199.
mvp-aristotle-comment-199
NOTE 199. P. 111.
22.9
AS OLD EUCLID DID, OBJECTING, &C.Fontenelle talks in the same way.
"Du tems d'Homere c'étoit une grande merveille qu'un homme pût aſſujettir ſon diſcours à des meſures, à des fillabes longues et breves, & faire en même tems quelque choſe de raiſonnable. On donnoit donc aux Poetes des licences infinies, & on ſe tenoit encore trop heureux d'avoir des vers. Homère pouvoit parler dans un ſeul vers cinq langues differentes; prendre le dialecte Dorique quand l'Ionique ne l'accommodoit pas; au defaut de tous les deux, prendre l'Attique, l'Eolique, ou le commun; c'est-à-dire, parler en même tems, Picard, Gascon, Normand, Breton, & François commun. Il pouvoit allonger un mot s'il étoit trop court, l'accourcir s'il étoit trop long; personne n'y trouvoit à redire."
1
But, could this ingenious and sensible writer seriously suppose, that the language of Homer's poems had at all the same effect to a hearer, or reader, of his time, that an English poem would now have, if composed of all the provincial dialects of Great Britain? —We are always told, how Homer enriched his language by "visiting all the principal nations of Greece, and learning the peculiarities of their speech."
2
Just as if an English poet, because he had resided some time in Yorkshire, or Lancashire, might, in his next poem, put
neet for
night,
loise for
lose, or a
balliblash, a very well-sounding Lancashire word, for a
blaze.
This account makes the language of Homer no other than the
kainisma
which Quintilian reprobates, among the
vitia orationis
:
3
something worse than the "Babylonish dialect" of Hudibras;
"a party-colour'd dress / Of patch'd and piebald languages. / It had an odd promiscuous tone, / As if he'd talk'd three parts in one Which made some think, when he did gabble, / They had heard three labourers of Babel; / Or Cerberus himself pronounce / A leash of languages at once."
With such an idea of Homer's language, Fontenelle might well add—
"Cette étrange confusion de langues, cet assemblage bisarre de mots tout défigurés, etoit la langue des dieux; du moins il est bien ſûr que ce n'etoit pas celle des hommes."
—And, indeed, I firmly believe with Lord Monboddo, that "fuch a mongrel dialect was never written by any man;" and that "Homer wrote, either the language that was ſpoken in the country where he was born and educated, or that was used by the poets that had written before him, and was the eſtabliſhed language of Poetry."
4
200.
mvp-aristotle-comment-200
NOTE 200. P. 111.
22.9
AND THEN GIVING A BURLESQUE EXAMPLE OF THAT SORT OF DICTION.
Ιαμβοποιησας ἐν ἀυτη τη λεξει.
— Two senses have been given to the word
ἰαμβοποιησας
; both of them, I think, far from satisfactory. Some render it—making Iambic verses:
"Iambis usus est."
[Vict.] But, is it likely, that Euclid, meaning to ridicule Homer's hexameters, should do it in Iambic verse?—Besides that the lines themselves, such as we find them, have not the least air of Iambics, but fall easily enough, with a little help, into hexameters. In this I perfectly agree with Dacier; though I see no reason to suppose with him, that Euclid had composed—
"un ouvrage en vers heroiques."
Others, and Madius in particular, understand the word to mean, satirizing, ridiculing, the Poet; —
"ſe moque de lui."
[Dac.] A meaning that, undoubtedly, suits the passage better; whether it suits the word itself I much doubt, but will not venture to decide. As Aristotle uses
ἰαμβοποιος
,
5
in the sense of a satiric Poet—a maker of the
ἰαμβος
, or satiric poem, he may possibly have used the verb,
Ιαμβοποιειν
, here, in the correspondent sense of making a satire upon, or burlesquing:—
ἰαμβοποἰησας ἐν ἀυτη τη λεξει
—having ridiculed him "in that fort of diction," in the following manner, &c.
As this sense appears to me, on the whole, far more eligible than the other, I have followed it: for I see no third sense that can, with any shew of probability, be extracted from the present text. But that it is defective, and that
ἰαμβοποιησας
is an error, I have very little doubt. If conjecture might be indulged, I should be inclined to suppose, that what Aristotle had said was this; "that it is an easy matter to versify, even in common speech, (
ἐν αυτη τη λεξει
,)
6
if one may be allowed to extend syllables and words at pleasure, so as to convert, for instance, an Iambic foot, which is continually occurring in common conversation, into an Heroic or Spondee." And the examples that follow, were probably two prose sentences so converted, or convertible, into hexameters. But as to the manner in which Aristotle had expressed this in the text, I have no conjecture to offer that is satisfactory, even to myself. Of the mangled lines which follow, with their perplexing variety of indeterminable readings, I shall say with Victorius,
"veritate deſperatâ, nihil amplius curæ de hac re fufcipere volui."
