263.
mvp-aristotle-comment-263
NOTE 263.
26.2
P. 132. IF THAT WHICH IS THE LEAST VULGAR OR POPULAR BE THE BEST.
—
Ἧττον ΦΟΡΤΙΚΗ.
— The word
φορτικόν
is used in a number of different, and sometimes nicely discriminated, senses, which cannot, all of them, be expressed by any single word in our lan-
guage. Sometimes, for example, it is to be rendered by
extravagant, violent, charged, outré, &c. as in the following passage of
Diog. Laertius about Bion
: —
ἦν δὲ καὶ θεατρικὸς, καὶ πολὺς ἐν τῷ γελοἰῳ διαφορῆσαι, ΦΟΡΤΙΚΟΙΣ ὀνόμασι κατὰ τῶν πραγμάτων χρώμενος.
1
i. e. extravagant, exaggerated, outrés, as
Bayle
has well explained it, art. BION, note [B], where he gives an instance of this extravagance of expression in that philosopher, from
Plutarch
, who calls it
ΦΟΡΤΙΚΩΤΕΡΟΝ
.
2
Sometimes, applied to persons, it means
troublesome, tiresome, &c. as in
Aelian—πολὺς ἦν λαλῶν, καὶ ἐδόκει ΦΟΡΤΙΚΟΣ.
Var. Hist. XII. 13.
— Sometimes,
insolent, overbearing, &c. as, in the same writer, it is said of a famous courtesan, —
Ἡ δὲ ἦν ΥΠΕΡΗΦΑΝΟΣ καὶ δεινῶς ΦΟΡΤΙΚΗ,
XII. 63
.
3
— Sometimes, again, and that very frequently, it is used as synonymous with
ἀνελεύθερος, βάναυσος
,
popular, low, vulgar, &c. as opposed to what is
liberal, refined, delicate, genteel, &c.
4
Thus
Plutarch—ἀνελευθέρους κομιδῇ καὶ ΦΟΡΤΙΚΑΣ φαντασίας.
P. 216, ed. H. S.
And
Plato—ὁ φιλότιμος τὴν μὲν ἀπὸ τῶν χρημάτων ἡδονὴν ΦΟΡΤΙΚΗΝ τινα ἡγεῖται
—
"The ambitious man looks upon gain as a vulgar sort of pleasure,"
De Rep. IX. p. 254, ed. Mass.
Jul. Pollux
describes a species of dance called
Μόθων
, as,
ΦΟΡΤΙΚΟΝ ὄρχημα καὶ ναυτικὸν
—
"a vulgar and sailor-like dance;"
the hornpipe, I suppose, of the Greeks.
5
And thus
Athenæus
, where he mentions, from
Herodotus
, the curious story of Agarista, (the daughter of Clisthenes, king of Sicyon,) and her suitors, says, that Clisthenes rejected Hippoclides,
ἰδὼν—ΦΟΡΤΙΚΩΣ ὀρχησάμενον
: because he did not dance like a gentleman; a charge, which, according to Herodotus, seems indeed to have been pretty well founded; for he tells us, that Hippoclides got upon a table and danced upon his head.
6
But let us return to Aristotle. This last sense of the word
φορτικόν
appears to me clearly to be that, in which it is here used by him. I cannot think, that by
φορτική
, he intended to express, as Dacier, and the commentators before him, explain it, the trouble and expense of theatrical exhibition—the number of things wanted—actors, scenes, dresses, music, &c.
7
Of all the commentators I have seen,
M. Batteux
alone gives, in a short note, what I think the true meaning of the word in this place:
"Φορτικός, grossier, digne des mercenaires. Aristote, Politic. VIII. c. 6. oppose le spectateur mercenaire & ignorant,
φορτικός
, au spectateur honnête; & le plaisir grossier,
ἡδονὴ φορτική
, les danses grossieres,
κινήσεις φορτικωτέρας
, au plaisir delicat, aux danses honnêtes."
Aristotle himself will here be his best commentator, in the passages to which M. Batteux refers. Some sorts of rhythm, he says,
ΦΟΡΤΙΚΩΤΕΡΑΣ ἔχουσι τὰς κινήσεις
, (violent and vulgar,)
αἱ δὲ, ΕΛΕΥΘΕΡΙΩΤΕΡΑΣ.
8
Again, in the
next chapter, relative to the musical education of youth, he speaks of the pleasure of a popular musical audience, as a vulgar, illiberal sort of pleasure.
"The performer there,"
he says,
"aims only at the pleasure of the hearers,
καὶ ταύτης ΦΟΡΤΙΚΗΣ· διόπερ οὐ ΤΩΝ ΕΛΕΥΘΕΡΩΝ κρίνομεν εἶναι τὴν ἐργασίαν,
("such performance does not become a gentleman,")
ἀλλὰ ΘΗΤΙΚΩΤΕΡΑΝ
(the playing of a man who is paid for playing:)
καὶ ΒΑΝΑΥΣΟΥΣ δὴ
(mechanics)
συμβαίνει γίγνεσθαι· πονηρὸς γὰρ ὁ σκοπὸς πρὸς ὃν ποιοῦνται τὸ τέλος· ὁ γὰρ ΘΕΑΤΗΣ, ΦΟΡΤΙΚΟΣ ὢν, μεταβάλλειν εἴωθε τὴν μουσικήν—."
