A reversal is a change of the situation into the opposite, as described above, ¹ this change being, moreover, as we are saying, probable or inevitable—

like the man in the Oedipus who came to cheer Oedipus and rid him of his anxiety about his mother by revealing his parentage and changed the whole situation. ²

In the Lynceus, too, there is the man led off to execution and Danaus following to kill him, and the result of what had already happened was that the latter was killed and the former escaped. ³

A discovery, as the term itself implies, is a change from ignorance to knowledge, producing either friendship or hatred in those who are destined for good fortune or ill.

A discovery is most effective when it coincides with reversals, such as that involved by the discovery in the Oedipus.

There are also other forms of discovery, for what we have described may in a sense occur in relation to inanimate and trivial objects, or one may discover whether some one has done something or not.

But the discovery which is most essentially part of the plot and part of the action is of the kind described above, for such a discovery and reversal of fortune will involve either pity or fear, 1452b 1 and it is actions such as these which, according to our hypothesis, tragedy represents; and, moreover, misfortune and good fortune are likely to turn upon such incidents.

Now since the discovery is somebody’s discovery, in some scenes one character only is discovered to another, the identity of the other being obvious; but sometimes each must discover the other. Thus Iphigeneia was discovered to Orestes through the sending of the letter, but a separate discovery was needed to make him known to Iphigeneia. ⁴

We see then that two elements of the plot, reversal and discovery, turn upon these incidents. A third element is a calamity. Of these three elements we have already described reversal and discovery.

A calamity is a destructive or painful occurrence, such as a death on the stage, acute suffering and wounding and so on.

A Peripety is the change from one state of things within
the play to its opposite of the kind described, and that too
in the way we are saying, in the probable or necessary
sequence of events;

as it is for instance in Oedipus: here
the opposite state of things is produced by the Messenger,
who, coming to gladden Oedipus and to remove his fears
as to his mother, reveals the secret of his birth.

And in
Lynceus: just as he is being led off for execution, with
Danaus at his side to put him to death, the incidents pre-
ceding this bring it about that he is saved and Danaus put
to death.

A Discovery is, as the very word implies, a change
from ignorance to knowledge, and thus to either love or hate,
in the personages marked for good or evil fortune.

The
finest form of Discovery is one attended by Peripeties, like
that which goes with the Discovery in Oedipus.

There are
no doubt other forms of it; what we have said may happen
in a way in reference to inanimate things, even things of
a very casual kind; and it is also possible to discover
whether some one has done or not done something.

But
the form most directly connected with the Plot and the
action of the piece is the first-mentioned. This, with a
Peripety, will arouse either pity or fear—actions of that
nature being what Tragedy is assumed to represent;
and it
will also serve to bring about the happy or unhappy
ending.

The Discovery, then, being of persons, it may be that of one
party only to the other, the latter being already known;
or
both the parties may have to discover themselves. Iphigenia,
for instance, was discovered to Orestes by sending the
letter; and another Discovery was required to reveal him
to Iphigenia.

Two parts of the Plot, then, Peripety and Discovery, are
on matters of this sort.
A third part is Suffering;

which
we may define as an action of a destructive or painful
nature, such as murders on the stage, tortures, woundings,
and the like.

[1] ¹ Now, revolution is a mutation, as has been stated, of actions into a contrary condition; and this, 11.1 as we say, according to the probable, or the necessary. 11.2 Thus in the " Œdipus, 1” the messenger who comes with an intention of delighting Oedipus and liberating him from his fear respecting his mother, when he makes himself known, produces a contrary effect. Thus, too, in the “Lynceus," he indeed is introduced as one who is to die, 11.3 and Danaus follows with an intention of killing him ; but it happens from the course of incidents, that Lynceus is saved, and Danaus is slain. ² And discovery is, 11.4 as the name signifies, a change from ignorance to knowledge, or into the friendship or hatred of those who are destined to prosperous or adverse fortune. 11.5 The discovery, however, is most beautiful, when at the same time there are, as in the “Œdipus, revolutions. ³ 11.6 There are, therefore, other discoveries also. For sometimes it happens, as has been before observed, that there are discoveries of things inanimate3, and casual; or if some one has ^{4 5 6} performed, or has not performed, a thing, there is a recognition of it; but the discovery which especially pertains to the fable and the action is that before mentioned. ⁷ 11.7 For a discovery and revolution of this kind will excite either pity or fear; and tragedy is supposed to be an imitation of such actions [as excite fear and pity]. Again, it will happen that infelicity and felicity will be in such like discoveries. ⁸ But since discovery is a discovery of certain persons, some [discoveries] are of one person only with reference to another, when it is evident who the other person is, 11.8 but sometimes it is necessary to discover both persons. Thus Iphigenia was recognised by Orestes through the sending an epistle4; but another discovery was requisite to his being known by Iphigenia. ⁹ 11.9 [Two parts of the fable, therefore, viz. revolution and discovery, are conversant with these things; but the third part is pathos. And of these, revolution and discovery have been already discussed. Pathos, however, is an action destructive, or lamentable ; 11.10 such as death when it is obvious, grievous pains, wounds, and such like particulars 6.]