It is some comfort however, as M. Batteux has observed, that both the objection of Euclid, and Aristotle's answer, are clear enough, independently of the examples.
I ought to mention, that Castelvetro has explained this passage, without supposing the text wrong, in a manner different from any
other interpreter, and which, in part, accords with my idea. By
ἰαμβοποιειν
he understands neither satirizing, nor making Iambic verses; but, making Iambic feet instead of spondees, in hexameter verse. And the sense he gives the whole passage is this: "It would be a very easy thing to write heroic verse, if this liberty of extension were allowed; for then, a Poet might put Iambic feet in the room of Spondees, and commit no fault, because the short syllables might be lengthened at pleasure." And the lines that follow he supposes to be examples of such defective hexameters.
There is somewhat ingenious in this explanation, as there is in many others of this acute writer: but it has likewise the fault, which many of his explanations have; that of being by no means reconcileable with the original.—See his comment. p. 481.
201.
mvp-aristotle-comment-201
NOTE 201. P. 111.
22.10
WHEN THESE LICENCES APPEAR TO BE THUS PURPOSELY USED.
Το μεν ουν ΦΑΙΝΕΣΘΑΙ πως χρωμενον, κ. τ. ἀλ.
—The force, both of
φαινεσθαι
, which I understand to be emphatic here, and of
πως
, seems perfectly well explained by Castelvetro.
"Non ſo perchè alcuni vogliano rimuovere di queſto teſto, πως, eſſendoci ſtato poſto per dimostrare, che allora il vitio ſi ſcopre, e'l riſo ſi muove, quando fi comincia in alcun modo a riconoſcere, che il poeta ha uſata a ſtudio, e ricercata queſta maniera di parole."
p. 482. So, too, Piccolomini's translation—
"l'eſſer veduto---uſar coſi fatto modo di locutione."
—For
πως
, I once suspected we should read
ΑΠΡΈπως
; as presently after—
χρωμενοι ἀπρεπως
. But I believe
πως
is right:—
aliquo modo
.
202.
mvp-aristotle-comment-202
NOTE 202. P. 111.
22.12
HOW GREAT A DIFFERENCE IS MADE, &C.
Όσον διαφερει.
Not
"quantum excellat,"
as Goulston and others translate; but, "what a difference the proper use of such words makes"—"how different the effect is." As, above, cap. x.
ΔΙΑΦΕΡΕΙ γαρ πολυ
—"it makes a great difference:" and, cap. xviii.
τι ΔΙΑΦΕΡΕΙ
.—Nothing more common than this use of the word. The difference here expressed, is, plainly, between the
ἁρμοττον
, and the
ἀπρεπως
, in the use of such words:
χρωμενα ΑΠΡΕΠΩΣ τα άυτα ἐν ἀπεργασαιτο ΤΟ ΔΕ ΑΡΜΟΤΤΟΝ όσον διαφερει κ. τ. λ.
203.
mvp-aristotle-comment-203
NOTE 203. P. 111.
22.12
AND TEMPERATE USE OF SUCH WORDS.
Εντιθεμενων των ὀνοματων ἐις το μετρον
:—literally, "the words being put into the metre:" i. e. as Victorius and others explain it, "taking care, that, in changing the words, you do it
"falvo metro."
"
7
A very unnecessary caution surely; besides that the Greek hardly says that, whatever it may mean. Let us try its meaning by the fairest test, that of strict and literal translation; for we can sometimes see nonsense in English, which we cannot see in Greek. "But what difference is made by a proper use of
such words, may be observed in hexameter verse, when the words are put into (i. e. as it is explained, adapted to) the metre." — What words?— Metaphorical, foreign, extended, &c. of which he had just been speaking. Very well. But how put in, or adapted to, the metre?—for not a word has yet been said about changing the words. Goulston understands, putting in these poetical words instead of the proper and common words. I see nothing of this in the original.
In short, it appears to me, that nothing tolerable can be made of the phrase,
ἐις το μετρον
, taken in this sense. If it might be taken, as some have taken it, adverbially, for
μετρίως
—to a moderate degree—all would be well.
