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Pour ce qui eſt de la diction, il y en a une partie qui eſt pour le Spectacle & pour le Theatre, c'eſt la prononciation & le geſte; mais cela regarde proprement l'art des Comediens, ou de ceux qui font une ſemblable profeſſion. Car c'eſt à eux d'enſeigner ce que c'eſt qu'un commandement, une priere, une ſimple narration, une menace, une interrogation, une réponſe, & autres choſes ſemblables.

5.

Poetics. Aristote. Paris. 1692.

Current edition Experimental

La poëtique d'Aristote (André Dacier, 1692) (OCR draft) (fra) (André Dacier's French translation of Aristotle's Poetics, published in 1692.)

Provisional text from uncorrected OCR; expect errors.

Editions (4)

Περὶ ποιητικῆς (OCR draft) (Aristotle, Poetics. Immanuel Bekker, editor, Aristotelis Opera, volume 2. Oxford: Oxford University Press, 1837.) — 19 focus

Περὶ μὲν οὖν τῶν ἄλλων ἤδη εἴρηται, λοιπὸν δὲ περὶ λέξεως ἢ διανοίας εἰπεῖν.

Τὰ μὲν οὖν περὶ τὴν διάνοιαν ἐν τοῖς περὶ ῥητορικῆς κείσθω· τοῦτο γὰρ ἴδιον μᾶλλον ἐκείνης τῆς μεθόδου.

Ἔστι δὲ κατὰ τὴν διάνοιαν ταῦτα, ὅσα ὑπὸ τοῦ λόγου δεῖ παρασκευασθῆναι.

Μέρη δὲ τούτων τό τε ἀποδεικνύναι καὶ τὸ λύειν καὶ τὸ πάθη παρασκευάζειν, οἷον ἔλεον ἢ φόβον ἢ ὀργὴν καὶ ὅσα τοιαῦτα, καὶ ἔτι μέγεθος καὶ μικρότητα.

Δῆλον δὲ ὅτι καὶ ἐν τοῖς πράγμασιν ἀπὸ τῶν αὐτῶν ἰδεῶν δεῖ χρῆσθαι, ὅταν ἢ ἐλεεινὰ ἢ δεινὰ ἢ μέγαλα ἢ εἰκότα δέῃ παρασκευάζειν.

Πλὴν τοσοῦτον διαφέρει, ὅτι τὰ μὲν δεῖ φαίνεσθαι ἄνευ διδασκαλίας, τὰ δὲ ἐν τῷ λόγῳ ὑπὸ τοῦ λέγοντος παρασκευάζεσθαι καὶ παρὰ τὸν λόγον γίγνεσθαι. Τί γὰρ ἂν εἴη τοῦ λέγοντος ἔργον, εἰ φανοῖτο ἡδέα καὶ μὴ διὰ τὸν λόγον;

Τῶν δὲ περὶ τὴν λέξιν ἓν μέν ἐστιν εἶδος θεωρίας τὰ σχήματα τῆς λέξεως, ἅ ἐστιν εἰδέναι τῆς ὑποκριτικῆς καὶ τοῦ τὴν τοιαύτην ἔχοντος ἀρχιτεκτονικήν, οἷον τί ἐντολὴ καὶ τί εὐχὴ καὶ διήγησις καὶ ἀπειλὴ καὶ ἐρώτησις καὶ ἀπόκρισις, καὶ εἴ τι ἄλλο τοιοῦτον.

Παρὰ γὰρ τὴν τούτων γνῶσιν ἢ ἄγνοιαν οὐδὲν εἰς τὴν ποιητικὴν ἐπιτίμημα φέρεται, ὅ τι καὶ ἄξιον σπουδῆς. Τί γὰρ ἄν τις ὑπολάβοι ἡμαρτῆσθαι ἃ Πρωταγόρας ἐπιτιμᾷ, Ὅτι εὔχεσθαι οἰόμενος ἐπιτάττει εἰπὼν

Μῆνιν ἄειδε θεά;

Τὸ γὰρ κελεῦσαι, φησί, ποιεῖν τι ἢ μὴ ἐπίταξίς ἐστιν.

Διὸ παρείσθω ὡς ἄλλης καὶ οὐ τῆς ποιητικῆς ὂν θεώρημα.

Περὶ ποιητικῆς (OCR draft) Perseus (Aristotle, De arte poetica liber. Rudolf Kassel, editor. Oxford: Clarendon Press, 1965. Reference edition for passage alignment.) — 19 focus

περὶ μὲν οὖν τῶν ἄλλων εἰδῶν εἴρηται, λοιπὸν δὲ περὶ λέξεως καὶ διανοίας εἰπεῖν.

τὰ μὲν οὖν περὶ τὴν διάνοιαν ἐν 35 τοῖς περὶ ῥητορικῆς κείσθω· τοῦτο γὰρ ἴδιον μᾶλλον ἐκείνης τῆς μεθόδου.

ἔστι δὲ κατὰ τὴν διάνοιαν ταῦτα, ὅσα ὑπὸ τοῦ λόγου δεῖ παρασκευασθῆναι.

μέρη δὲ τούτων τό τε ἀποδεικνύναι καὶ τὸ λύειν καὶ τὸ πάθη παρασκευάζειν (οἷον 1456b 1 ἔλεον ἢ φόβον ἢ ὀργὴν καὶ ὅσα τοιαῦτα) καὶ ἔτι μέγεθος καὶ μικρότητας.

