magistrate, and carried on at the public expence: it was, at first, a private and voluntary exhibition. 5.4 From the time, indeed, when it began to acquire some degree of form, its Poets have been recorded; but who first introduced masks, or prologues, or augmented the number of actors—these, and other particulars of the same kind, are unknown.

5.5 Epicharmus and Phormis were the first who invented comic fables. This improvement, therefore, is of Sicilian origin. 5.6 But, of Athenian Poets, Crates was the first who abandoned the Iambic form ²⁰ of comedy, and made use of invented and general stories, or fables.

5.7 Epic Poetry agrees so far with Tragic, as it is an imitation of great characters and actions, by means of words: but in this it differs, that it makes use of only one kind of metre throughout; and that it is narrative. 5.8 It also differs in length: for Tragedy endeavours, as far as possible, to confine its action within the limits of a single revolution of the sun, or nearly so; but the time of Epic action is indefinite. 5.9 This, however, at first, was equally the case with Tragedy itself.

5.10 Of their constituent parts, some are common to both, some peculiar to Tragedy. 5.11 He, therefore, who is a judge of the beauties and defects of Tragedy, is, of course, equally a judge with respect to those of Epic Poetry: for all the parts of the Epic poem are to be found in Tragedy; not all those of Tragedy, in the Epic poem.

[1] ¹ LET us speak concerning poetry itself, and its [different] species1; 1.1 what power each possesses, and how fables must be composed, in order that poetry may be such as is fitting: further still, [let us show] of how many and what kind of parts it consists; and in like manner [let us treat] concerning such other things as pertain to this method, beginning, conformably to nature, first from such things as are first.

² The epopee, therefore, and tragic poetry, and moreover comedy, 1.2 and dithyrambic poetry, and the greatest part of the art pertaining to the flute and the lyre , are all entirely imitations 3. ³ 1.3 They differ, however, in three things; for [ they differ] either by imitating through means different in kind, or by imitating different objects, or in a different, and not after the same manner. ⁴ For as certain persons assimilating, imitate many things by colours and figures, some indeed through art, 1.4 but others through custom, [ and others through voice]4; thus also in the afore- ^{5 6 7 8} mentioned arts, all of them indeed produce imitation in rhythm, words, and harmony; and in these, either distinctly, or mingled together, 1.5 as, for instance, the arts of the flute and the lyre alone employ harmony and rhythm5; and this will also be the case with any other arts which possess a power of this kind, such as the art of playing on reed-pipes. ⁹ But the arts pertaining to dancing imitate by rhythm, without harmony ; 1.6 for dancers, through figured rhythms, imitate manners, and passions, and actions. ¹⁰ 1.7 But the epopee alone imitates by mere words or metres, and by these either mingling them with each other, or employing one certain kind of metres, which method has been adopted up to the present time. ¹¹ 1.8 For otherwise we should have no common name, by which we could denominate the Mimes of Sophron and Xenarchus, and the dialogues of Socrates; or those who imitate by trimetres, 1.9 or elegies, or certain other things of this kind; 1.10 except that men joining with metre the verb to make8, call some of these makers of elegies, but others epic makers, not as poets according to imi- ^{12 13 14 15} tation, but denominating them in common according to measure. For they are accustomed thus to denominate them, if they write any thing medical or musical in verse. ¹⁶ 1.11 There is, however, nothing common to Homer and Empedocles except the measure; on which account, it is right indeed to call the former a poet; but the latter, a physiologist rather than a poet. ¹⁷ 1.12 In like manner, though some one, mingling all the measures, should produce imitation, as Chaeremon has done in his Centaur, a mixed rhapsody of all the metres, yet he must not be called a poet. ¹⁸ Let it then be thus laid down concerning these particulars. 1.13 But there are some kinds of poetry which employ all the before-mentioned means, I mean, rhythm, melody, and measure, such as dithyrambic poetry and the Nomes10, and also tragedy and comedy. But these differ, because some of them use all these at once, but others partially. 1.14 I speak, therefore, of these differences of the arts in respect to the means by which they produce imitation.