— In the next chapter is the following passage, still more directly to our present purpose, in which he expressly distinguishes, as here, the two sorts of spectators, or hearers:—
θεατὴς διττὸς, ὁ μὲν ΕΛΕΥΘΕΡΟΣ καὶ ΠΕΠΑΙΔΕΥΜΕΝΟΣ, ὁ δὲ ΦΟΡΤΙΚΟΣ, ἐκ βαναύσων, καὶ θητῶν, καὶ ἄλλων τοιούτων, συγκείμενος.
11
The word occurs frequently in other parts of Aristotle's writings, and seems generally, if not always, to be used in the same sense.
12
By
φορτική
, then, applied to Tragedy, I think it clear, that he means only—calculated for
φορτικοὶ
spectators; adapted to the entertainment of popular audiences—to the taste, as we commonly
express it, of the upper gallery, as opposed to the refined and cultivated taste of men of reading and reflection.
13
As far as I can judge, from a comparison of the different senses of the word with its etymology,
14
the common idea, which runs through and connects them all, is that of excess, or, perhaps, more exactly, of offensive, disgusting, or burdensome, by excess, of some kind or other.
264.
mvp-aristotle-comment-264
NOTE 264. P. 132.
26.3
AS IF THE AUDIENCE, WITHOUT THE AID OF ACTION, &c.—
Ὡς γαρ ἐκ αισθανομένων, ἀν μη ΑΥΤΟΣ ΠΡΟΣΘΗΙ, πολλην κίνησιν κινενται
. This wound has been sufficiently probed. When I found, that the
"medica manus"
of Mr. Toup had been tried upon it, I looked, at least, for the
"salubres Ambrosiae succos, et odoriferam panaceam,"
if not for the precious
Dictamnus, that would entirely heal it.
15
He proposed to read—
ὠν μη ΑΥΛΟΣ ΠΡΟΣΗ
. I should be very sorry to do any injustice to the emendation of so masterly a Greek scholar; but I am obliged to confess, that I do not understand it.
"The imitators have recourse to every kind of motion, just as if the audience were not able to understand (or, to hear) them, without the addition or accompaniment of a flute." How any sense can be made of this, or of any other fair version of the passage, so corrected, I cannot discover. The emendation, surely, requires to be explained, at least; and if Mr. Toup gave any explanation in his letter to Mr. Winstanley, it is to be wished, that the learned editor had communicated it to the public in his note.
As far as I can judge, from a comparison of the different senses of the word with its etymology, the common idea, which runs through and connects them all, is that of excess, or, perhaps, more exactly, of offensive, disgusting, or burdensome, by excess, of some kind or other.
16
17
It is some comfort, however, that the general meaning of the passage seems liable to little or no difficulty; and, accordingly, in that, all the commentators, I think, are agreed, however widely they may differ as to the reading.
265.
mvp-aristotle-comment-265
NOTE 265. P. 132.
26.6
LIKE BAD FLUTE-PLAYERS, WHO WHIRL THEMSELVES ROUND, WHEN THEY WOULD IMITATE THE MOTION OF THE DISCUS—.
This is one of those antique curiosities, which we stare at, without knowing very well what to make of it. —
Αν ΔΙΣΚΟΝ δεη μιμείσθαι
. We should think it very strange, if we were told of a flute-player having occasion to imitate a quoit. But we are not to understand this of a mere instrumental solo, but of a performer accompanying words sung by a Chorus, (as appears from the mention of the
Coryphæus,) and endeavouring, in an absurd manner, to express them. The antient
Αυλητης
, or
Tibicen
, was not, it seems, a mere sedentary performer, like those of a modern orchestra. He accompanied the Chorus with his person, as well as with his instrument, and seems to have paraded about the stage, in a pompous dress; to have made a part of the
ὄψις
, or show, and to have joined in all the turns, and returns, and various evolutions, of the choral dance. Hence the description of
Horace
:
A. P. 214.
Sic priscae motumque et luxuriam addidit arti
Tibicen, traxitque VAGUS per pulpita vestem.
Lucian, in his Harmonides
, describing the requisites of a good
Αυλητης
, mentions, among the rest, —
και ΒΑΙΝΕΙΝ ἐν ῥυθμῳ
.
18
The great masters, no doubt, respected themselves, and confined their motion to the dignity of a sort of rhythmic strut. But
Aristotle
here, is describing the tricks of the
φαυλοι
or
φορτικοι
performers. Such a performer might have occasion, or rather take occasion, to imitate the whirling or rolling of a disc, if the subject, for example, of the choral song chanced to be the story of
Apollo and Hyacinthus; which is mentioned by
Lucian
in a long list of fabulous subjects, enumerated as a part of the knowledge requisite to an accomplished pantomimic dancer. Or, the subject might be taken from
Homer, Od. 6. 186, &c.
Κυλιόμενοι
.
Dacier
, in his note, translates this, "rolling themselves upon the ground." This would be
φορτικον
indeed. Yet in this idea he follows
Victorius
; who enters into a discussion, of some length, to prove that
κυλιομενοι
can mean nothing but rolling on the ground. Nor will he allow the difficulty of doing this while they were playing to be a sufficient objection. Certainly, the usual and proper sense of the word is on his side. But it was natural enough, surely, to apply to the motion imitating, the term proper to the motion imitated.