δῆλον δὲ ὅτι καὶ ἐν τοῖς πράγμασιν ἀπὸ τῶν αὐτῶν ἰδεῶν δεῖ χρῆσθαι ὅταν ἢ ἐλεεινὰ ἢ δεινὰ ἢ μεγάλα ἢ εἰκότα δέῃ παρασκευάζειν·

πλὴν τοσοῦτον 5 διαφέρει, ὅτι τὰ μὲν δεῖ φαίνεσθαι ἄνευ διδασκαλίας, τὰ δὲ ἐν τῷ λόγῳ ὑπὸ τοῦ λέγοντος παρασκευάζεσθαι καὶ παρὰ τὸν λόγον γίγνεσθαι. τί γὰρ ἂν εἴη τοῦ λέγοντος ἔργον, εἰ φαίνοιτο ᾗ δέοι καὶ μὴ διὰ τὸν λόγον;

τῶν δὲ περὶ τὴν λέξιν ἓν μέν ἐστιν εἶδος θεωρίας τὰ σχήματα τῆς λέξεως, 10 ἅ ἐστιν εἰδέναι τῆς ὑποκριτικῆς καὶ τοῦ τὴν τοιαύτην ἔχοντος ἀρχιτεκτονικήν, οἷον τί ἐντολὴ καὶ τί εὐχὴ καὶ διήγησις καὶ ἀπειλὴ καὶ ἐρώτησις καὶ ἀπόκρισις καὶ εἴ τι ἄλλο τοιοῦτον.

παρὰ γὰρ τὴν τούτων γνῶσιν ἢ ἄγνοιαν οὐδὲν εἰς τὴν ποιητικὴν ἐπιτίμημα φέρεται ὅ τι καὶ ἄξιον 15 σπουδῆς. τί γὰρ ἄν τις ὑπολάβοι ἡμαρτῆσθαι ἃ Πρωταγόρας ἐπιτιμᾷ, ὅτι εὔχεσθαι οἰόμενος ἐπιτάττει εἰπὼν

μῆνιν ἄειδε θεά;

τὸ γὰρ κελεῦσαι, φησίν, ποιεῖν τι ἢ μὴ ἐπίταξίς ἐστιν.

διὸ παρείσθω ὡς ἄλλης καὶ οὐ τῆς ποιητικῆς ὂν θεώρημα.

Poetics, Greek text (Ingram Bywater, 1909) (OCR draft) Experimental (Ingram Bywater's Greek text of Aristotle's Poetics, published in 1909.) — 19 focus

Περὶ μὲν οὖν τῶν ἄλλων ἤδη εἴρηται, λοιπὸν δὲ περὶ
λέξεως καὶ διανοίας εἰπεῖν.

τὰ μὲν οὖν περὶ τὴν διάνοιαν ἐν
τοῖς περὶ ῥητορικῆς κείσθω· τοῦτο γὰρ ἴδιον μᾶλλον ἐκείνης
τῆς μεθόδου.

ἔστι δὲ κατὰ τὴν διάνοιαν ταῦτα, ὅσα ὑπὸ
τοῦ λόγου δεῖ παρασκευασθῆναι.

μέρη δὲ τούτων τό τε ἀποδεικνύναι
καὶ τὸ λύειν καὶ τὸ πάθη παρασκευάζειν (οἷον
ἔλεον ἢ φόβον ἢ ὀργὴν καὶ ὅσα τοιαῦτα) καὶ ἔτι μέγεθος
καὶ μικρότητα.

δῆλον δὲ ὅτι καὶ ἐν τοῖς πράγμασιν ἀπὸ
τῶν αὐτῶν ἰδεῶν δεῖ χρῆσθαι ὅταν ἢ ἐλεεινὰ ἢ δεινὰ ἢ
μεγάλα ἢ εἰκότα δέῃ παρασκευάζειν·

πλὴν τοσοῦτον διαφέρει,
ὅτι τὰ μὲν δεῖ φαίνεσθαι ἄνευ διδασκαλίας, τὰ δὲ
ἐν τῷ λόγῳ ὑπὸ τοῦ λέγοντος παρασκευάζεσθαι καὶ παρὰ
τὸν λόγον γίγνεσθαι. τί γὰρ ἂν εἴη τοῦ λέγοντος ἔργον, εἰ
φαίνοιτο ᾗ δέοι καὶ μὴ διὰ τὸν λόγον;

τῶν δὲ περὶ τὴν λέξιν
ἓν μέν ἐστιν εἶδος θεωρίας τὰ σχήματα τῆς λέξεως,
ἅ ἐστιν εἰδέναι τῆς ὑποκριτικῆς καὶ τοῦ τὴν τοιαύτην ἔχοντος
ἀρχιτεκτονικήν, οἷον τί ἐντολὴ καὶ τί εὐχὴ καὶ διήγησις
καὶ ἀπειλὴ καὶ ἐρώτησις καὶ ἀπόκρισις καὶ εἴ τι
ἄλλο τοιοῦτον.

παρὰ γὰρ τὴν τούτων γνῶσιν ἢ ἄγνοιαν οὐδὲν
εἰς τὴν ποιητικὴν ἐπιτίμημα φέρεται ὅ τι καὶ ἄξιον σπουδῆς.
τί γὰρ ἂν τις ὑπολάβοι ἡμαρτῆσθαι ἃ Πρωταγόρας
ἐπιτιμᾷ, ὅτι εὔχεσθαι οἰόμενος ἐπιτάττει εἰπὼν “μῆνιν ἄειδε
θεά”; τὸ γὰρ κελεῦσαι, φησίν, ποιεῖν τι ἢ μὴ ἐπίταξίς
ἐστιν.