De poetica et ipsa et formis ipsius, quam quaeque vim habeat, et quomodo deceat componi fabulas, si recte se habitura sit poesis, praeterea ex quot et quibus partibus constet, pariterque de ceteris quae eiusdem disciplinae sunt, dicamus, initio facto secundum naturam ab iis quae prima sunt.

epopoeia igitur et tragoediae poesis, praeterea comoedia et dithyrambopoetica, et auleticae maxima pars citharisticaeque, omnes sunt imitationes in universum.

differunt autem inter sese tribus: aut quod genere diversis imitantur, aut quod diversa, aut quod diverse neque eodem modo.

ut enim et coloribus et lineamentis sunt qui multa imitantur assimulando, alii per artem alii per consuetudinem [, alii autem per vocem], sic etiam in iis quas dixi artibus, cunctae faciunt imitationem numero et sermone et concentu, iisque aut singulis aut mixtis,

quemadmodum uno concentu numeroque utuntur et auletica et citharistica, et si quae sunt aliae eiusdem potestatis, ut quae fistulis canit.

solo autem numero imitantur sine concentu motus saltatorum: etenim hi quoque per figuratos numeros imitantur et mores et perturbationes et actiones.

epopoeia vero unis sermonibus nudis aut metris, atque his dum ea sive miscet inter sese, sive uno aliquo genere metrorum utitur usque ad hoc tempus.

non enim communi nomine comprehendere possemus Sophronis et Xenarchi mimos et Socraticos sermones,

neque si quis trimetris vel elegis vel aliis quibusdam eiusmodi faceret imitationem;

nisi quod homines copulantes cum metro facere alios elegifices alios epifices nominant, non tam qui secundum imitationem sunt poetas quam communiter secundum metrum appellantes.

etenim si medicum quoddam vel musicum per metra efferant, sic vocare consueverunt. nihil autem commune est Homero et Empedocli praeter metrum; quamobrem illum iustum est poetam vocare, hunc autem physiologum potius quam poetam.

similiter vero etiam si quis omnia metra miscens faceret imitationem, quemadmodum Chaeremo fecit Centaurum mixtam rhapsodiam ex omnibus metris, et is poeta dicendus erit.

atque de his hunc in modum expositum esto. sunt etiam artes quae omnibus utuntur iis quae dicta sunt, dico numero et concentu et metro, sicut dithyrambicorum poesis et nomorum et tragoedia comoediaque differunt autem, quod hae simul omnibus, illae per partes.

has igitur dico differentias artium, in quibus faciunt imitationem.

1. 1.1 AYANT deſſein de traiter de la Poësie en general, de ſes differentes eſpeces, & des effets de chacune d'elles en particulier ; d'expliquer le nombre & la qualité de toutes ſes parties; de montrer de quelle maniere il faut conſtituer un ſujet pour faire un bon Poëme, 2 LA POETIQUE 1 & de ne rien oublier de ce qui concerne cet Art, j'imiteray la Nature, & commenceray d'abord par les premiers traits.

2 1.2 L'Epopée & la Tragédie; la Comedie & les Dithyrambes; la plupart des airs de flute & des pieces de lyre, &c. ne font que de pures imitations. Il y a pourtant entre tous ces Arts trois differences eſſentielles. 1.3 La premiere regarde le moyen, la ſeconde le ſujet, & la troiſieme la maniere. 1.4 Car comme les Peintres imitent pluſieurs choſes avec des figures & des couleurs, ou par le ſecours de l'Art, ou par l'habitude ſeule, ou en joignant les deux enſemble; de meſme dans tous les Arts dont je viens de parler, les Maîtres font leur imitation avec le nombre, le diſcours, & l'harmonie enſemble ou feparément.

3. 1.5 Le jeu de la flute, celuy de la lyre, & s'il y en a encore quelque autre de meſme nature comme celuy du chalumeau, employent tous le nombre & l'harmonie.