19
266.
mvp-aristotle-comment-266
NOTE 266. P. 132.
26.6
AND PULL THE CORYPHÆUS WHEN SCYLLA IS THE SUBJECT.
Έλκοντες τον Κορυφαιον
. — To imitate Scylla, —
"naves in saxa trahentem,"
as
Virgil
has expressed it. But it is not easy to see, how the performer, at least while he was playing, could well spare a hand for this operation. This was even worse than what we call humouring a catch; when, for instance, a singer who is performing
Purcell's
"Fie, nay prithee, John" thinks it necessary to collar his neighbour.
267.
mvp-aristotle-comment-267
NOTE 267. P. 133.
26.10
THE TRAGIC IMITATION, WHEN ENTIRE—.
Ἡ ὉΛΗ τέχνη
.
Heinsius
proposed,
ἡ ΑΛΛΗ τεχνη
. But I believe the established reading to be right. The whole art—i. e. Tragedy, as represented; with all its constituent parts, and, as it was said before,
άπαντα μιμεμενη
. For it might, as
Aristotle
presently observes, be read, or recited, like an Epic Poem; and, in that view, the comparison here made would not hold.
Τεχνη
. . . the Tragic art: for so he uses the word, cap. i. not for the whole Poetic art, but for a single branch of it:
ἐν ταις ειρημεναις ΤΕΧΝΑΙΣ
i. e. Epic Poetry, Tragedy, Comedy, &c. So too at the end of that chapter:
τας διαφορας ΤΩΝ ΤΕΧΝΩΝ
. And, again, at the end of this chapter, (as I understand the passage,)
της ΤΕΧΝΗΣ ἔργῳ
. See
NOTE 277
.
268.
mvp-aristotle-comment-268
NOTE 268. P. 133.
26.11
TO HEARERS OF THE BETTER SORT—.
Θεατας ἐπιεικεις
: to which he opposes
φαυλους
. The word
ἐπιεικεις
seems rightly explained here by
Dacier
— "les honnêtes gens; c'est à dire, les gens qui ont eu une meilleure education." The passage, which he quotes from
Plato
, is much to the purpose of this chapter.
Συγχωρω δη τόγε τοσετον και ἐγω τοις πολλοις, δειν την μεσικην ήδονη κρινεσθαι μη μεντοι των ἐπιτυχοντων άλλα σχεδον ἐκεινην είναι μεσαν καλλιστην, ἡτις ΤΟΥΣ ΒΕΛΤΙΣΤΟΥΣ, και ΙΚΑΝΩΣ ΠΕΠΑΙΔΕΥΜΕΝΟΥΣ τερπει
. —
De Leg. II. p. 658.
Aristotle
uses
ἐπιεικης
in the same sense,
Eth. Nicom. IV. 8, p. 186, ed. Wilk.
—
τοιαυτα λεγειν και άκκειν, δια τῳ ΕΠΙΕΙΚΕΙ ΚΑΙ ΕΛΕΥΘΕΡΩι άρμοττει
.
269.
mvp-aristotle-comment-269
NOTE 269. P. 133.
Και διᾳδοντα
. There seems great reason to suspect this word. For, what is the force of the preposition here? Some commentators, without disputing the reading, neglect the preposition entirely, and render the word as if it were the simple participle,
άδαντα
. Others understand, singing throughout:
"qui continenter canit."
Goulst.
But the proper sense of
διᾳδειν
, would, I think, be — to sing dissonantly — to sing out of tune, — as,
ΔΙΑφωνειν
. And so the word is actually used in the treatise
Περι Κοσμα
, in Aristotle's works, and opposed to
ΣΥΝᾳδον
, as
ΔΙΑφωνειν
is to
ΣΥΜφωνειν
: —
συμφερομενον, και διαφερομενόν συνᾳδον, και ΔΙΑΙΔΟΝ
.
"The agreeing, and the disagreeing, the consonant, and the dissonant." But as the word cannot here be admitted, in that which appears to be its only proper and warrantable sense, I suspect, it might, originally, have been only
ᾠδοντα
. Considering how frequently
Δ
and
Λ
were confounded by transcribers,
ΚΑΙ ΑΙΔΟΝΤΑ
might easily be blundered into
ΚΑΙ ΔΙΑΙΔΟΝΤΑ
. One MS. reading is
διαΔΙδοντα
; where the
ΔΙ
, plainly enough, arose from the
ΑΙ
.
The commentators understand from this passage, that there were two sorts of rhapsodists; one, of those who recited Epic Poetry, and another, of those who sung it. Whether this can be proved from other passages of antient authors, I know not. From this, it certainly cannot. Aristotle says,
ΚΑΙ ῥαψωδεντα—ΚΑΙ διᾳδοντα
. Whatever the
διαδων
was, he is here clearly distinguished from the
ῥαψωδων
— the rhapsodist.
That the rhapsodists did not, in the strict and musical sense, at least, of the word, sing the verses of Homer, but recited or declaimed them only, we may pretty safely infer, from what is expressly said of Epic Poetry at the beginning of this work — that "it imitates by words only," without melody and rhythm — i. e. without music. This, indeed, will not prove that Epic Poetry was never sung, any more than what was said of Tragedy — that it imitates by words and music — will prove that it was never recited, or read. Yet the least, I think, that can be inferred from it, is, that Epic Poetry was, in general, and for the most part, recited or declaimed only; and, consequently, that the rhapsodists, properly so called, being the established performers of Epic Poetry, as the actors were of Tragic, performed it always in that manner; without singing, any farther, than as the tones of loud and sustained declamation approach more nearly to singing than those of common reading.