Est autem peripetia eorum quae aguntur in contrarium mutatio, qualis descripta est, idque, ut dicimus, secundum verisimilitudinem vel necessitatem,

quemadmodum in Oedipo qui venit exhilaraturus Oedipum ac metu propter matrem liberaturus, declarando quis ille esset, contrarium effecit.

et in Lynceo cum hic duceretur moriturus, Danaus autem sequeretur occisurus, evenit ex iis quae facta sunt ut hic moreretur, ille servaretur.

agnitio est autem, ut ipsum nomen indicat, ex ignoratione ad cognitionem transitus aut in amorem aut odium eorum qui ad felicitatem aut infelicitatem destinati sunt.

pulcherrima autem agnitio, cum simul peripetiae accidunt, ut se hahet quae in Oedipo.

sunt vero etiam aliae agnitiones: nam etiam circa ea quae anima carent et res vulgares est cum, ut expositum, contingat, et utrum fecerit aliquis an non fecerit, licet agnoscere:

sed quae potissimum ad fabulam et potissimum ad actionem pertinet, ea est quam diximus. talis enim agnitio et peripetia vel miserationem habebit vel metum, cuiusmodi actionum imitationem esse tragoediam posuimus. praeterea ut infelices atque felices sint in talibus rebus accidet.

sed quoniam agnitio quorundam est agnitio, in nonnullis alterum tantummodo ab altero, ubi constat alter quis sit, interdum autem utrumque oportet agnosci, sicut Iphigenia ab Oreste agnita est ex missa epistola, illi autem ab Iphigenia alia opus erat agnitione.

[Duae igitur fabulae partes circa haec sunt, peripetia et agnitio, tertia autem perpessio. ex his peripetia quidem et agnitio dicta est,

sed perpessio est actio exitiabilis vel cruciabilis, veluti caedes in conspectu et cruciatus et vulnerationes et quaecumque id genus].

1.

11.1 LA Péripetie eſt un changement de fortune en une fortune contraire, contre ce qu'on avoit attendu, & ce changement arrive ou vray-ſemblablement ou neceſſairement, 11.2 comme dans l'Edipe de Sophocle; car celuy qui vient pour luy annoncer une nouvelle agreable, & qui doit le délivrer des frayeurs où le jette l'inceſte qu'il craint de commettre avec ſa mere, fait tout le contraire, en luy apprenant qui il eſt; 11.3 & comme dans le Lyncée de Theodecte, où Lyncée qu'on menoit à la mort, & Danaus qui le ſuivoit pour l'immoler, changent tous deux de fortune car par la ſuite des incidens, il arrive que Danaus ſouffre la mort qu'il préparoit à Lyncée, & que Lyncée eſt ſauvé.

2.

11.4 La reconnoiſſance eſt, comme ſon nom même le témoigne, un changement qui faiſant paſſer de l'ignorance à la connoiſſance, produit ou la haine ou l'amitié dans ceux que le Poëte a deſſein de rendre heureux ou malheureux.

3.

11.5 La plus belle de toutes les reconnoiſſances eſt celle qui ſe trouve avec la Péripetie, comme dans l'Edipe.

4.