διὸ παρείσθω ὡς ἄλλης καὶ οὐ τῆς ποιητικῆς ὂν
θεώρημα.

Poetics, Greek text (Franz Ritter, 1839) (OCR draft) Experimental (Franz Ritter's 1839 Greek edition, corrected against OCR of the represented copy and aligned to the conventional Perseus chapter-and-subchapter sequence.) — 19 focus

Περὶ μὲν οὖν τῶν ἄλλων ἤδη εἴρηται, λοιπὸν δὲ περὶ λέξεως ἢ διανοίας εἰπεῖν.

τὰ μὲν οὖν περὶ τὴν διάνοιαν ἐν τοῖς περὶ ῥητορικῆς κείσθω· τοῦτο γὰρ ἴδιον μᾶλλον ἐκείνης τῆς μεθόδου.

ἔστι δὲ κατὰ τὴν διάνοιαν ταῦτα, ὅσα ὑπὸ τοῦ λόγου δεῖ παρασκευασθῆναι.

μέρη δὲ τούτων τό τε ἀποδεικνύναι καὶ τὸ λύειν καὶ τὸ πάθη παρασκευάζειν, οἷον ἔλεον ἢ φόβον ἢ ὀργὴν καὶ ὅσα τοιαῦτα, καὶ ἔτι μέγεθος καὶ μικρότητα.

δῆλον δὲ ὅτι καὶ ἐν τοῖς πράγμασιν ἀπὸ τῶν αὐτῶν ἰδεῶν δεῖ χρῆσθαι, ὅταν ἢ ἐλεεινὰ ἢ δεινὰ ἢ μεγάλα ἢ εἰκότα ιοδέῃ παρασκευάζειν.

πλὴν τοσοῦτον διαφέρει, ὅτι τὰ μὲν δεῖ φαίνεσθαι ἄνευ διδασκαλίας, τὰ δὲ ἐν τῷ λόγῳ ὑπὸ τοῦ λέγοντος παρασκευάζεσθαι καὶ παρὰ τὸν λόγον γίγνεσθαι. τί γὰρ ἂν εἴη τοῦ λέγοντος ἔργον, εἰ φανοῖτο ἡδέα καὶ μὴ διὰ τὸν λόγον;

τῶν δὲ περὶ τὴν λέξιν ἓν μέν ἐστιν εἶδος θεωρίας τὰ σχήματα τῆς λέξεως, ἃ ἐστιν εἰδέναι τῆς ὑποκριτικῆς καὶ¹ τοῦ τὴν τοιαύτην ἔχοντος ἀρχιτεκτονικήν, οἷον τί ἐντολὴ καὶ τί εὐχὴ καὶ διήγησις καὶ ἀπειλὴ καὶ ἐρώτησις καὶ ἀπόκρισις, καὶ εἴ τι ἄλλο τοιοῦτον.

παρὰ γὰρ τὴν τούτων γνῶσιν ἢ ἄγνοιαν οὐδὲν εἰς τὴν ποιητικὴν ἐπιτίμημα φέρεται, ὅ τι καὶ ἄξιον σπουδῆς. τί γὰρ ἄν τις ὑπολάβοι ἡμαρτῆσθαι ἃ Πρωταγόρας ἐπιτιμᾷ, ὅτι εὔχεσθαι οἰόμενος ἐπιτάττει εἰπὼν “μῆνιν ἄειδε θεά;” τὸ γὰρ κελεῦσαι, φησί, ποιεῖν τι ἢ μὴ ἐπίταξίς ἐστιν.

διὸ παρείσθω ὡς ἄλλης καὶ οὐ τῆς ποιητικῆς ὂν θεώρημα.

Translations (13)

Poetics (W. H. Fyfe) (OCR draft) Perseus (William Hamilton Fyfe's English translation of Aristotle's Poetics, Loeb Classical Library, 1939 printing.) — 19 focus

The other factors have been already discussed. It remains to speak of Diction and Thought.

All that concerns Thought may be left to the treatise on Rhetoric, for the subject is more proper to that inquiry.¹

Under the head of Thought come all the effects to be produced by the language.

Some of these are proof and refutation, 1456b 1 the arousing of feelings like pity, fear, anger, and so on, and then again exaggeration and depreciation.²

It is clear that in the case of the incidents, too, one should work on the same principles, when effects of pity or terror or exaggeration or probability have to be produced.

There is just this difference, that some effects must be clear without explanation,³ whereas others are produced in the speeches by the speaker and are due to the speeches. For what would be the use of a speaker, if the required effect were likely to be felt without the aid of the speeches?

Under the head of Diction one subject of inquiry is the various modes of speech, the knowledge of which is proper to elocution or to the man who knows the master art⁴—I mean for instance, what is a command, a prayer, a statement, a threat, question, answer, and so on.

The knowledge or ignorance of such matters brings upon the poet no censure worth serious consideration. For who could suppose that there is any fault in the passage which Protagoras censures, because Homer, intending to utter a prayer, gives a command when he says, Sing, goddess, the wrath? To order something to be done or not is, he points out, a command.

So we may leave this topic as one that belongs not to poetry but to another art.

Arabic Poetics (Badawī edition, 1953) (OCR draft) (The ancient Arabic translation of Aristotle's Poetics in ʿAbd al-Raḥmān Badawī's 1953 edition.) — 19 focus

〈الفكرة والمقولة〉

أما فى الأنواع الأخر فقد قلنا. فينبغى الآن أن نتكلم فى المقولة وفى الضمير والذهن.