The earliest Lyric Poet-Musicians, indeed, as we learn from
Plutarch
and
Athenæus
, used to sing even the hexameters of
Homer and
Hesiod, as well as their own, to the lyre. But they, plainly, speak of this, as of an antient practice: —
τον Τερπανδρον, ΚΙΘΑΡΩΔΙΚΩΝ ποιητην όντα νομων, [hymns,] κατα νομον ἐκασον, ΤΟΙΣ ΕΠΕΣΙ, τοις ἑαυτε, και ΤΟΙΣ ΟΜΗΡΟΥ, ΜΕΛΗ περιτιθέντα, ΑιΔΕΙΝ ἐν τοις ἀγωσιν
.
Plut. Dial. de Mus. p. 2074, ed. H. St.
And afterwards
ότι δε οι κιθαρωδικοι νομοι, ΟΙ ΠΑΛΑΙ, ἐξ ΕΠΩΝ συνισταντο, Τιμοθέου ἐδηλωσε
, &c.
p. 2075.
So, too,
Athenæus
: "Chamæleon, in his book about Stesichorus,
και μελωδηθηναι φησι, ἐ μονον τα Ὁμηρε, άλλα και Ἡσιοδε, και Αρχιλοχε
, &c."
ΚΑΙ μελωδηθηναι
— "were even sung." p. 620.
It is not, however, at all improbable, that Homer might be sometimes sung, in Aristotle's time, and that this
Mnasitheus, (of whom nothing is known,) might be a performer in this way. But, that this was a distinct thing from
ῥαψῳδια
seems pretty clear.
20
21
22
270.
mvp-aristotle-comment-270
NOTE 270. P. 133.
26.7
WHOSE GESTURES RESEMBLE THOSE OF IMMODEST WOMEN.
The passage of
Aulus Gellius
, to which I referred in my note on the translation, as a story, both curious in itself, and confirming what was there advanced, is this.
"Histrio in terrâ Græciâ fuit famâ celebri: qui, gestûs et vocis claritudine & venustate, cæteris antestabat. Nomen fuisse aiunt POLUM. Tragœdias poetarum nobilium scitè atque asseveratè actitavit. Is Polus unicè amatum filium morte amisit. Eum luctum quum satis visus est eluxisse, rediit ad quæstum artis. In eo tempore Athenis Electram Sophoclis acturus, gestare urnam quasi cum Orestis ossibus debebat. Ita compositum fabulæ argumentum est, ut, veluti fratris reliquias ferens Electra, comploret commisereturque interitum ejus, qui per vim exstinctus existimatur. Igitur Polus, lugubri habitu Electræ indutus, ossa atque urnam à sepulchro tulit filii; &, quasi Orestis amplexus, opplevit omnia, non simulachris neque imitamentis, sed luctu atque lamentis veris & spirantibus. Itaque, quum agi fabula videretur, dolor actitatus est."
A. Gell. VII. 5.
271.
mvp-aristotle-comment-271
NOTE 271. P. 134.
26.10
THE MUSIC AND THE DECORATION, BY THE LATTER OF WHICH THE ILLUSION IS HEIGHTENED, &C.
The Greek, here, in either of the two readings warranted by manuscript authority, is unsatisfactory and suspicious, and the sense, consequently, uncertain. The reading of the old editions —
δὶ ἧς τας ἡδονας ἐπιστανται ἐναργεστατα
: which
Victorius
renders —
"per quam voluptates percipiunt evidentissime"
:
"through, or by means of, which, they perceive the pleasures most evidently." Nothing can well be more harsh, or strange.
ἐπιστανται
they perceive: — Who? — The spectators. To this mode of speaking, however, I should not object; because this ellipsis, of
ὁἱ ἀνθρωποι
, is frequent in both the Greek and Latin writers. Thus, in the beginning of this chapter,
κνωνται
. This answers to that very convenient idiom, of which the French make so much use, and which we so often find the want of
on s'agite — on apperçoit
, &c.
23
But, the verb,
ἐπιστανται
, will, I apprehend, by no means bear the sense here forced upon it, of perceiving pleasure; or any sense, but that of understanding, or knowing. Were I, therefore, obliged to make some sense of this reading, it would be this: —
"[quae efficiuntur] voluptates, norunt homines apertissime"
: — "the pleasures, which are produced through which, are clearly understood — well known to all." But this, I confess, is violent interpretation; and, in particular, I doubt whether the word
ἐναργες
is ever used, by Aristotle at least, as merely synonymous to
φανερον
; as evident to reason or understanding, and opposed to doubtful. It always means, I believe, evident, clear, visible, to the eye of imagination. Thus,
cap. xvii.
—
Δει δε τες μυθες συνισταναι ότι μαλισα ΠΡΟ ΟΜΜΑΤΩΝ τιθέμενον· ὕτω γαρ ἐν ΕΝΑΡΓΕΣΤΑΤΑ ΟΡΩΝ, ώσπερ ΠΑΡ ΑΥΤΟΙΣ ΓΙΓΝΟΜΕΝΟΣ ΤΟΙΣ ΠΡΑΤΤΟΜΕΝΟΙΣ
, &c. These words seem to furnish the best comment upon the passage in question, and will perhaps lead us to the most reasonable and least exceptionable interpretation of it; for perfect satisfaction is not, I think, to be expected, in the present condition of the text.