8
"Let it be considered in heroic verse, what a difference is made by such words, when properly used, and not inserted, or introduced, too frequently." But I cannot think that the expression will admit of this sense, though somewhat favoured, perhaps, by the circumstance of
μετρον
having been just before used in the sense of moderation:
το δε μετρον, κοινον άπαντων
, &c. If the article
το
were omitted, the adverbial sense would be less improbable; but,
εις ΤΟ μετρον
, can only, I think, mean into the metre. Still, however, I incline to think this was Aristotle's meaning, and that he probably wrote
ἐις το ΜΕΤΡΙΟΝ
. A single letter makes all the difference. The word
μετριον
, as far as that may add any probability to my conjecture, occurs in that part of the Rhetoric where he is treating of the very same subject—the proper and moderate use of metaphors, epithets, and other tropical and ornamental words, in oratory. Thus,
III. 2, p. 586
, speaking of epithets and diminutives, he says,
ευλαβείσθαι δε δει, και παρατηρειν ἐν ἀμφοιν ΤΟ ΜΕΤΡΙΟΝ.
And again, of epithets—
δει στοχαζεσθαι ΤΟΥ ΜΕΤΡΙΟΥ.
p. 587. As this was the only satisfactory sense I could make of the words, I have ventured to give it in my version.
204.
mvp-aristotle-comment-204
NOTE 204. P. 112.
22.13
FOR A COMMON AND USUAL WORD.
Κυριου ειωθοτος.
As
κυριον
, in Aristotle's sense, is common, the addition of
ειωθοτος
, (
usual), seems, at first view, to be mere tautology. But the case, as it is very well explained by Victorius, appears to have been this. The word
ἐσθιει
, which he here calls
κυριον ειωθοτος
, was not strictly
κυριον
,
9
but only a common metaphor; that is, a word which, though originally metaphorical, had acquired, by constant use as a chirurgical term, the effect of a proper word. [See NOTE 179.]
κυριον
, therefore, in Aristotle's enumeration, was opposed
μεταφορα
, as well as to
γλωττα
, and the rest of the poetical words, the application of it here, to a word that was evidently metaphorical in its original use, might seem inconsistent: the word
ἐιωθοτος
was therefore, probably, added, to obviate, in his short way, this objection.
I cannot guess what induced Dacier to render
γλωτταν
, here, by
"mot metaphorique;"
or Castelvetro to assert, that Aristotle calls
θοιναται
a foreign word, only on account of the boldness of the metaphor. By
γλωττα
, I think, we are to understand, any word that belongs either to another language, or another dialect of the same language, and that is not naturalized by common and popular
use. For foreign words, by long usage, become common and popular words; like
entire,
dame, and a great number of other French words in our language, which were
γλωτται
when first introduced, and for a considerable time afterwards; but have now, for many years, ceased to be considered as foreign words. Such words in the Greek language Aristotle, I apprehend, did not com-
prehend under the term
γλωτται
, as not being strange, uncommon,
ξενικα
. This is evident from a passage in his Rhetoric:
αι μεν ουν ΓΛΩΤΤΑΙ, ΑΓΝΩΤΕΣ· τα δε ΚΥΡΙΑ, ΙΣΜΕΝ.
10
There is, however, one sort of poetic words not distinctly provided for in Aristotle's enumeration; I mean, obsolete words. Yet these make so considerable a part of the privileged language of verse, that we can hardly suppose him to have overlooked them.
Γλωτται
seems the only class to which they can possibly be referred: yet his definition of
γλωττα
is, "a word,
ᾗ χρωνται ΕΤΕΡΟΙ
;" which is not applicable to an obsolete word, used by nobody. Perhaps he did not think it worth while to distinguish between words belonging to another language, or dialect, and words that once belonged to the native language, but which, having long fallen into disuse, have, when occasionally revived, the effect of foreign words.
205.
mvp-aristotle-comment-205
NOTE 205. P. 112.
22.13
THE CANKEROUS WOUND THAT EATS MY FLESH.
Φαγεδαινα ἡ με σαρκας ἐσθιει ποδα.
— We should read, probably, for the sake of the metre, either
φαγεδαινα γ' ἡ
, as it is corrected in the Oxford Euripides, or, which seems still better,
φαγεδαινα δη
, which is Du Pauw's emendation. And
σαρκας
, for the same reason, must have been altered to
σαρκα
, in the verse of Euripides, as, I see, it is given in the Oxford edition.