11.6 Il y a pluſieurs autres ſortes de reconnoiſſances, car il arrive ſouvent qu'on reconnoît des choſes inanimées, & ce qu'il y a de plus commun. On reconnoît auſſi, par exemple, ce qu'une perſonne a fait, ou ce qu'elle n'a pas fait. 11.7 Mais celle dont je viens de parler eſt la plus propre à la fable & à l'action, car cette reconnoiſſance accompagnée de la Péripetie, produira immanquablement, ou la compaſſion ou la terreur dont la Tragedie eſt l'imitation, comme nous l'avons établi pour fondement; elle produira encore le bonheur ou le malheur des principaux perſonnages.

5.

11.8 Puis donc que la reconnoiſſance eſt la reconnoiſſance de certaines perſonnes, il faut qu'elle ſoit ou ſimple, ou double. La ſimple eſt quand une perſonne eſt reconnuë par une autre qu'elle connoît; & la double, quand il faut que deux perſonnes qui ne ſe connoiſſent pas, viennent à ſe reconnoître, comme dans l'Iphigenie d'Euripide, où Oreſte reconnoît cette Princeſſe par le moyen d'une lettre, & il faut une autre reconnoiſſance pour faire qu'Oreſte en ſoit connû.

6.

11.9 Outre ces deux parties de la fable qui regardent le ſujet, il y en a encore une troiſiéme que j'appelle la paſſion. On a déja expliqué la reconnoiſſance, & la péripetie. 11.10 J'appelle paſſion, une action qui détruit quelque perſonnage, ou qui cauſe de violentes douleurs, comme ſont les morts évidentes & certaines, les tourmens, les bleſſures, & toutes les autres choſes ſemblables.

La Peripetia è vno mutamento di coſe ſtate nel loro contrario, ficome s'è detto. Et tal fucceſſo debbe accadere (ficome anchora 10 ho detto innanzi) per via delverifimile, d'del neceffa rio;

ficome nello Edippo ſi vede, che colui, che gli vie ne innanzi per dargli conforto, & per liberarlo dal timore, che egli haueua per cagione della madre fatto, ch'egli hebbe manifesto, chiera Edippo; gli ingenerò vn' contrario effetto.

Et nel Linceo, done è condot to colui per douere morire; & Danao che lo ſeguita +393 per ammazzarlo: doue per le coſe ſeguite vi auuenne il contrario, che Danao cioè vi moriffe, & l'altro vi re ſtaſſe faluo.

La Recognitione (ſicome lo dimostra il no me) è vn' mutamento, che dalla ignoranza venuto alla cognitione ci fa amare, ò odiare quei tali, che ſono ſegnati ò di felicità,ò di miſeria.

Bellissima è quella, doue à vn medefimo tempo fi fa la Peripetia, ficome interuie ne nello Edippo.

Ma e' fi fa anchora delle recognitioni altrimenti, conciofia che elle fi faccino inuerſo di coſe ſenza anima; ò di quale altra fi voglia cofa: & anchora fi poffa riconoſcere ſe vno ha fatto, ò non fatto vna co fa.

Ma la propia della Fauola, & quella, che mafsimamente alla attione s'appartiene, è la ſopra racconta;perchè tale Recognitione, & tale Peripetia conterrà in ſe ò la mifericordia,ò il timore. Delle quali attioni è ſtato preſuppoſto da me la Tragedia effere imitatrice: Et an chora perchè in queſte v'accade l'eſſere felice, ò l'eſſere mifero. Ma la recognitione d'alcuni è recognitione.

Et ancora delle recognitioni, certe ne fono d'un' folo inuerſo d'unaltro, quando e vi ſi manifeſta chi è l'uno di loro. Et certe n'è, che ſi fanno per via d'amendue,ficome ad Ifigenia interuenne, che da Oreſte fu riconoſciuta per via d'una lettera ſcrittagli; & ad Oreſte per effer' riconoſciuto da lei fu di meſtier' d'unaltra recognitione.

Due ſono adunche le parti della Fauola intorno à queſta materia, la Peripetia cioè, & la Recognitione; & la terza parte è il male, che vi ſegue. Et della Peripetia, & della Recognitione s'è fauellato.