We ought, surely, at all events, to adhere to the proper and clear meaning of the adverb
ἐναργεστατα
, as used in the passage just cited; where the word itself, and the explanatory expressions which accompany it, afford a pretty strong presumption, that Aristotle, here, meant to express the particular advantage which Tragedy receives from the
ὄψις
, or, from actual representation,
24
25
as giving to the imitation the greatest possible reality of effect, and producing the most perfect illusion in the spectator. Yet this, it must be owned, is very obscurely expressed, if it be expressed, by the Greek; which, according to the best reading, that of
Victorius
, and of many MSS. will stand thus:
και ἐτι, μικρον μερα την μεσικην και την όψιν ἐχει, δὲ ἡς ῾ΑΙ ΗΔΟΝΑΙ ΣΥΝΙΣΤΑΝΤΑΙ ἐναργεστατα
: that is, according to the only sense which I can find for it —
"and the decoration, or spectacle; by means of which, the pleasures we receive from Tragedy, are rendered more sensible, striking, illusive," &c. But many objections may, undoubtedly, be made. For the fair and literal version would be this:
"by means of which, the pleasures are formed, composed, constructed, or constituted, in the clearest and most visible manner."
I give, here, what I apprehend to be the only fair sense of the verb,
συνιστασθαι
; but it seems to be, by no means, the proper word in this place, and probably is not the word which Aristotle wrote. If any one MS. would offer me
ΠΑΡιστανται
, I would readily accept it.
Ælian
, describing the effect of a trumpet, sounding suddenly, at the instant when a famous painting was exhibited, of a warrior in the act of rushing to the battle, says —
ἁμα τε ἐν το μελθ ήκκετο τραχύ και φοβερου και οὐδεικνυτο ἡ γραφη, και ὁ στρατιωτης ἐβλεπετο, το μέλες ΕΝΑΡΓΕΣΤΕΡΑΝ την φαντασιαν τε ἐκβοηθεντα ἐτι και μαλλον ΠΑΡΑΣΤΗΣΑΝΤΟΣ
: i. e.
"presenting to the imagination a still more lively and striking image." But again —
ἡδοναι
, is not
26
27
28
what one would expect here. To speak, indeed, of terror and pity, as the pleasures of Tragedy, is perfectly agreeable, both to the doctrine, and to the language, of the author, throughout. But, it is not, properly, the pleasure — it is not the terror, or the pity — that is rendered more
ἐναργες
; but that pleasure is heightened by the action being rendered so.
Upon the whole, however, I see no other meaning that can be obtained from the words, without still greater violence and improbability of interpretation.
Dacier
,
Batteux
, and
Goulston
, make the assertion —
ὡι ήδοναι
, &c. relate to both music and decoration. But it is, surely, quite unwarrantable to give to —
ἩΣ
, the sense of,
δὶ ΩΝ
, or
δ' 'AIN
. Besides that the music, however great the pleasure it may afford, cannot, I think, properly be considered as contributing to the
ἐναργεια
, or as heightening the illusion, of Tragedy.
Victorius
, who read
την μεσικην και ΤΑΣ ΟΨΕΙΣ
, very consistently made
ἧς
refer to
μεσικη
only: and
Castelvetro
very properly observes, that, if we read
την όψω
—
"le predette parole [. . δι ἧς ἀι ήδοναι, κ. τ. αλ.] havranno rispetto alla vista; & conteneranno la commendatione della detta vista, per la quale si constituisca il diletto più manifestamente che non si fa per le parole dell epopea."
p. 690. He appears, I think, to have understood the passage in the way I have proposed. But he mentions another reading, which I have not seen noticed anywhere else —
ἐνΕργεστατα
. This had occurred to me, formerly, as a conjecture, before I had seen Castelvetro's commentary. But it gives much the same sense, and would remove no difficulty with respect to the passage itself — though, as I shall presently have occasion to observe, it might suit better with what follows. See
NOTE 277
.
272.
mvp-aristotle-comment-272
NOTE 272. P. 134.
26.11
IT HAS THE ADVANTAGE OF GREATER CLEARNESS—AS WELL IN READING, AS IN REPRESENTATION.
Ειτα, και το ἐναργες ἐχει, και ἐν τῇ ἀναγνωσει, και ἐπι των ἐργων.
— It seems rather strange, that, immediately after mentioning the
ἐναργες
of the
ὄψις
,
Aristotle
should say —
"Then, it has also the
ἐναργες
,"
&c. It was this which induced me to suspect, that for
ἐναργεστατα
, in the preceding passage, we should read —
ἐνΕργεστατα
:
"By means of which, [i. e. of the
ὄψις
,] the pleasures we receive from Tragedy (those, of terror and pity excited by imitation, as he says cap. xiv.
29
) are rendered more forcible and efficacious."
But the objection is, perhaps, not of sufficient force to warrant a departure from the established reading of all the manuscripts,
ἐναργεστατα
: and we may, well enough, understand the author, as if he had said —
"Then, farther, another advantage is, that Tragedy has this
ἐναργες
, not only on the stage, and on account of the
Ὄψις
, but even in reading also."