وقد وضعت الأشياء التى هى نحو الذهن والضمير فى كتاب «البلاغة» وذلك أن هذا هو من شأن تلك الصناعة ومما يخصها. والأشياء التى فى الذهن قد يجب أن ترتب وتعد تحت القول. وأجزاء هذه هى أن يبين، 〈وأن يفند〉 وأن يستثير الألم بمنزلة الحزن أو الخوف أوالحرد أو أشباه هذه، وأيضاً الكبر والصغر.

وظاهر أن فى الأمور أيضاً من هذه الصور والخلق ينبغى أن يستعمل متى كان إما الأمران وإما الصفات وإما العظائم، ويستعد التى هى حقائق. غير أن مقدار الفرق فى هذا هو أن منها 〈ما〉 يرى دائماً بلا تعظيم ومنها ما يعدها الذى يتكلم والقائل، وهى خارج عن القول. وإلا فما فعل ذلك الذى إما أن يقول، وإما أن يبين فيه اللذات؟

وليس سبب القول ونوع النظر للى هى نحو المقولة هو نوعاً واحداً، مثلا أشكال المقولة، وهذه ترى الأخذ بالوجوه والذى له مثل أعنى النبأ وصناعة القيام عليه، بمنزلة ما الأمر وما الصلاة أو حديث أو جزم أو سؤال أو جواب، وإن كان شىء آخر مما هو نظير لهذه. وذلك أنه لا شىء آخر خارج عن علم هذه، ولا علم مما هو تهجين يؤتى به فى صناعة الشعر يستحق الحرص والعناية. وإلا فماذا للإنسان أن يتوهم أنه وقع فى الزلل فى التى كان فروطاغورس يهجن بها من أنه كان يأمر [يظن] غير ما كان يظن أن يصلى ويقول: «خبرى أيتها الإلهة على السخطة والحرد...»؛ وذلك أنه زعم أن معنى أنه أمر بأن يفعل شىء أو لا يفعل هو: أمر، ولذلك يتخلى ذلك لصناعة 〈أخرى〉 لا على أنه من شأن صناعة الشعراء، ويترك.

Poetics (S. H. Butcher, 1911) (OCR draft) Experimental (S. H. Butcher's English translation from Aristotle's Theory of Poetry and Fine Art, fourth edition, 1911.) — 19 focus

It remains to speak of Diction and Thought, the
other parts of Tragedy having been already discussed.

Concerning Thought, we may assume what is said in
the Rhetoric, to which inquiry the subject more strictly
belongs.

Under Thought is included every effect which
has to be produced by speech,

the subdivisions being,—
proof and refutation;
the excitation of the feelings, such as pity, fear, anger, and the like;
the suggestion of importance or its opposite.

Now, it is evident that
the dramatic incidents must be treated from the same
points of view as the dramatic speeches, when the object
is to evoke the sense of pity, fear, importance, or probability.

The only difference is, that the incidents
should speak for themselves without verbal exposition;
while the effects aimed at in speech should be produced by the speaker, and as a result of the speech.
For what were the business of a speaker, if the Thought were revealed quite apart from what he says?

Next, as regards Diction. One branch of the inquiry
treats of the Modes of Utterance.
But this province of knowledge belongs to the art of Delivery and to
the masters of that science.
It includes, for instance, —what is a command, a prayer, a statement,
a threat, a question, an answer, and so forth.

To know or not to know these things involves no serious
censure upon the poet's art.
For who can admit the fault imputed
to Homer by Protagoras,—that in the words, 'Sing,
goddess, of the wrath,' he gives a command under the
idea that he utters a prayer? For to tell some one to do a thing or not to do it is, he says, a command.

We may, therefore, pass this over as an inquiry that belongs
to another art, not to poetry.

Aristotle on the Art of Poetry (Ingram Bywater, 1909) (OCR draft) Experimental (Ingram Bywater's English translation of Aristotle's Poetics, published in 1909.) — 19 focus

The Plot and Characters having been discussed, it remains
to consider the Diction and Thought.

As for the Thought,
we may assume what is said of it in our Art of Rhetoric,
as it belongs more properly to that department of inquiry.

The Thought of the personages is shown in everything to
be effected by their language-

in every effort to prove or
disprove, to arouse emotion (pity, fear, anger, and the like),
or to maximize or minimize things.

It is clear, also, that
their mental procedure must be on the same lines in their
actions likewise, whenever they wish them to arouse pity
or horror, or have a look of importance or probability.

The
only difference is that with the act the impression has to
be made without explanation; whereas with the spoken word
it has to be produced by the speaker, and result from his
language. What, indeed would be the good of the speaker,
if things appeared in the required light even apart from
anything he says?

As regards the Diction, one subject for inquiry under
this head is the turns given to the language when spoken;
e. g. the difference between command and prayer, simple
statement and threat, question and answer, and so forth.

The theory of such matters, however, belongs to Elocution
and the professors of that art. Whether the poet knows
these things or not, his art as a poet is never seriously criti-
cized on that account. What fault can one see in Homer's
'Sing of the wrath, Goddess'?-which Protagoras has criti-
cized as being a command where a prayer was meant, since
to bid one do or not do, he tells us, is a command.

Let us
pass over this, then, as appertaining to another art, and
not to that of poetry.

Poetics (Thomas Twining, 1789) (OCR draft) Experimental (Thomas Twining's English translation of Aristotle's Poetics, published in 1789 and aligned to the Kassel reference passage sequence.) — 19.7 focus

With respect to DICTION, one part of its theory is that, which treats of the figures of speech¹; such as, commanding, entreating, relating, menacing, interrogating, answering, and the like. But this belongs, properly, to the art of acting, and to the professed masters of that kind.