La crudeltà, ò il male è una attione, che cor rompe, & che dà dolore alla noſtra na ctura.come ſono le morti, che ſon' fatte in publico, le ferite,& altre fimili coſe. -9 RRRRRRRR

Est vero peripetia in contrarium eorum quae aguntur mutatio, ut dictum est; atque hoc, ut dicimus, secundum verisimile aut necessarium.

ut in Oedipode, cum venisset nuntius tanquam laetitiam allaturus Oedipodi eumque metu liberaturus adversus matrem, ut aperuit quisnam esset, contrarium fecit.

et in Lynceo, cum ipse quidem duceretur ut moriturus, Danaus vero persequeretur ut interfecturus, hunc quidem contigit ex rebus gestis mori, illum vero servari.

agnitio autem est, ut etiam nomen significat, ex ignoratione in cognitioném mutatio, aut ad amicitiam aut inimicitiam eornm qui ad prosperam fortunam vel adversam definití sunt.

ac pulcherrima agnitio est cum simul peripetiae fiunt, ut se habet in Oedipode.

ac sunt quidem etiam aliae cognitiones. etenim ad inanimata pertinet agnitio, et ad quaecunque, ut dictum est, a fortuna aliquando esse contingit.

et si fecit aliquis aut non fecit, licet agnoscere, sed quae maxime pertinet ad fabnlaure quae maxime ad actionem, est ea quae dicta est: talis enim agnitio et peripetia ant aut misericordiam habebit aut metum; qualium actionum tragoedia imitatio supponitur. praeterea vero et adversa fortuna uti et prospera in talibus continget.

iam quoniam agnitio quorundam est agnitio, aliae quidem sunt alterius ad alterum solum, cum fuerit manifestus alter quis sit; aliquando vero ambos oportet agnoscere, ut Iphigenia ab Öreste agnita est ex missione epistolae, illi autem erga Iphigeniam alia opus fuit agnitione.

ac duae quidem fabulae partes circa haec sunt, peripetia et agnitio. tertia vero est passio. atque ex his peripetia et agnitio expositae sunt.

passio vero est actio habens vim interimendi aut graves dolores afferendi, ut quae in aperto sunt mortes et ciulationes et vulnerationes, et quaecunque talia.

Est autem peripeteia quidem que ad contrarium eorum que aguntur transmutatio, sicut dictum est, et hoc autem sicut dicebamus secundum verisimile aut necessarium ;

sicut in Oidipode veniens tamquam letificaturus Oidipodem et inmutaturus ab eo qui ad matrem timore, palificans quis erat, contrarium fecit ;

et in Lynkei hic quidem ductus tamquam interficiendus, Danaus autem sequens tamquam interfecturus, hunc quidem accidit ex actis mori, hunc autem salvari. —

Anagnorisis autem, sicut et nomen significat, ex ignorantia in notitiam transmutatio aut in amicitiam aut inimicitiam eorum que ad eufortunium aut infortunium determinata ;

pulcherrima autem anagnorisis, quando simul peripetie fiunt, sicut habet que in Oidipode.

Sunt quidem igitur et alia anagnorisees, et enim ad inanimata et ad quecumque adhuc et sicut dictum est accidit, et si egit quis et si non egit est anagnorizare ;

sed que maxime fabule et que maxime actionis que dicta est; talis enim anagnorisis et peripetela aut miserationem habebit aut terrorem, qualium actionum tragodia supponitur 1mitatio. — Adhuc autem et infortunari et eufortunari in talibus accidet.

Quoniam anagnorisis aliquorum est anagnorisis, hee quidem alterius ad alterum. solum, cum sit manifestus alter quis est, aliquando autem ambos oportet anagnorizare, puta Ifigenia Oresti recognita est ex missione epistole, illi autem ad Ifigeniam alia opus erat recognitione. —

Due quidem igitur fabule partes hee sunt, peripetia et anagnorisis, tertia autem passio. Harum autem peripetia quidem et anagnorisis dicte sunt,

passio autem est actio corruptiva et dolorosa, puta que in manifesto mortes et cruciatus et vulnerationes et quecumque talia. —

‏والادراه هى التغير الى مضادة الاعمال التى يعملون كما قلنا وعلى طريق الحق وبطريق الضرورة

‏مثل ما انه لما جا الى اريفوس على انه يفرح باريفوس وينقذه من خوف وفزع امه فانه اتى بالشعر على ضد ما عمل

‏وهو انه غير ما كان يجا به فى محنة من قبل انه كان مزمعا ان يموت فان اناوس لما جا خلفه ليقتله اما هذا على ما ذكر قيما كتب به من ذلك عرض له ان يموت واما ذاك فعرض له انه سلم ونجا