That
ἀναγνωσει
is right, (not
ἀναγνωρισει
,) I cannot entertain a doubt. Nothing can be more evidently nonsensical than this distinction —
"both in the discoveries, and in the incidents;"
as if a discovery were not an incident.
The expression,
ἔπι των ἐργων
, for,
in representation, acting, performance, &c. seems liable to no difficulty. Thus,
De Rep. VIII. 455
,
δηλον ἐκ των ΕΡΓΩΝ
— from what happens in the performance of such music. And see
ibid. cap. vi.
throughout which,
ἐργα
is repeatedly used for musical performance; particularly,
p. 457
, —
τα θαυμασια και περιττα ΤΩΝ ΕΡΓΩΝ
,
"surprising and elaborate performance."
273.
mvp-aristotle-comment-273
NOTE 273. P. 134.
26.12
ATTAINING THE END OF ITS IMITATION IN A SHORTER COMPASS.
Dryden
says of this passage —
"It is one reason of Aristotle's, to prove that Tragedy is the more noble, because it turns in a shorter compass; the whole action being circumscribed within the space of four and twenty hours. He might prove as well, that a mushroom is to be preferred before a peach, because it shoots up in the compass of a night."
&c. If Aristotle had said, that Tragedy was the more noble, because a Poet could compose a Tragedy in much less time than an Epic Poem, the simile would have been justly applied.
Dryden
had, but just before, said, that
"the effects of Tragedy are too violent to be lasting."
But he did not give himself time to see, that Tragedy owes this greater violence of effect to the shortness of its plan; that is, to its stricter unity, its more concentrated and unbroken interest, its
"close accelerated plot;"
to that
ἀθροον
, as Aristotle calls it, so essential to the purpose of Tragedy, which is, to give the pleasure of strong emotion. The Epic Poem is of too tedious a length, too various and episodic, to produce that effect in
the same degree as Tragedy, which is read, or seen, at once, and without interruption.
But the case was, that
Dryden
, (who, as I have before had occasion to remark, appears to have taken his idea of
Aristotle
from French translation,) wrote this in the preface to his translation of
30
an Epic Poem: on the contrary, when he was writing on Tragedy, he gave Tragedy the preference.
31
32
274.
mvp-aristotle-comment-274
NOTE 274. P. 134.
26.13
HIS POEM, IF PROPORTIONABLY CONTRACTED, WILL APPEAR CURTAILED.
Μυερον
. — Nothing is more diverting than the explanation which some commentators give of this word, and its application here. The Poem, it seems, is compared to the tail of a mouse, or a rat, which grows less and less towards the end:
"versus extremum attenuata."
33
I never heard, that any naturalists have observed this property to be peculiar to the tails of rats and mice. The fact seems to be, that the words
μυερον
, and
μειερον
, however their etymologies may appear to differ, have both the same meaning — that of
cropped, curtailed, tronqué, as
M. Batteux
translates it.
Μεικρού σιχθώ
. . .
ὁ κατα το τελοι ἐλλειπων χρονῳ
. [
Hephast. p. 92, ed. De Pauw
.] To which is opposed,
δολιχουρ
a long-tailed verse:
ὁ κατα το τελώ πλεονάζων συλλαβη
.
In the
Rhetoric
,
Aristotle
applies
μειρά
to a period that is too short, and disappoints the ear by ending abruptly. The passage is curious for its expression, and illustrates both the word itself, and its application, here, to a Poem, which disappoints the expectation of a reader in the same manner, by ending before its time.
Rhet. III. 9, p. 592, ed. Duval.
Δει δε, και τα κωλα, και τας περιοδες, μητε ΜΕΙΟΥΡΟΥΣ είναι, μητε ΜΑΚΡΑΣ· το μεν γαρ ΜΙΚΡΟΝ [. .
μειερον
] προσπταίειν πολλάκις ποιει τον ἀκροατην· ἀναγκη γαρ, όταν, ἐτι ὁρμων ἐπι το πορρω, και το μετρον ἔχει ἐν ἑαυτῳ ὁρε, ΑΝΤΙΣΠΑΣΘΗ παυσαμένε, ΟΙΟΝ, ΠΡΟΣΠΤΑΙΕΙΝ γίγνεσθαι, δια την ΑΝΤΙΚΡΟΥΣΙΝ.
275.
mvp-aristotle-comment-275
NOTE 275. P. 134.
26.13
IF EXTENDED TO THE USUAL LENGTH.
Ακολεθέντα τῳ το μετρο μηκεί.
Almost all the commentators and translators understand
answerable to the length of the metre. And this is, certainly, the most obvious and unforced sense of the words: for, had Aristotle meant, by
μέτρον
, the standard measure, or length, of the Poem, as other commentators understand it, he, probably, would have rather said
τῳ το ΜΗΚΟΥΣ ΜΕΤΡΩΝ
.
34
Μετρον
is so used in the passage given in the last note —
το ΜΕΤΡΟΝ ἔχει ἐν ἑαυτῳ ὁρε
. If, however,
metre be the sense, (for, after all, the passage is ambiguous,) the expression must, I think, be understood as a short way of saying
"conformable to the usual length of Poems in that metre"
— of Poems in heroic verse. See what is said,
cap. xxiv.
about the adaptation of the hexameter to Epic Poetry:
οὐδεις ΜΑΚΡΑΝ συστασιν ἐν ἀλλῳ πεποιηκεν τῳ ἡρωῳ.