[23]

The Poetic of Aristotle (Henry James Pye, revised 1792) (OCR draft) Experimental (Henry James Pye's revised 1792 English translation, corrected against the 1788 first edition, aligned to the Kassel reference edition, and supplied with a selective apparatus of substantive 1788 readings.) — 19.7 focus

There is one part of the theory of elocution relating to the mode of expression, which principally belongs to the player and the professed¹²³

teachers of that art. Such as to distinguish between supplication, command, narration, question, answer and any other circumstances of the same kind.

The Poetic of Aristotle (Theodore Alois Buckley) (OCR draft) Experimental (Theodore Alois Buckley's English translation, first published in 1850 and represented from the Henry G. Bohn 1857 printing; corrected against a second OCR and aligned to the Kassel reference passage sequence.) — 19.7 focus

and whatever else there may be of this kind. ¹ For from the knowledge or ignorance of these, the poetic art incurs no blame of any moment. For who would think that Homer errs in what he is reproved for by Protagoras? viz. that while he fancies he prays, he commands,

Poetica Latine conversa (Franciscus Ritter, 1839) (OCR draft) Experimental (Franz Ritter's Latin translation, corrected against OCR of the represented copy and aligned to the conventional Perseus chapter-and-subchapter sequence.) — 19 focus

De ceteris iam expositum est, restat autem ut de dictione vel sententia dicamus.

sed quae ad sententiam pertinent in libris de arte dicendi exprompta sunto: hoc enim proprium est magis illius disputationis.

pertinent autem ad sententiam haec, quaecumque oratione parari debent.

partes eorum sunt demonstrare et solvere et perturbationes facere, veluti miserationem vel timorem vel iram et quae sunt ciusdem generis, ac praeterea exaggerationem et extenuationem.

patet vero etiam in factis hauriendum esse ex isdem locis, cum sive miseranda sive timenda sive exaggerata sive verisimilia afferenda sunt.

nisi quod hoc intercedit discrimen, quod alia prodire debent sine expositione, alia per orationem a dicente parari et secundum orationem fieri. nam quid dicente opus esset, si iucunda comparerent etiam sine oratione?

ex iis autem quae ad dictionem pertinent unum est genus contemplationis quod figuras dictionis complectitur, quas cognitas habere est artis histrionalis et eius qui talem architecturam profitetur, veluti quid sit mandatum et quid precatio et enarratio et comminatio et interrogatio et responsio, et si quid aliud eiusdem generis.

nam ex horum intellectu aut ignoratione nulla in poeticam vituperatio manat, quae quidem operae pretium sit. quid enim est quod quis existimet peccatum esse in iis quae reprehendit Protagoras, quod precari se opinatus imperet dicens "iram cane dea?” iubere enim, inquit, facere aliquid aut non praeceptio est.

quare mittatur haec ratio, ut quae ad aliam artem et non ad poeticam pertineat.

Poetica d'Aristotile (Bernardo Segni, 1549) (OCR draft) Experimental (Bernardo Segni's 1549 Florentine Italian translation, aligned to the Kassel reference passage sequence.) — 19 focus

Tquanto alle coſe, che fon'nel Diſcorſo, nella Rettotica ſen'è parlato.¹

Che inuero tal ragionamento è più propio di quella inſtitutione. Nel Difcorſo fi dicono eſſere tutte quelle coſe, che col parlare ſi debbono andare preparando;

delle quali parte ne conſiſte in dimostrare, & in foluere, & in eccitare gli affetti;

come è la Mifericordia, ò il Timore, ò l'Ira, ò altre fimili perturbationi:& parte d'eſſe ne conſiſte circa alla Amplificatione, & alla Diminutione.

Et è manifeſto, che nelle ſopradette parti e' biſogni vſare; l'Ampli fication' dico, & la Diminutione dalle medeſime fpetre cioè quando e' s'habbia à preparar coſe compaſsio neuoli,ò terribili, ò grandi,ò verifimili.

Doue nondimanco è da vſare queſta diſtintione, che certe coſe è di neceſsità, che appariſchino ſenza aiuto alcuno di dottrina; & certe altre le debbe, chi dice, preparare co parlare:anzi debbe fare, che elle interuenghino per for za d'effo.

Imperoche qual farebbe l'uffitio di chi dice, ſe le coſe appariſsino piaceuoli; ma non per via del parlare? Vanto alla Locutione, vna parte di lei ſta in cofiderare le figure d'effa, lequali s'appartengono à ſapere all'arte Iſtriouica; ò à chi ſia prepo fto à tale arte:che cofa, dico, fia il Commandamento, che il Prego, che la Narratione, che il Minacciò, che l'Interrogatione, che la Riſpoſta, ò qualunche altra cofa, che à queſte ſia ſimigliante.

Concioſia che' per ſapere,ò non ſaper queſte coſe, la Poetica non ne ſia incari cata per tal cagione di carico, che meriti il pregio. Imperoche chi farebbe mai, che ſtimaſſe eſſere errore in quelle coſe, che Protagora mette per errore?cioè quan do vno penſando di pregare inquel cambio comandi in queſto modo. L'ira contami, o Dea. Perchè il dire, che vn faccia, ò non faccia-vna coſa, dice egli, e' vn comandamento.²

Laſsiſi pertanto queſta confideratione, come ſe ella fuſſe d'altra faculta, & non propia diqueſta.