4. 1.6 Les Danſeurs ne ſe ſervent que du nombre ſeul: car par le moyen des nombres ou des cadences figurées, ils imitent les mœurs, les paſſions & les actions.

5. 1.7 L'Epopée ſe ſert du diſcours en profe ou en vers, ſoit qu'elle mêle pluſieurs fortes de vers ou qu'elle ſe contente d'une ſeule eſpece, comme elle l'a fait juſqu'à preſent.

6. Je donne au mot Epopée une ſignification fort étenduë : 1.8 car autrement nous n'aurions pas de mot géneral qui comprît les Mimes de Sophron, & ceux de Xenarchus, les dialogues de Socrate & 1.9 toutes les autres imitations qu'on pourroit faire ſoit en vers ïambes, ou en vers élegiaques, ou en quelque autre ſorte de vers. 1.10 Il eſt vray que les hommes diſtinguent ordinairement les Poëtes par la ſeule différence de leurs vers, en appellant les uns Poëtes Elegiaques, & les autres Poëtes Epiques ou Heroïques, ſans avoir aucun égard à la nature de leur imitation; juſques-là même qu'ils donneront le nom de Poëte Epique ou Heroïque à celuy qui traitera de la Phyſique ou de la Medecine en vers hexamètres. 1.11 Cependant il n'y a rien de commun entre Homere & Empedocle que les vers : voilà pourquoy il ſeroit bien plus juſte d'appeller le premier un Poëte, & le ſecond un Phyſicien. 1.12 En effet ſi quelqu'un s'aviſoit de faire un poëme en meſlant enſemble toutes les differentes fortes de vers, comme Cheremon fit ſon Centaure, on ſeroit reduit par cette méthode à ne pouvoir luy donner le nom de Poëte. En voilà aſſez fur ce ſujet.

7. 1.13 Les Dithyrambes, les Nomes, la Tragedie & la Comedie employent également les trois moyens dont j'ay parlé, le nombre, le vers & l'harmonie, c'est-à-dire la musique, avec cette difference que les uns les employent tous enſemble & les autres ſéparément. 1.14 Voila quant aux moyens dont ces Arts ſe ſervent pour faire leur imitation.

ELLA Poetica, & di lei, & delle fue fpetie, qual fia dı ciaſcuna d'eſſe la forza; & qualmente debbino effe re conteffute le fauole da chi vuole, che la poeſia vi ſtia rettamente. Oltradiqueſto di quanti, & di qua li parti ella ſia compoſta; & ſimilmete di tutte l'altre coſe, che à queſta inſtitutione s'appartengono, dirò io conſeguentemente: incominciatomi ſecondo l'ordine naturale primieramente da quelle cose che ſono imprima dell'altre. ¹

Il poema Heroico adunche detto Epopeia, & il Tragico; & inoltre quello della Commedia, & quello de' Ditirambi: & an chora la piu parte di quell'arti, che ſono intorno al fuono de' Flauti, & delle Citare. Tutte, dico, conuengono in queſto generale, ch'elle ſono imitationi.

Ma fon bene differenti infra di loro per tre conti, ò perche elle imitano con coſe diuerſe di ſpetie;ò perch'elle imitano coſe diuerſe : ò perch'elle imitano in modo diuerfo, & non in vn'medeſimo.

Perchè coſi come certi fono, che vanno imitando con li colori, et con le figure molte co ſe per renderle famiglianti; certi, dico, ſono che fanno queſto per via dell'arte : & certi per via della conſuetu dine. Et altri ſono, che imitano con la uoce. Parimente interuiene nell'arti raccontate diſopra, che tutte, cioè, fanno l'imitatione & col numero, & col parlare, & con l'armonia. Et con queſte coſe la fanno,ò diſpersè,ò infieme;

come auuiene nell' arte de' ſuoni de' Flauti, & delle Citare, ò s'alcune altre ſe ne ritrouano, che habbinola medefima forza: ſicome è nell' arte del fonare le Zampogne. Queſte, dico, tutte nel fare la loro imitatione vſano l'armonia, & il numero.