Had Aristotle told us no more about these two lines, than that one of them was of Æschylus, and the other of Euripides, what critic would not have confidently given the
θοιναται
to Æschylus?
206.
mvp-aristotle-comment-206
NOTE 206. P. 112.
22.13
Νυν δε μ’ εων ΟΛΙΓΟΣ τε και ΟΥΤΙΔΑΝΟΣ και ΑΚΙΚΥΣ.
Od. IX. 515.
—In the altered line, thus:
Νυν δε μ’ εων ΜΙΚΡΟΣ τε και ΑΣΘΕΝΙΚΟΣ και ΑΕΙΔΗΣ.
Among these substituted terms, that
μικρὸς
answers to
ὀλίγος
is clear enough; but how
ἀειδὴς
answers to
ἄκικυς
, it is not easy to make out. This difficulty struck me, long before I had seen the comment of Victorius, who makes the same remark;
11
and I had accounted for the mistake in the same way that he does: for, if
ἄκικυς
be the true reading, the commentators must, probably, have been misled by taking it for granted, that the substituted words must necessarily correspond, in order, as well as meaning, to the original words. But it is easy to see, that
ἀειδὴς
,
ugly, or deformed, cannot answer to
ἄκικυς
, which is
weak; and that
ἀσθενικὸς
does exactly answer to it.
Ἀκικυς — ΑΣΘΕΝΗΣ, ἀδύνατος.
Hefych.
—But my difficulty goes still farther. I do not see how
ἀειδὴς
can correspond, in meaning, to
ὀυτιδανὸς
. I once thought it should be
ΑΕΙΚΗΣ
.
Ουτιδανά — ὀυδενὸς ἄξια.
Hefych.
Αεικελίας — ἐυτελεῖς, ΟΥΔΕΝΟΣ ΑΞΙΟΥΣ
: and,
ΑΕΙΚΕΣ — ΕΥΚΑΤΑΦΡΟΝΗΤΟΝ.
Id.
So
Suidas
;
Αεικελιος — ὁ ἐυκαταφρόνητος.
But, notwithstanding the authority of lexicographers, and the common derivation of the two words,
εἰκής
and
ἀεικέλιος
, I question whether the former is ever used by Homer in the sense of
ὀυτιδανός
,
contemptible, mean, &c. though
ἀεικέλιος
is.
Ἀεικὴς
seems always to mean,
indignus
,
unworthy, sad, shocking, shameful, &c. It is a word of serious indignation.
Ἀεικέλιον
seems to be used sometimes in that sense, and sometimes in the contemptuous sense, as in the line of Homer which Aristotle next produces. The only passages that I have found in Homer, where
ἀεικὴς
will admit well of this sense, are
Od. Ν. 199
, and
Od. Ω. 249
, in the expressions,
ἀεικέα ἕσσο
, and,
ἀεικέα ἕσσαι
: yet even there, it is not necessary to render it
"meanly clad;"
it may be, as in other places,
sadly, unbecomingly, indignè, &c.
12
With respect to the word
ὀυτιδανὸς
, Hesychius gives
ἀσθενὴς
as one of its meanings;
13
and
ἀσθενικὸς
might well enough answer to it here, were it not for the stronger claim of the word
ἄκικυς
;
14
which, however, after all, may possibly be a mistake. We know how variously Homer was read and quoted by the antients. Three Medicean manuscripts here give
ἀειδὴς
, instead of
ἄκικυς
;
15
and so, the ed. Ald. and the version of Valla. This reading is also mentioned by Eustathius. Perhaps, then,
ἀειδὴς
might be the reading of Aristotle's copy—the precious copy
ἐκ νάρθηκος
, of which we hear so much; and he might mean to exemplify his proposed experiment of substituting common, for poetical, expression, only in the two first words; repeating the last,
ἀειδὴς
, merely to complete his verse. But whatever becomes of this conjecture, one thing I cannot help just observing—that this reading,
ἀειδὴς
, is favoured by the preceding lines in Homer. Polyphemus says—
Ἀλλ’ ἀιεί τινα φῶτα ΜΕΓΑΝ καὶ ΚΑΛΟΝ ἐδέγμην Ἔνθαδ’ ἐλεύσεσθαι, μεγάλην ἐπιειμένον ΑΛΚΗΝ. Νῦν δέ μ’, ἐὼν ΟΛΙΓΟΣ τε καὶ ΟΥΤΙΔΑΝΟΣ καὶ ΑΚΙΚΥΣ, &c.