De poetica (Antonio Riccobono, 1587) (OCR draft) Experimental (Antonio Riccobono's Latin translation, first published in 1587; text represented from Immanuel Bekker's 1831 edition.) — 19 focus

Ac de aliis quidem iam dictum est.

reliquum vero est de elocutione vel sententia dicere. ac quae pertinent quidem ad sententiam, in libris de rhetorica posita sunt: hoc enim methodi illius magis est proprium. sunt autem secundum sententiam ea quaecunque ab oratione paranda sunt.

et eorum partes sunt tum demon¿ strare et solvere,

tum perturbationes parare, ut misericordiam vel metum vel iram et quaecunque talia, tum praeterea amplificare et diminuere.

manifestum autem est et in actionibus utendum esse iisdem formis, cum miserabilia aut terribilia aut magna aut verisimilia parare oportuerit;

nisi quod ea sola differentia est, quod haec quidem apparere sine doctrina oportet, quae vero in oratione posita sunt, a dicente parari et per orationem fieri.

quod enim esset dicentis munus, si apparerent iucunda et non per orationem? eorum vero quae pertinent ad elocutionem una species est contemplationis, quae considerat figuras elocutionis, quas scire est histrionicae, et eius qui talem habeat architectonicam, ut quid sit mandatum et quid precatio et narratio et mina et interrogatio et responsio, et si quid aliud huiusmodi.

ab horum enim cognitione vel ignorantia nulla reprehensio in poeticam affertur, quae curanda sit. qui enim fieri potest ut aliquis existimet errorem commissum esse in iis quae Protagoras reprehendit, quod putans precari praecipit, dicens 'iram diya cane?" nam iubere, inquit, ut aliquid faciat aut non faciat praeceptio est.

quamobrem omittatur, ut quae alterius et non poeticae sit contemplatio.

De arte poetica liber (William of Moerbeke, ca. 1277) (OCR draft) Experimental (William of Moerbeke's medieval Latin translation, represented by the 1953 Aristoteles Latinus edition.) — 19 focus

De aliis quidem igitur iam dictum est. Reliquum autem de locutione aut ratiocinatione dicere.

Que quidem igitur circa dianoiam (idest ratiocinationem) in hiis que de rethorica supponantur; hoc enim proprium magis illius methodi.

Sunt autem secundum dianoiam hec, quecumque a ratione oportet preparari

Partes autem horum demonstrareque et solvere et passiones preparare, puta miserationem aut terrorem aut iram et quecumque talia, et adhuc magnitudinem et parvitatem.

Palam autem quod et in rebus ab eisdem speciebus oportet uti, quando aut miserabilia aut dira aut magna aut verisimilia oportet exhibere;

preter quam tantum differt, quod hec quidem oportet apparere sine doctrina, hec autem in sermone a dicente preparari et preter rationem fieri. Quid enim utique sit dicentis opus, apparebit idea et non propter sermonem. —

Eorum autem que circa locutionem una quidem est species theorie scemata locutionis, que scire est ypocritice et habentis talem architectonicam, puta quid mandatum et quid oratio et narratio et comminatio et interrogatio et responsio et si quid aliud tale.

Preter enim horum cognitionem aut ignorantiam nulla in poeticam increpatio fertur, que sit digna studio. Quid enim utique quis existimet peccasse que Protagoras increpat, quod orare putans precipit dicens «insaniam vide dea» ? Nam iubere, inquit, facere aliquid aut non preceptio est.

Propter quod pretermittatur tamquam alterius et non poetice ens theorema. —

Arabic Poetics (Abū Bishr Mattā; Tkatsch edition) (OCR draft) Experimental (The Arabic translation attributed to Abū Bishr Mattā, edited by Jaroslaus Tkatsch in 1928 and aligned to the Kassel reference passage sequence.) — 19 focus

‏اما فى الانواع الاخر فقد قلنا فينبغى الان ان نتكلم فى المقولة وفى الضمير والذهن

‏وقد وصعت الاشيا التى هى نحو الذهن والضمير فى كتاب البلاغة وذلك ان هذا هو من شان تلك الصناعة ومما يخصها

‏والاشيا التى فى الذهن قد يجب ان ترتب وتعد تحت القول

‏واجزا هذه هى ان يبين وان يستقر للالم بمنزلة الحزن او الخوف او الحرد او اشباه هذه وايضا الكبر والصغر

‏وظاهر ان فى الامور ايضا من هذه الصور والخلق ينبغى ان يستعمل متى كان اما الاحزان واما الصفات واما العظايم ويستعد التى هى حقايق

‏غير [ال] ان مقدار الفرق فى هذا هو ان منها يرى دايما بلا تعطيم ومنها ما يعدها الذى يتكلم والقايل وهى خارج عن القول والا فما فعل ذلك الذى اما ان يقول واما ان يبين فيه اللذات وليس سٮٮ القول

‏ونوع النظر للتى هى نحو المقولة هو نوعا واحدا مٮلا اشكال المقولة وهذه ترى للاخر بالوجوه والذى له مثل اعنى البنا وصناعة القيام عليه بمنزلة ما الامر وما الصلاة او حديث او حرض او سوال او جواب وان كان شى اخر مما هو نظير لهذه

‏وذلك انه لا شى اخر خارج عن علم هذه ولا علم من ما هو تهجين يوتا به فى صناعة الشعر يستحق الحرص والعناية والا فماذا للانسان ان يتوهم انه وقع الزلل فى التى كان فروطاغورس يهجن بها من انه كان يامر [ٮطں] عـٮر ما كاں يطں ان يصلى ويقول خبرى انه الاله على السخطة والحرد وذلك انه زعم ان معنى انه امر بان يفعل شى او لا يفعل هو امر