Et il numero diſpersè ſenza l'armonia vſa nell'imitatione tutta l'arte, che è intorno a' balli, ò a' falti. Concioſia che quiui per via di quei numeri meſsi in atto co' geſti vi ſi vada imi tando & i coſtumi, & le attioni, & gli affetti.

Ma l'Epo peia fa l'imitatione ſolamente con la proſa,ò col verſo; & col verſo, ò meſcolato di piu forti: ò con quello, che ſia d'una fola ſpetie. Et ciò è offeruato infino al prefente tempo.

Imperoche ſtando altrimenti neſſuna altra coſa ſarebbe, che noi poteſsimo dire effer comune infra i Mimi di Sofrone, & di Xenarco; & infra i ragionaméti di Socrate.

Nè anchora s'alcuno faceſſe l'imitatione co' verſi lambi,o con gli Elegi:ò con altri ſimili.

Eccetto che gli huomini, congiugnendo inſieme il poetare, & il verſo, hanno chiamato queſti Poeti di Elegie; & quegli Poeti di Eflametri; non hauendo in ciò riſpetto all'imitatione: ma dando generalmente il nome di Poeta ſecondo il riſpetto del verſo.

Conciofia che ſe talı Poeti hanno detto in verſi alcuna coſa appar tenente ò alla medicina, ò alla muſica; eſsi hanno vſato nondimanco con la ragion'detta di chiamargli Poeti. Mae'non è comune alcun'altra coſa infra Homero, & Empedocle eccetto il verſo. Onde l'uno ſi debbe ragio neuolmente chiamar Poeta; & l'altro piutoſto Filofofo naturale, che Poeta.

Et queſto ſimileauuiene doue anchora vno, meſcolate tutte le ſorti de' verſi, nondimanco non vi faceſſe l'imitatione: ficome fe Chieremone nel ſuo Caual centauro, che di tutte le forti de verſi vi fe vn' meſcuglio. Et non per ciò debbe effer chiamato Poeta. Di queſte coſe adunche baſti la deter mination'detta.

Sono anchora certe fpetie di poefie, che vſano nella loro imitatione tutte le coſe dette, cioè, il numero,l'harmonia, & il verſo; come è la poeſia de' Ditirambi,& quella delle leggi : & come è la Tragedia,& la Commedia.

Ma fono differenti in queſto, che certe di loro vſano inſieme tutte le coſe dette;et certe l'uſano diſpersè.

De poetica et ipsa et formis ipsius, quam vim habeat unaquaeque, et quomodo oporteat componi fabulas, si habitura sit se recte poesis, praeterea vero ex quot et qualibus constet partibus, similiter autem et de aliis quae eiusdem methodi sunt, dicamus incipientes secundum naturain naturam primum a primis.

iam vero epopoeia et tragoediae poësis, praeterea comoedia et dithyrambopoëtica, et auleticae maxima pars et citharisticae, omnes sunt imitatio in universum.

differunt autem inter se tribus: aut enim quod genere diversis imitantur, aut quod diversa, aut quod diverso et non eodem modo.

ut enim et coloribus et figuris multa imitantur aliqui effigiem exprimentes, partim quidem per artem partim vero per consuetudinem, alii autem utrisque, sic in dictis artibus omnes faciunt imitationem in numero et oratione et harmonia, atque his separatim aut mixtis.

ut harmonia quidem et numero utuntur solum et auletica et citharistica, et si quae aliae sunt tales potestate, ut fistularum. ipso autem numero imitantur sine harmonia,

qui sunt inter saltatores: etenim isti per figuratos numeros imitantur et mores et perturbationes et actiones. epopoeia vero solum sermonibus nudis vel metris,

et his sive mixtis inter se sive uno aliquo genere utens metrorum, qualis fuit usque adhuc.