Od. IX. 513.
One would expect the three words in this last line to answer, as opposites, to
great,
handsome, and
strong, in the two first: which they will not do, if we read
ἄκικυς
; for
ὀυτιδανὸς
, though it may very well be opposed to
μεγάλην ἐπιειμένον ἀλκήν
, cannot be, with any propriety, opposed to
καλὸν
. Whereas, if
ἀειδὴς
be substituted for
ἄκικυς
, all will answer exactly;
ὀλίγος
, to
μέγαν
,
ὀυτιδανός
, to
μεγάλην ἐπιειμένον ἀλκήν
, and
ἀειδὴς
, to
καλὸν
.
In these examples, it is not always easy to ascertain the particular class, to which Aristotle would have referred the words which he changes. We learn, however, that all these Homeric words were
ξενικά
,
uncommon, and poetical; and that all the substituted words were
κύρια
—
words in common and familiar use.
207.
mvp-aristotle-comment-207
NOTE 207.
22.17
P. 113. FOR IT IS THIS ALONE, WHICH CANNOT BE ACQUIRED, &C.
Well translated, though very freely, by
M. Batteux
.
"C'est la seule chose qu'on ne puisse emprunter d'ailleurs. C'est la production du génie, le coup-d'œil d'un esprit qui voit les rapports."
Compare
Rhet. III. 2, p. 585, D.
and
11, p. 595, E.
where it is observed, that,
καὶ ἐν φιλοσοφίᾳ, τὸ ΟΜΟΙΟΝ, ΚΑΙ ΕΝ ΠΟΛΥ ΔΙΕΧΟΥΣΙ, θεωρεῖν, ἐυστοχον.
—See
Mr. Harris's Philol. Inq. p. 186, 187
, where all these passages are quoted and translated.
208.
mvp-aristotle-comment-208
NOTE 208.
22.18
P. 113. THE DOUBLE ARE BEST SUITED TO DITHYRAMBIC POETRY, &C.
—Χρησιμωτάτη ἡ διπλῆ λέξις τοῖς διθυράμβοις· ὁυτοι γὰρ ψοφώδεις· ἀι δὲ γλῶτται, τοῖς ἐποποιοῖς· σεμνὸν γὰρ καὶ ἀυθάδες· ἡ μεταφορὰ δὲ, τοῖς ἰαμβείοις.
Rhet. III. 3, p. 587.
209.
mvp-aristotle-comment-209
NOTE 209.
22.19
P. 113. BUT TO IAMBIC VERSE, WHICH, AS MUCH AS MAY BE, AN IMITATION OF COMMON SPEECH—.
This, as I have already observed, is the only passage in these three chapters concerning the diction, that strictly relates to the subject—the diction of Tragedy, as distinguished from that of the Epic, and other species.
16
It is a hint only; but a pregnant hint, and one that might furnish matter for a dissertation of some length. How frequently, even in the best Tragedies, do we see the Poet, as it were, through the actor; hear him indulging himself in his own language, instead of imitating that of his characters; substituting declamation for passion, describing when he should express; and, in the unrestrained and epic elevation of his diction, losing all sight of that natural language, of which, undoubtedly, the language of Tragedy should be, according to the precept here implied by Aristotle, only an improved imitation. This improvement, indeed, admits of more or less; but should, at least, bear always the same proportion to what we conceive would be the natural language
17
of the persons who speak, in the situation, whatever it may be, of the scene before us. For this last circumstance makes a great difference. Tragedy has its
ἀργὰ μέρη
, its comparatively
"idle parts,"
as well as the Epic Poem;
18
and, considering how rare the talent is of true poetic fancy, and poetic expression, the critic, who would rigorously exclude them from every part of Tragedy, must be an Ariphrades, or a Euclid. The first speech of
Caractacus, in Mr. Mason's exquisite drama, is highly poetical. Possibly, a severe critic might wish it somewhat less so;—but we have so little of such Poetry! No Poet, however, knows better than Mr. Mason, when the simpler tone of nature and passion should take place. When
Caractacus is exhorted by the Druids to
"bethink him"
—
—if ought on this vain earth Still holds too firm an union with his soul, Estranging it from peace—
—he answers,
I had a Queen:— Bear with my weakness, Druid!—This tough breast Must heave a sigh—for she is unreveng'd. And can I taste true peace, she unreveng'd? —So chaste, so lov'd a queen!—ah, Evelina, Hang not thus weeping on the feeble arm That could not save thy mother.—
The reader will find some excellent observations on this subject in
Dr. Beattie's Essay on Poetry, &c. Part II. chap. i. Sect. 1, p. 224, &c.
and
Sect. 3, p. 267, 268
, where a charming example of simple Tragic language is given from
Othello. In his note, Dr. Beattie has
"translated it into the finical style."