‏ولذلك لٮحلا ذلك الصناعة لا على انه من شان صناعة الشعرا

Arabic Poetics (Abū Bishr Mattā; Tkatsch edition, unaligned) (OCR draft) Experimental (Tkatsch's edition of the medieval Arabic translation in its original, unaligned segmentation.) — 19 focus

‏اما فى الانواع الاخر فقد قلنا فينبغى الان ان نتكلم فى المقولة وفى الضمير والذهن

‏وقد وصعت الاشيا التى هى نحو الذهن والضمير فى كتاب البلاغة وذلك ان هذا هو من شان تلك الصناعة ومما يخصها

‏والاشيا التى فى الذهن قد يجب ان ترتب وتعد تحت القول

‏واجزا هذه هى ان يبين وان يستقر للالم بمنزلة الحزن او الخوف او الحرد او اشباه هذه وايضا الكبر والصغر

‏غير [ال] ان مقدار الفرق فى هذا هو ان منها يرى دايما بلا تعطيم ومنها ما يعدها الذى يتكلم والقايل وهى خارج عن القول

‏والا فما فعل ذلك الذى اما ان يقول واما ان يبين فيه اللذات وليس سٮٮ القول

‏وذلك انه لا شى اخر خارج عن علم هذه ولا علم من ما هو تهجين يوتا به فى صناعة الشعر يستحق الحرص والعناية

‏والا فماذا للانسان ان يتوهم انه وقع الزلل فى التى كان فروطاغورس يهجن بها من انه كان يامر [ٮطں] عـٮر ما كاں يطں ان يصلى ويقول خبرى انه الاله على السخطة والحرد

‏وذلك انه زعم ان معنى انه امر بان يفعل شى او لا يفعل هو امر

‏ولذلك لٮحلا ذلك الصناعة لا على انه من شان صناعة الشعرا

Commentary

Commentary on the Poetics (Ingram Bywater, 1909) (OCR draft) (Ingram Bywater's English commentary on Aristotle's Poetics.) focus

5. mvp-aristotle-comment-692

καὶ ἐν τοῖς πράγμασιν: comp. 15, 1454 a 18

ὁ λόγος ἢ ἡ πρᾶξις.

Aristotle is quite aware that there is a rhetoric of action as well as a rhetoric of words. The διάνοια of the dramatis personae may be shown in their acts; they may do things, just as they say things, with a view to exciting pity, fear, etc., or with a view to creating an idea that something is or is not true, etc.; and whichever mode of expression be used, they have to follow, according to Aristotle, the same method and principles.

5. mvp-aristotle-comment-693

ἀπὸ τῶν αὐτῶν ἰδεῶν δεῖ χρῆσθαι, scil. τῇ διανοίᾳ, or τοῖς τῆς διανοίας μέρεσιν. For the meaning of see on 7, 1450b 34.

ἀπό

denotes here the logical starting-point.

5. mvp-aristotle-comment-694

μεγάλα ἢ εἰκότα. Aristotle might have expressed himself more fully by saying μεγάλα ἢ μικρά ἢ εἰκότα ἢ ἀπίθανα (comp. on 18, 1456 a 9 ).

Remarques sur la poëtique d'Aristote (André Dacier, 1692) (OCR draft) (André Dacier's French commentary on Aristotle's Poetics.) focus

2. mvp-aristotle-comment-458

19.5 2. Il eſt donc évident que dans les ſujets du Poëme drama-tique, les Poëtes doivent ſe ſervir des mèmes lieux que les Orateurs.]¹

Commentary on the Poetics (Thomas Twining, 1789) (OCR draft) (Thomas Twining's notes on Aristotle's Poetics, aligned to the Kassel reference edition.) focus

159. mvp-aristotle-comment-159

NOTE 159. P. 103.

19.5 BUT IT IS EVIDENT, THAT, WITH RESPECT TO THE THINGS THEMSELVES ALSO, &C.

Και ἐν τοις πραγμασιν

. The alteration of Heinsius ,

δραμασιν

, appears to me, not only to be unnecessary, but to pervert Aristotle's meaning.

Τα πραγματα

, here, are, I think, the things themselves—the circumstances and incidents of the action or fable, as opposed to

Διανοια

, the sentiments, or thoughts, and to

ὅσα ὑπο τε ΛΟΓΟΥ

κ. τ. αλ

. He had referred to the rhetorical treatises for what concerns the

διανοια

; he goes on, (after a short explanation of

διανοια

and its various branches,)—"But it is plain, that, not only for the

διανοἰα

, or sentiments, but also for the things themselves, (

ΚΑΙ ἐν τοις πραγμασιν

,) how they are to be made terrible, piteous, &c. the Poet should draw from the same sources, and may be referred to the same treatises."—Thus, for example, in the second book of Aristotle's Rhetoric , he may learn what sort of things, persons, and events, are proper to raise terror, or pity, the peculiar objects of Tragic imitation. ¹ After which observation, he goes on, very naturally and properly, to remark, as Dacier has well observed,

"la difference entre les choses que traitent les Orateurs, et celles que traitent les Poetes."

For the rest, my idea of this passage accords with that of Dacier, (note 3) ; but he does not appear to have seen the force of the expression,

ΚΑΙ ἐν τοις πραγ

. Indeed, he entirely drops the conjunction, which is here of great importance; for it seems to fix the sense of

πραγμασιν

, and to point its opposition to

διανοια

:—

Τα μεν ἐν περι την ΔΙΑΝΟΙΑΝ ἐν τοις ῥητ. κεισθω δηλον δε, ότι ΚΑΙ ἐν τοις ΠΡΑΓΜΑΣΙΝ ἀπο των αυτων ειδων δει χρησθαι

In Goulston’s version, which follows Castelvetro , this opposition is rightly expressed; but in what follows, Aristotle's meaning is, I think, mistaken: for the difference he is shewing, (

πλην τοσέτον διαφερει

, &c.) is not, I apprehend, the difference between the things and the sentiments, in Tragedy, but, between the things themselves only, considered in different views, as the subject of the Orator, or of the Poet. These commentators understand the expressions,

ἐν τῷ λόγῳ

, and,

τα λεγοντα

, of the dramatic speech, and speaker.