non enim rem communem possemus nominare Sophronis et Xenarchi mimos et Socratis sermones,

neque si quis per trimetra vel elegos vel alia quaedam talia conficeret imitationem;

nisi quod homines coniungentes cum metro ipsum fingere, alios quidem elegorum fictores alios vero epicorum fictores nominant, non secundum imitationem sed communiter secundum metrum appellantes poëtas.

etenim si medicinae aut musicae aliquid per metra proferunt, sic appellare consueverunt: nihil autem commune est Homero et Empedocli praeter metrum; quare illum quidem poëtam iustum est appellare, hunc vero physiologum magis quam poëtam.

similiter vero etiam si quis omnia metra miscens non faciat imitationem, quemadmodum Chaeremon fecit Centaurum, mixtam rhapsodiam ex omnibus metris, iam poëta non est appellandus. atque haec quidem hunc in modum explicata sint.

sunt autem aliquae quae omnibus utuntur iis quae dicta sunt, nempe numero et concentu et metro, sicut dithyrambicorum poësis et nomorum. praeterea tragoedia et comoedia. differunt vero, quod illae quidem simul omnibus, hae vero secundum partem.

atque has quidem dico differentias artium, in quibus faciunt imitationem.

De poetica ipsaque et speciebus ipsius, quam virtutem habet, et quomodo oportet constituere fabulas si debeat bene habere poesis, adhuc autem ex quot et qualibus est partibus, similiter autem et de aliis quecumque sunt eiusdem methodi, dicamus incipientes secundum naturam primo a primis. —

Epopoiia itaque et que tragodie poesis, adhuc autem komodia et que dithyrambopoetica et fystulative plurima et cytharistice, omnes existunt entes imitationes secundum totum;

differunt autem ab invicem tribus: aut enim per genere alteris imitari, aut per altera, aut per aliter et non eodem modo.

Sicut enim et coloribus et figuris multa imitantur quosdam assimilantes hii quidem per artem, hii autem per consuetudinem, alteri autem per vocem, sic et dictis artibus. Omnibus quidem faciunt imitationem in rythmo et sermone et armonia, hiis autem aut separatim aut mixtis:

puta armonia quidem et rythmo utentes solo fystulativaque et cytharistica et si que alie sint habentes talem potentiam, puta que tubarum;

ipso autem rythmo imitantur sine armonia qui saltatricum ; et enim isti per figuratos rythmos imitantur et mores et passiones et actiones.

Epopoiia autem solum sermonibus nudis aut metris, et hiis aut miscens cum invicem aut uno aliquo genere utens metrorum existens usque nunc.

Nichil enim habemus nominare commune Sofronis et Xenarchi mymos et Socraticos sermones

neque si quis per trimetra aut elegeia aut per alia aliqua talia faciat imitationem ;

nisi quod homines, copulantes metro le facere, elegeioficos, hos autem versificos nominant; non tamquam secundum imitationem poetas, sed communiter secundum metrum appellantes.

Et enim si medicinale aut musicum aliquid per metra efferant, sic vocare consueverunt; nichil autem commune est Homero et Empedocli preter metrum, propter quod hunc quidem poetam iustum vocare, hunc autem fysiologum magis quam poetam.

Similiter autem et si quis omnia metra miscens faciat imitationem, sicut Kherimon fecit Centaurum mixtam rapsodiam ex omnibus metris, et poetam appellandum. De hiis quidem igitur determinatum sit hoc modo. —

Sunt autem aliqui qui omnibus dictis utuntur, dico autem puta rythmo et melodia et metro, sicut que dithyrambicorum poesis et que nomorum (idest legum) et tragodiaque et komodia ; differunt autem quia hee quidem simul omnibus, hee autem secundum partem.

Has quidem igitur dico differentias artium in quibus faciunt imitationem.