But we see plainly, that he is by much too good a Poet to succeed well in spoiling good Poetry.
With respect to the Greek Tragedy, its earliest language appears to have been of a low and burlesque kind—the
λέξις γελοἰα
of its satyric origin, conveyed in the suitable vehicle of the dancing tetrameters.
19
When it was reformed and dignified, (
ἀπεσεμνώθη
,) Homer was the model; and ÆSCHYLUS, with a conception naturally sublime, and the
Iliad before him, raised the tone of Tragedy above its proper pitch, not only to the pomp of the Epic, but even, frequently, to the wild, and tumid, and dark audacity of the Dithyrambic: so that, sometimes, as extremes will meet, the
λέξις γελοἰα
, which he took so much pains to avoid, came round and met him, in the shape of bombast, at the very moment when he thought himself at the greatest distance from it. There could not well be any thing in the theatrical cart of Thespis more laughable, than to call smoke
"the brother of fire,"
and dust, the
"brother of mud."
20
SOPHOCLES reduced the general language of his dialogue to a more equable and sober dignity, but still, Homer, we know, was his great model;
21
and of his diction it may, perhaps, be said, that it is often Epic, though his measure is Iambic. Most modern
readers, however, will, I believe, think it, (as we are told many antient readers did,) more adapted to the genius of Tragedy than that of EURIPIDES;
22
who seems to have been regarded by the antients as the first who brought down the language of Tragedy into unison with the measure, so that the one bore the same degree of resemblance to common speech in its expressions, as the other did in its rhythm. At least, this appears to have been Aristotle's opinion, from a passage in his
Rhetoric
, where, after having explained the difference between the diction of Oratory and that of Poetry, and the foundation of that difference, he observes, that such a degree of embellishment as forces on the hearer the idea of art, and labour, and preparation, is to be avoided, not only by the Orator, but even by the Poet, if he would be natural and affecting: and he compares such evidently artificial language to the voices of the generality of actors, as opposed to the voice of Theodorus, which always appeared to be the real voice of the character he personated; whereas their voices were evidently feigned.
23
He then adds
"The best way to conceal artifice, and make your language appear easy and natural, is, by forming it, chiefly, of the words and phrases of customary speech, properly selected; as EURIPIDES does, who first set the example."
24
A passage, that precedes this, deserves to be given entire, from its close connection with the subject of this part of the treatise on Poetry, and the curious, though short, sketch it contains of the history of Tragic diction.
"As the Poets appeared to owe their reputation to their language, which never failed to be admired, however foolish and absurd the matter it conveyed; on this account, even prose diction was, at first, poetical, like that of Gorgias. And even now, they, who use such language, are looked upon, by illiterate people, as the finest speakers; which is far from being true; for oratorical diction, and poetical diction, are different things. And as a proof of this, we see what has actually happened: for now, even among the Poets themselves, those who write Tragedy no longer make use of that sort of language; but, as they had exchanged the Trochaic verse for the Iambic, because this, of all metres, approaches the nearest to common speech; so now, they have also discarded all those words and phrases, so remote from common speech, with which the earlier Tragic Poets used to embellish their diction, and which are still employed by those who write Hexameters. It would be ridiculous, therefore, to imitate the Poets in a language, which they themselves have abandoned as improper."
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The Abbé Batteux, by understanding
ἰαμβείοις
here to mean Iambic, or satirical, Poems, has, unluckily, thrown away the only passage in these three chapters, that was strictly to Aristotle's purpose. He has, also, with Dacier, misrepresented his meaning, by rendering—
"ne peut recevoir que ce qui est employé dans la conversation."
We are, undoubtedly, to understand,
ΜΑΛΙΣΤΑ ἁρμόττει
, as before: for that Aristotle did not mean absolutely to
exclude the other Poetic words—the double, the foreign, &c. from every part of the Tragic dialogue, is plain from his allowing the occasional use of them even in prose.
Rhet. III. 2, p. 585, C.
7, p. 590, E.
591, A.