— I cannot conceive that
Aristotle
meant to say, that the length of the Epic Poem was proportioned, or ought to be proportioned, to the length of the metre. Yet so the commentators.
"Si — Poeta secutus fuerit longitudinem, quae instar videtur ejus carminis."
Vict.
—
"Si cum metri longitudine provebatur."
Goulst.
&c. It was not the length of the hexameter which made it the fittest measure for heroic Poetry, but the nature of the feet of which it is composed; and on that account it was preferred, as
στασιμωτατον και ὀγκωδεστατον των μετρων
.
cap. xxiv.
The length of a verse is to be measured by the times (
χρονοι
) which compose it. Now the hexameter is but
one third longer than the Iambic trimeter; their respective times being 24, and 18: so that the length of an Epic Poem would be strictly proportioned to the length of its verse —
τῳ τε μετρε μηκει
— were it longer by one third only than a Tragedy.
276.
mvp-aristotle-comment-276
NOTE 276. P. 134.
Ὑδαρη
— watery. Aristotle uses the same metaphor in the following passage of his second book
De Republicâ
, where, opposing the community of wives and children proposed by
Plato
, he very justly objects, that it would weaken the bond of social union, by diluting the social affections, and destroying—
Par. Loft, IV. 756.
Relations dear, and all the charities
Of father, son, and brother,
—
Εν δε τη πόλει, την ΦΙΛΙΑΝ ἀναγκαιον ὙΔΑΡΗ γινεσθαι, δια την κοινωνιαν την τοιαυτην, και ήκιστα λέγειν τον ἐμον, ἡ ὑιον, πατερα, ὑιον.
35
Ωσπερ γαρ μικρον γλυκύ, εις πολυ ύδωρ μιχθεν, ἀναισθητον ποιει την κρασιν, ότω συμβαινει και την οικειοτητα, την προς άλληλες, την άπο των ὀνοματων τετων—κ . λ.
I stop there, because the passage is evidently defective, though the sense is plain.
277.
mvp-aristotle-comment-277
NOTE 277. P. 135.
26.15
AND, ALSO, IN THE PECULIAR END AT WHICH IT AIMS—.
Και, ἐτι, τῷ της τέχνης ἔργῳ.
The expression is ambiguous. It may mean, either the end, or business, of the Poetic art in general, or, that of Tragedy — of the Tragic art.
36
The latter, however, seems, pretty clearly, to be the meaning: for his expression —
τουτοις τε διαφέρει πασί, ΚΑΙ ΕΤΙ τῳ της τεχνης ἔργῳ
— shews the author to be speaking, here, of a distinct advantage. But, if we understand it to mean, that Tragedy answers the end of Poetry better than the Epic, this cannot be considered as an advantage distinct from those enumerated before, which are, plainly, such as contribute to the general end of Poetry — that of giving pleasure — of interesting, delighting, striking, &c. Whereas, if the peculiar end of Tragedy be superior to that of Epic Poetry, this, indeed, is an additional and separate advantage. Besides, the parenthetical insertion which immediately follows —
δει ΓΑΡ, την τυχεσαν ήδονην ποιειν αυτας
(i. e. the Epic and Tragic Poems,)
άλλα την ἐιρημενην
— plainly implies, that the
τεχνης ἐργον
, of which he had been speaking, was that of affording the particular pleasure proper to the species. And thus, too, the word
ἐργον
is used in other passages:
τραγῳδιας ἐργον
,
cap. vi.
and
cap. xiii.
The words,
μαλλον το τέλες τυγχανεσα
, present a similar, but more embarrassing, ambiguity. Is
τελ
, here, the end of Poetry, or the end of Tragedy? If we take it in the latter sense,
Aristotle
will say, that Tragedy is superior, both because its end — the peculiar effect which it purposes to produce — is superior to that of
the Epic Poem, and, because it attains that end more perfectly than the Epic attains its end. But this Aristotle has not proved, nor does it appear to be true. On the other hand, if we understand
τελ
to mean the end of the poetic art,
37
it is obviously true, that, if Tragedy be superior in all those respects which he had mentioned — in its closer unity, its brevity, its
ἐναργεια
, its music, and its decorations — and, besides, (
και ἐτι
) in the specific end at which it aims — it must, on the whole, be preferable to the Epic Poem, as answering more effectually the end of Poetry, by giving greater pleasure.
For, that this, in Aristotle's view, was the great end of the art, and of all its branches, appears, if I mistake not, evidently, from many other passages of this treatise, as well as from that now before us. Nor does he, any where, appear to me to give any countenance to an idea, which rational criticism has, now, pretty well exploded — that utility and instruction are the end of Poetry. That it may indeed be rendered, in some degree, useful and improving, few will deny; none, that it ought to be made so, if it can. But, that the chief end and purpose of Poetry is to instruct — that
Homer
wrote his
Iliad
on purpose to teach mankind the mischiefs of discord among chiefs, and his
Odyssey
, to prove to them the advantages of staying at home and taking care of their families — this is so manifestly absurd, that one is really astonished to see so many writers, one after the other, discoursing gravely in defence of it.
