We have already ¹ spoken of the constituent parts to be used as ingredients of tragedy. The separable members into which it is quantitatively divided are these: Prologue, Episode, Exode, Choral Song,

the last being divided into Parode and Stasimon.

These are common to all tragedies; songs sung by actors on the stage and commoi are peculiar to certain plays.

A prologue is the whole of that part of a tragedy which precedes the entrance of the chorus.

20 An episode is the whole of that part of a tragedy which falls between whole choral songs.

An exode is the whole of that part of a tragedy which is not followed by a song of the chorus.

A parode is the whole of the first utterance of the chorus.

A stasimon is a choral song without anapaests or trochaics. ²

A commos is a song of lament shared by the chorus and the actors on the stage.

The constituent parts to be used as ingredients of tragedy have been described above; these are the separable members into which it is quantitatively divided. ³

The parts of Tragedy to be treated as formative elements in
the whole were mentioned in a previous Chapter.
From the
point of view, however, of its quantity, i. e. the separate
sections into which it is divided, a tragedy has the following
parts: Prologue, Episode, Exode,

and a choral portion, dis-
tinguished into Parode and Stasimon;

these two are common
to all tragedies, whereas songs from the stage and Commoe
are only found in some.

The Prologue is all that precedes
the Parode of the chorus;

an Episode all that comes in
between two whole choral songs;

the Exode all that follows
after the last choral song.

In the choral portion the Parode
is the whole first statement of the chorus;

a Stasimon,
a song of the chorus without anapaests or trochees;

a
Commos, a lamentation sung by chorus and actor in concert.

The parts of Tragedy to be used as formative elements in
the whole we have already mentioned; the above are its
parts from the point of view of its quantity, or the separate
sections into which it is divided.

[1] ¹ 12.1 [BUT we have before spoken of the parts of tragedy which are requisite to constitute its quality. The parts of tragedy, however, according to quantity, and ^{2 3 4 5} into which it is separately divided, are as follow: prologue, episode, exode, and chorus, of the parts of which one is the parodos, 12.2 but the other is the stasimon. 12.3 These [five] parts, therefore, are common to all [tragedies]; 12.4 but the peculiar parts are [the songs] from the scene and the kommoi. ⁶ 12.5 And the prologue, indeed, is the whole part of the tragedy, prior to the entrance of the chorus. ⁷ The episode is the whole part of the tragedy between two complete odes of the chorus. ⁸ 12.6 The exode is the whole part of the tragedy, after which there is no further melody of the chorus. ⁹ 12.7 And of the chorus, the parodos, indeed, is the first speech of the whole chorus; ¹⁰ 12.8 but the stasimon is the melody of the chorus, without anapaest and trochee: ¹¹ 12.9 and the commos is the common lamentation of the chorus and from the scene. But ¹² we have before shown what the parts of tragedy are which must necessarily be used; 12.10 but the parts of it according to quantity, and into which it is separately divided, are these 7.] ^{13 14 15 16 17 18 19}

[Partes autem tragoediae, quibus tamquam formis uti convenit, ante diximus: sed a quantitate atque in quas dividitur separatas, hae sunt, prologus episodium exodus choricum,

et huius partim parodus partim stasimum,

communia quidem omnium haec, propria autem quae ex scena et commi.

est autem prologus pars tota tragoediae quae ante chori parodum,

episodium autem pars tota tragoediae quae intra duas integras chori cantiones,

exodus autem pars tota tragoediae post quam non est chori cantio,

chorici autem parodus prima oratio totius chori,

stasimum autem carmen chori quod sine anapaesto et trochaeo, commus autem lamentatio communis chori et ex scena.

partes autem tragoediae,

quibus uti convenit, ante diximus, sed a´quantitate et in quas dividitur separatas, hae sunt].

1.

12.1 APRE's avoir expliqué les parties qui conſtituent la forme & la qualité de la Tragedie, il faut parler de celles qui conſtituent ſa quantité, & qui ſubſiſtent ſeparément.

2.

12.2 La Tragedie a quatre parties principales, le Prologue, l'Epiſode, l'Exode, le Chœur. 12.3 Et ce dernier ſe partage encore en trois parties, qu'on appelle Parodos, Staſimon, & Commoi. Les deux premieres ſe trouvent dans toutes les pieces; mais la troifiéme n'a lieu qu'en certaines Tragedies, elle eſt toûjours mêlée dans l'action, & eſt commune aux Acteurs & au Chœur.

3.

12.4 Le Prologue eſt toute cette partie entiere de la Tragedie, qui précede l'entrée du Chœur.

4.

12.5 L'Epiſode, c'eſt tout ce qui eſt entre les chants du Chœur.

5.

12.6 L'Exode, eſt tout ce qui eſt dit, aprés que le Chœur a ceſſé de chanter pour ne plus reprendre.

6.

12.7 Le Parodos, eſt le premier diſcours de tout le Chœur.

7.

12.8 Le Staſimon, eſt tout ce que le Chœur chante, quand il a pris poſſeſſion du Theatre, & qu'il s’eſt, comme incorporé dans l'action. Ce chant eſt ſans Anapeſte & ſans Trochée.

8.

12.9 Commoi, ce font les regrets que font enſemble le Chœur & les Acteurs.

E T quanto alle parti della Tragedia, che fi debbono vſare come ſue parti ſpecifiche, ſe n'è detto innan zi; & quanto alle fue parti quantitatiue, nelle quali ella fi diuide ſeparatamente, tali ſono Prologo, Epiſodio, Efito, Coricojet queſto ſi diuide in quello, che entra in fcena & in quello, che ſtà fermo. ¹

Et queſti ſono parti communi à tutti fimili Poemi.