160. mvp-aristotle-comment-160

NOTE 160. P. 103.

19.5 MUST DRAW FROM THE SAME SOURCES.

Απο των αυτων ειδων δει χρησθαι

.—The expression,

χρησθαι ΑΠΟ

, is, I believe, uncommon. It seems rightly explained by Victorius —"to borrow from:"

"quasi utendum illinc sumere atque mutuari."

Commentary on the Poetics (Henry James Pye, 1792) (OCR draft) (Henry James Pye's 1792 English commentary, aligned to the Kassel reference edition.) focus

19.3. mvp-aristotle-comment-79 19.5

FOR WHAT WOULD BE THE MERIT OF THE ORATOR IF THEY WERE TO APPEAR AFFECTING WITHOUT THE ASSISTANCE OF HIS ELOQUENCE?

THE word which I have translated affecting, (ἡδέα, SWEET, literally,) has difpleased most of the commentators, and certainly not without reafon, if it can have no other meaning given it than pleafant or agreeable, expreffive of sensations which it is far from the particular business of oratory, and still farther from that of tragedy to excite. But Horace, in a passage of his Epistle to the Pifos, which is plainly taken from this, and where he is speaking of the language of tragedy uses the very word of Ariftotle, to signify that which (B) influences the paffions strongly, a sense which the context has obliged the commentators to be unanimous in giving to dulcia. • Non fatis eft pulchra esse poemata, dulcia funto, ، Et quocunque volunt animum auditoris agunto.' Which I will venture thus to paraphrafe, Tis not enough that each faftidious eye The drama's faultless structure can defy; The moving tale must charm the raptured foul, And as it lift the yielding sense controul. [Β] Ψυχαγογει. See Poetic, Chap. vI. The only commentator who has given this sense to ἡδέα, is Segni. He translates it indeed PIACEVOLI; but he explains it in a note by 'elle * poffino muovere gli affetti.' See also Dacier's note on the lines of Horace that are quoted. 3 D 2 Shakespear

Shakespear apparently annexes some such idea to sweet, when he makes Jeffica say, I am never merry when I hear sweet music.'

Commentarius in Aristotelis Poeticam (Franciscus Ritter, 1839) (OCR draft) (Ritter's Latin commentary, extracted from the 1839 volume, divided by Ritter's chapters and sections, and linked to the corresponding Perseus reference subsections.) focus

3. mvp-aristotle-comment-132

Ritter, cap. 19 § 3

δῆλον δὲ ὅτι καὶ ἐν τοῖς πράγμασιν - δεῖ χρῆσθαι: etiam hoc rara brevitate positum est, ἐν τοῖς πράγμασιν pro ἐν τῇ συστάσει πραγμάτων τραγῳδίας sive ἐν τῷ μύθῳ τραγῳδίας. in rebus argumento tragico conserendis haurire debet poeta ex isdem eloquendi formis sive locis communibus ( ἀπὸ τῶν αὐτῶν ἰδεῶν δεῖ χρῆσθαι) quos orator in elocutione oratoria adhibet. πλὴν τοσοῦτον διαφέρει – παρὰ τὸν λόγον γίγνεσθαι: haec est artis tragicae ab oratoria, quod ad sententiarum elocutionem attinet, differentia, quod in ipsa alia sine expositione (h. e. sine significatione verbis expressa, ἄνευ διδασκαλίας), alia per orationem a dicente proferri debent et secundum orationem fieri. in tragoedia igitur alia, sive metuenda sive miseranda, ita fiunt ut nulla oratione promantur sed ex rebus quae aguntur sponte consequantur, alia rursus oratione provocantur et secundum orationem accidunt. διδασκαλία h. 1. non est rerum in scenam introductio, nam si esset, ponendum erat διδασκαλίᾳ vel διὰ διδασκαλίας, non ἄνευ διδασκαλίας: immo est expositio verbis enuntiata, ut sibi opponantur ea quae oratione non significantur et quae significantur. παρὰ τὸν λόγον γίγνεσθαι: hoc fit, si res ita peraguntur ut in oratione personarum scenicarum significatum vel iussum vel suasum est. παρὰ τὸν λόγον, iuxta orationem, est igitur sic ut dicentis oratio sive poposcit sive persuasit sive iussit. τί γὰρ ἂν εἴη τοῦ λέγοντος ἔργον - διὰ τὸν λόγον: haec adiiciuntur ad illa παρὰ τὸν λόγον γίγνεσθαι adprobanda. dicentis nullus in tragoediis usus esset, si eaquae dicit nihil valerent ad rerum consecutionem et eventum varie afficiendum. quae tragicam voluptatem afferunt ( τὰ ἡδέα), si ea etiam sine dictione apparerent, dicente non opus esset.

Aristote Poetics 19.7

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5.

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Commentary

NOTE 159. P. 103.

NOTE 160. P. 103.

FOR WHAT WOULD BE THE MERIT OF THE ORATOR IF THEY WERE TO APPEAR AFFECTING WITHOUT THE ASSISTANCE OF HIS ELOQUENCE?

Ritter, cap. 19 § 3

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