‏انا متكلمون الان فى صناعة الشعرا وانواعها ومخبرون اى قوة لكل واحد واحد منها وعلى اى سبيل ينبغى ان تتقوم الاسمار والاشعار ان كانت الفواسس مزمعة بان يجرى امرها مجرى الجودة وايضا من كم جزو هى وايما هى اجزاوها وكذلك نتكلم من اجل كم التى هى موجودة التى هى لها بعينها ونتكلم ونحن متكلمون فى هذا كله من حيث نبتدى اولا من الاشيا الاوايل

‏فكل شعر وكل نشيد شعرى ننحا به اما مديحا واما هجاا اما دثيرمبو الشعرى ونحو اكثر اوليطيقس وكل ما كان داخلا فى التشبه ومحاكاة صناعة الملاهى من الزمر والعود وغيره

‏واصنافها ثلثة وذلك اما ان تكون تشبه باشيا اخر والحكاية بها واما ان تكون على عكس هذا وهو ان تكون اشيا اخر تشبه وتحاكى واما ان تجرى على احوال مختلفة لا على جهة واحدة بعينها

‏وكما ان الناس قد يشبهون بالوان واشكال كثيرا ويحاكون ذلك من حيث ان بعضهم يشبه بالصناعات ويحاكيها وبعضهم بالعادات وقوم اخر منهم بالاصوات كذلك الصناعات التى وصفنا وجميعها ياتى بالتشبه والحكاية باللحن والقول والنظم وذلك يكون اما على الانفراد واما على جهة الاختلاط

‏مثال ذلك اوليطيقى وصناعة العيدان فانهما تستعملان اللحن وتاليف فقط وان كان توجد صناعات اخر هى فى قوتها مثل هاتين مثل ذلك صناعة الصفر تستعمل اللحن الواحد بعينه من غير تاليف

‏وصناعة اداة الرقص ايضا وذلك ان هاتين باللحون المتشكلة تشبه بالعادات وبالانفعالات ايضا وبالاعمال ايضا وتحاكيها

‏اما بعضها فبالكلام المنثور السارح اكثر او بالاوزان وتحاكى هى هذه اما وهى مخلطة واما بان تستعمل جنسا واحدا وبالاوزان التى هى بلا تسمية الا الازمه

‏وذلك انه ليس لنا ان نسمى بماذا يشارك حكايات وتشبيهات شاعر وقرن وكسانرخس والاقاويل المنسوبة الى سقراط

‏ولا ايضا ان جعل الانسان تشبيهه وحكايته بالاوزان الثلاثيه او هى هذه التى يقال لها الغاز او شى من هذه الاخر التى يجعل تشبيهه وحكايته لها على هذا النحو

‏غير ان الناس عند ما يوصلون وزن صناعة الشعر [يعملون الاوزان و]يسمون بعضها فمن الغايا وبعضها فى الاخر [والتى لها اول واخر] وليس كالتى يعملون الشعر التى هى بالحكاية والتشبيه لكن التى يلقبونها المشتركة فى اوزانها

‏وذلك ان عملوا شى من امور الطب او امور الطبيعة بالاوزان فهكذى قد جرت عادتهم بالتقليب وذلك انه لا شى يشتركان فيه اوميروس وانفادقلس ما خلا الوزن ولذلك اما ذاك فينبغى ان نلقبه شاعرا واما هذا فالمتكلم فى الطبيعيات اكثر من الشاعر

‏وكذلك ان كان الانسان يعمل الحكاية والتشبيه عند ما يخلط جميع الاوزان كما كان يعمل خاريمن فانه كن يشبه قانطورس برقص الدستبند من جميع الاوزان فقد يجب ان نلقبه شاعرا فمن قبل هذه كان حدد هذا الضرب

‏وقد يوجد قوم يستعملون جميع التى وصفت مثال ذلك فى اللحن والصوت الحلوا والاوزان كصناعة الشعر التى ٮٮورمٮى والتى للناصوس والمديح ايضا والهجا ويختلف بان بعضها مع الكل معا وبعضها بالجزو