38
It is true indeed, that
Aristotle
, in his account of Tragedy, mentions the correction and refinement of the passions, pity, terror, &c. as a useful effect of Tragic representations. But he no where, either in his definition, where we might surely have expected him to be explicit, or in any other part of his book, calls that effect the end of Tragedy. All his expressions prove, that his end, both of Tragic and of Epic Poetry, was pleasure;
39
though, with respect to Tragedy, he asserts, (by way, as I have before suggested,
40
of obviating
Plato's
objections to it,) that the pleasure arising from it was so far from being pernicious, that it was even useful; so far from inflaming the passions of men, that it tended, on the contrary, to purify and moderate them in common life. When the reader sees the expressions, to which I allude, laid together, he will hardly, I think, entertain any doubt upon this head. —
τα μέγιστα, δις ΨΥΧΑΓΩΓΕΙ΄ ἡ Τραγῳδια, μυθε μερη ἐσιν
,
&c. cap. vi.
—
ἐστι δε ἐχ αυτη ἀπο Τραγῳδιας ἩΔΟΝΗ.
cap. xiii.
—
γαρ πασαν δει ζητειν ἩΔΟΝΗΝ ἀπο Τραγῳδιας, άλλα ΤΗΝ ΟΙΚΕΙΑΝ.
—
Επει δε την ἀπο ἐλει και φοβε, δια μιμησεως, δει ἩΔΟΝΗΝ παρασκευαζειν τον ποιητην
cap. xiv.
—
ὶν, ώσπερ ζωον ἐν όλον, ποιῃ την ΟΙΚΕΙΑΝ ΗΔΟΝΗΝ.
cap. xxiii.
—
την όψιν, δι ἧς ΑΙ ΗΔΟΝΑΙ, &c. cap. ult.
—
δει γαρ ἐ την τυχεσαν ἩΔΟΝΗΝ ποιειν ΑΥΤΑΣ, άλλα την ειρημενην.
ibid.
From all this it appears, I think, indubitably, that the great end of Poetry in general, was, in Aristotle's opinion, to give plea-
sure; as
Castelvetro
, long ago, rightly contended.
"Coloro, che vogliono, che la poesia fia trovata principalmente per giovare, o per giovare & per dilettare infieme, veggano che non s'oppongono all' autorità d'Aristotele, il quale, qui ed altrove, non par che le affegni altro, che diletto; e se pure le concede alcuno giovamento, gliele concede per accidente come è la purgatione dello spavento & della compassione per mezzo della Tragedia."
p. 505
.
The peculiar end of Tragedy, he has expressly told us, is to afford that pleasure, which results from fictitious terror and pity:
την άπο ἐλει και φοβε δια μιμησεως ήδονην.
— What he regarded as the peculiar end of Epic Poetry, I observe that he has no where distinctly said. But from what he has said, of the advantages which its plan affords, with respect to grandeur, and variety, and the admission of the wonderful and surprising, and also of the superior richness of its language,
41
we may collect, that his ideas on this subject accorded with those of the best modern critics; and that he held the end of the Epic Poem to be, according to the exact description of an eminent writer,
"admiration, produced by a grandeur of design, and variety of important incidents, and sustained by all the energy and minute particularity of description."
42
This end, however, and these peculiar advantages, of the Epic plan, Aristotle has not, as I have before remarked, brought forward, to complete the comparison in this chapter: but he plainly, and, I think, justly, considered them as more than compensated by the closer interest, more perfect illusion, stronger emotion, deeper impression, and, in bis view, more useful tendency, of Tragedy. The Epic Poem loses in force of effect, what it gains in variety; in nature and passion, what it gains in grandeur and sublimity. The very necessity, and the merit, of its variety, and of the
ἐπεισοδιων ἀνομοἰοις ἐπεισοδίοις
,
43
are a confession of its defects, as implying a too great extent of plan, a feebleness of interest, a want of relief. It seems, indeed, to be the great art of the Epic Poet, to make us amends, by the striking beauty of particular parts, for the fatigue and ennui which unavoidably results, more or less, from the whole.
A strong proof of the superiority of Tragedy, and of the justness of Aristotle's decision, is, that every reader is most delighted with the Episodes of Epic Poetry; with those subordinate and more compressed actions, which give us the very pleasure of Tragedy — which interest and affect us by exciting pity and terror: with the meeting of
Hector and Andromache, and the supplication of
Priam to Achilles for the body of his son, in the
Iliad
; with the love, despair, and death, of
Dido, the episode of
Nisus and Euryalus, and the parting scene between old
Evander and his son, in the
Eneid
.
44
But though, of all the pleasures which Poetry, or Music, or Painting, can afford, the pleasure of emotion deserves to be esteemed the greatest, yet all those arts certainly afford considerable pleasures of other kinds; and, perhaps, to do full justice to the Epic Poem, we ought not to characterize it by any one particular and principal pleasure, but by that variety, which is peculiar to it, and which comprehends, in some degree or other, every sort of pleasure, that serious Poetry can give.
45
Whatever, therefore, may be decided
with respect to the comparative excellence of the Poems themselves, we may safely perhaps assent to the general decision of criticism, respecting the comparative merits of the Poets, and allow, that
"the first praise of genius is due to the writer of an Epic Poem; as it requires an assemblage of all the powers which are singly sufficient for other compositions."
46