Et propie fon' quelle, che ap partengono alla Scena, & i Commi. Prologo è vna parte intera della Tragedia innanzi all'entrata del Choro.

Epiſodio è vna parte medefimamente intera, che è po ſta infra i canti interi de' Chori.

Eſito è vna parte fimile,alla quale non conſeguita dietro neffun canto fatto dal Choro.

L'Entrata del Corico è la prima locutione di tutto il Choro. Et la Melodia poſata del Choro è quella, che canta ſenza anapeſto, & fenza trocheo.

Commo è vn' pianto vniuerfale di tutto il Choro, & di tutti quegli, che ſono nella Scena.

Detto adúche s'è innāzi delle parti, che fi debbono vſare nella Tragedia;

& hora s'è detto di quelle, che la diuidono ſeparatamé te per via della quantità.

Confequentemente è da aggiugnere alle coſe dette quello, che debba eſſere ris Iguardato:& quello, che debba effer' sfuggito da cópo fitori d'eſſe Fauole: & onde fi debba cauare il propio uffitio della Tragedia. D

Iam partes tragoediae, quibus nt ut formis oportet nti uti, prins prius diximus. at secundum quantitatem, et in quas ipsa dividitur separatas, hae sunt, prologus episodium exodus choricum, et huius quidem una pars parodus altera vero stasimum.

atque hae quidem communes omnium,

propriae vero illae a scena et commi. ac prologus est pars integra tragoediae ante chori parodum,

episodium pars integra tragoediae interiecta inter integros choricos cantus,

exodus pars integra tragoediae, post quam non est chori cantus.

chorici autem parodus prima dictio integri chori, stasimum vero cantus chori sine anapaesto et trochaeo.

at commus lamentatio communis chori et a scena.

ac partes quidem tragoediae,

quibus oportet uti, prius dictae: at secundum quantitatem,

et in quas ipsa dividitur separatas, hae sunt.

Partes autem tragodie quibus quidem ut speciebus oportet uti, prius diximus, secundum quantum autem et in que dividitur separata hec sunt, prologus, episodion, exitus, khoricon ;

et huius hoc quidem parodus, hoc autem stasimon.

Communia quidem omnium hec, propria autem que a skene et kommoi.

Est autem prologus quidem pars tota tragodie que ante khori parodum,

episodion autem pars tota tragodie que intermedia totarum khoricarum melodiarum,

exodus autem (idest exitus) pars tota tragodie post quam non est khori melodia.

Khorici autem parodus quidem prima locutio totius khori,

stasimon autem melodia khori que sine anapesto et trocheo;

kommos autem lamentatio nova khori et a scene (idest scemate fabulari).

Partes autem tragodie quibus quidem oportet uti prius diximus, secundum quantum et in quas dividitur separatas hee sunt.

‏واما اجزا صناعة المديح فينبغى ان يستعمل بعضها فكما يستعمل الانواع واما كيف ذلك فقد خبرنا فيما تقدم واما بحسب الكمية فاى الاشيا ينقسم فنحن مخبرون الان وهذه الاجزا هى ٮقدمة الخطب والمدخل ومخرج الرقص الذى للصفوف

‏ولهذا نفسه هو مجاز وعبور وايضا المقام

‏وهذه كلها هى عامية المديح فالتى من المسكن واصناف

‏ومجاز الصفوف والمدخل ايضا هو جزو كلى من صناعة المديح

‏وهو وسط نغمة صوت جميع الصف

‏والمخرج ايضا هو جزو كلى من اجزا صناعة المديح وهو الذى لا يكون للصف بعده صوتا

‏واما مجاز الصف فهو المقولة الاولى الذى بجميع الصف

‏واما الوفقة فهى الجزو من الٮصڡ الذى هو بلا وزن الذى لانافاسطس وطروخاس

‏واما القينة فهى الانتحاب العام للصف الذى من المسكن

‏فاما اجزا صناعة المديح التى ينبغى ان تستعمل فقد خبرنا بها فيما تقدم واما التى بحسب المقدار وانه الى كم جزو يجب ان ينقسم الٮلحيص فهى هذه

‏واما اجزا صناعة المديح فينبغى ان يستعمل بعضها فكما يستعمل الانواع واما كيف ذلك فقد خبرنا فيما تقدم واما بحسب الكمية فاى الاشيا ينقسم فنحن مخبرون الان وهذه الاجزا هى ٮقدمة الخطب والمدخل ومخرج الرقص الذى للصفوف ولهذا نفسه هو مجاز وعبور وايضا المقام وهذه كلها هى عامية المديح فالتى من المسكن واصناف

‏ومجاز الصفوف والمدخل ايضا هو جزو كلى من صناعة المديح وهو وسط نغمة صوت جميع الصف والمخرج ايضا هو جزو كلى من اجزا صناعة المديح وهو الذى لا يكون للصف بعده صوتا واما مجاز الصف فهو المقولة الاولى الذى بجميع الصف واما الوفقة فهى الجزو من الٮصڡ الذى هو بلا وزن الذى لانافاسطس وطروخاس واما القينة فهى الانتحاب العام للصف الذى من المسكن

‏فاما اجزا صناعة المديح التى ينبغى ان تستعمل فقد خبرنا بها فيما تقدم واما التى بحسب المقدار وانه الى كم جزو يجب ان ينقسم الٮلحيص فهى هذه وهى التى *طں فى بعضها طٮا وبعضها التى يحترس بها عند تركيب الخرافات