‏واما الاستدلال كما على ما يدل ويكنى الاسم نفسه فهو العبور من لا معرفة الى معرفة التى هى نحو الاشيا التى تحدد بالفلاح والنجح او برداه البخت والعداوة لها

‏والاستدلال الحسن يكون متى كانت الاراده دفعة بمنزلة ما يوجد فى سيرة اوديفس وتدبيره

‏وقد يوجد للاستدلال اصناف اخر وذلك انها قد توجد عند غير المتنفسة وان كان الانسان يعمل **ا وان لم يكن يعمل شيا فانه يعرض له الاستدلال على الحالين

‏لكن هذه منها خرافة خاصة وهذه هى خاصة عمل اعنى ما قيل ومثل هذا الاستدلال والاراده اما يكون معه رحمة واما خوف مثل ما انه وضع ان العمل المديحى هو التشبيه والمحاكاة وايضا والفلاح والنجح والافلاح ونجح فى تعرضان

‏من قبل الاستدلال لقوم ما هو استدلال من انسان ما الى رفيقه وهو يكون عند ما يعرف ذاك الامر هو فقط واما متى كان يجب ان يكون كليهما يسدلان ويتعرفان فان مثل ما استدلت ووقفت المراة المسماة افاغانيا على اورسطس من رانفاذ رسالته اما ذاك فكان يحتاج الى الاستدلال وتعرف اخر اعنى فى امر افاغانيا

‏فهاتان اللتان خبرنا بهما هما جزو الحرا** وحكاية الحديث اعنى الاستدلال والادارة والجزو الـ*** هو انفعال الالم والتاثير

‏والالم والتاثير هو عمل مفسد او موجع بمنزلة الذين يصيبهم مصايب من الصوت والعذاب والشقا واشباه هذه

‏والادراه هى التغير الى مضادة الاعمال التى يعملون كما قلنا وعلى طريق الحق وبطريق الضرورة مثل ما انه لما جا الى اريفوس على انه يفرح باريفوس وينقذه من خوف وفزع امه فانه اتى بالشعر على ضد ما عمل

‏وهو انه غير ما كان يجا به فى محنة من قبل انه كان مزمعا ان يموت فان اناوس لما جا خلفه ليقتله اما هذا على ما ذكر قيما كتب به من ذلك عرض له ان يموت واما ذاك فعرض له انه سلم ونجا

‏واما الاستدلال كما على ما يدل ويكنى الاسم نفسه فهو العبور من لا معرفة الى معرفة التى هى نحو الاشيا التى تحدد بالفلاح والنجح او برداه البخت والعداوة لها

‏والاستدلال الحسن يكون متى كانت الاراده دفعة بمنزلة ما يوجد فى سيرة اوديفس وتدبيره

‏وقد يوجد للاستدلال اصناف اخر وذلك انها قد توجد عند غير المتنفسة وان كان الانسان يعمل **ا وان لم يكن يعمل شيا فانه يعرض له الاستدلال على الحالين لكن هذه منها خرافة خاصة وهذه هى خاصة عمل اعنى ما قيل

‏ومثل هذا الاستدلال والاراده اما يكون معه رحمة واما خوف مثل ما انه وضع ان العمل المديحى هو التشبيه والمحاكاة

‏وايضا والفلاح والنجح والافلاح ونجح فى تعرضان

‏من قبل الاستدلال لقوم ما هو استدلال من انسان ما الى رفيقه وهو يكون عند ما يعرف ذاك الامر هو فقط واما متى كان يجب ان يكون كليهما يسدلان ويتعرفان فان مثل ما استدلت ووقفت المراة المسماة افاغانيا على اورسطس من رانفاذ رسالته اما ذاك فكان يحتاج الى الاستدلال وتعرف اخر اعنى فى امر افاغانيا

‏فهاتان اللتان خبرنا بهما هما جزو الحرا** وحكاية الحديث اعنى الاستدلال والادارة والجزو الـ*** هو انفعال الالم والتاثير

‏والالم والتاثير هو عمل مفسد او موجع بمنزلة الذين يصيبهم مصايب من الصوت والعذاب والشقا واشباه هذه