‏فهذه اقول انها اصناف الصنايع التى بها يعملون

‏انا متكلمون الان فى صناعة الشعرا وانواعها ومخبرون اى قوة لكل واحد واحد منها وعلى اى سبيل ينبغى ان تتقوم الاسمار والاشعار ان كانت الفواسس مزمعة بان يجرى امرها مجرى الجودة وايضا من كم جزو هى وايما هى اجزاوها وكذلك نتكلم من اجل كم التى هى موجودة التى هى لها بعينها ونتكلم ونحن متكلمون فى هذا كله من حيث نبتدى اولا من الاشيا الاوايل

‏فكل شعر وكل نشيد شعرى ننحا به اما مديحا واما هجاا اما دثيرمبو الشعرى ونحو اكثر اوليطيقس وكل ما كان داخلا فى التشبه ومحاكاة صناعة الملاهى من الزمر والعود وغيره

‏واصنافها ثلثة وذلك اما ان تكون تشبه باشيا اخر والحكاية بها واما ان تكون على عكس هذا وهو ان تكون اشيا اخر تشبه وتحاكى واما ان تجرى على احوال مختلفة لا على جهة واحدة بعينها

‏وكما ان الناس قد يشبهون بالوان واشكال كثيرا ويحاكون ذلك من حيث ان بعضهم يشبه بالصناعات ويحاكيها وبعضهم بالعادات وقوم اخر منهم بالاصوات كذلك الصناعات التى وصفنا وجميعها ياتى بالتشبه والحكاية باللحن والقول والنظم وذلك يكون اما على الانفراد واما على جهة الاختلاط

‏مثال ذلك اوليطيقى وصناعة العيدان فانهما تستعملان اللحن وتاليف فقط وان كان توجد صناعات اخر هى فى قوتها مثل هاتين مثل ذلك صناعة الصفر تستعمل اللحن الواحد بعينه من غير تاليف

‏وصناعة اداة الرقص ايضا وذلك ان هاتين باللحون المتشكلة تشبه بالعادات وبالانفعالات ايضا وبالاعمال ايضا وتحاكيها

‏اما بعضها فبالكلام المنثور السارح اكثر او بالاوزان وتحاكى هى هذه اما وهى مخلطة واما بان تستعمل جنسا واحدا وبالاوزان التى هى بلا تسمية الا الازمه

‏وذلك انه ليس لنا ان نسمى بماذا يشارك حكايات وتشبيهات شاعر وقرن وكسانرخس والاقاويل المنسوبة الى سقراط

‏ولا ايضا ان جعل الانسان تشبيهه وحكايته بالاوزان الثلاثيه او هى هذه التى يقال لها الغاز او شى من هذه الاخر التى يجعل تشبيهه وحكايته لها على هذا النحو

‏غير ان الناس عند ما يوصلون وزن صناعة الشعر [يعملون الاوزان و]يسمون بعضها فمن الغايا وبعضها فى الاخر [والتى لها اول واخر] وليس كالتى يعملون الشعر التى هى بالحكاية والتشبيه لكن التى يلقبونها المشتركة فى اوزانها

‏وذلك ان عملوا شى من امور الطب او امور الطبيعة بالاوزان فهكذى قد جرت عادتهم بالتقليب

‏وذلك انه لا شى يشتركان فيه اوميروس وانفادقلس ما خلا الوزن ولذلك اما ذاك فينبغى ان نلقبه شاعرا واما هذا فالمتكلم فى الطبيعيات اكثر من الشاعر

‏وكذلك ان كان الانسان يعمل الحكاية والتشبيه عند ما يخلط جميع الاوزان كما كان يعمل خاريمن فانه كن يشبه قانطورس برقص الدستبند من جميع الاوزان فقد يجب ان نلقبه شاعرا

‏فمن قبل هذه كان حدد هذا الضرب

‏وقد يوجد قوم يستعملون جميع التى وصفت مثال ذلك فى اللحن والصوت الحلوا والاوزان كصناعة الشعر التى ٮٮورمٮى والتى للناصوس والمديح ايضا والهجا

‏ويختلف بان بعضها مع الكل معا وبعضها بالجزو فهذه اقول انها اصناف الصنايع التى بها يعملون