21.
mvp-aristotle-comment-21
NOTE 21.
4.3
P. 70. THE FIGURES OF THE MEANEST AND MOST DISGUSTING ANIMALS.
Θηρίων τε μορφας των ΑΤΙΜΟΤΑΤΩΝ
.—This reading is strongly supported by the arguments of Victorius, the authority of MSS, and the sense and purport of the passage itself, which seems to require instances of mean, or disgusting, rather than of terrible, objects. Thus too
Plutarch
, in the passages referred to by Victorius, which undoubtedly allude to this of Aristotle.—
Γεγραμμένην ΣΑΥΡΑΝ η ΠΙΘΗΚΟΝ, ἰδοντες ήδομεθα και θαυμαζομεν, ουχ ὡς καλον, ἀλλ᾽ ὡς ὁμοιον ἐσιᾳ γαρ ἐ δυναται καλον γενέσθαι ΤΟ ΑΙΣΧΡΟΝ
κ. τ. αλ. And presently after—
και ΝΟΣΩΔΗ μεν ΑΝΘΡΩΠΟΝ, και ΥΠΟΥΛΟΝ,
ὡς ἀτερπες θεαμα, φευγομεν
κ. τ. αλ.—See also his
Sympos. Problems. lib. v. Prob. 1.
22.
mvp-aristotle-comment-22
NOTE 22.
4.4
P. 70. TO LEARN IS A NATURAL PLEASURE.
To the same purpose, in his
Rhetoric, lib. i. cap. xi. p. 537. Ed. Duval.
"Επει δε το ΜΑΝΘΑΝΕΙΝ τε ήδυ, και το θαυμάζειν, και τα τοιαυτα, ἀναγκη ήδεα ειναι, το τε μεμιμημενον, ώσπερ ΓΡΑΦΙΚΗ, και ΑΝΔΡΙΑΝΤΟΠΟΙΪΑ, και ΠΟΙΗΤΙΚΗ, και παν ὁ ἀν ἐυ μεμιμημενον , καν μη ή ήδὺ το μιμημα γαρ ἐπι τετῳ χαιρει, άλλα συλλογισμού ἐστι, ὅτι ΤΟΥΤΟ ΕΚΕΙΝΟ· ώστε ΜΑΝΘΑΝΕΙΝ τι συμβαινει."
1
"And as it is by nature delightful to LEARN, to ADMIRE, and the like, hence we necessarily receive pleasure from imitative arts, as PAINTING, SCULPTURE, and POETRY, and from whatever is well imitated, even though the original may be disagreeable; for our pleasure does not arise from the beauty of the thing itself, but from the inference the discovery, that 'THIS IS THAT,' &c. so that we seem to LEARN something."
—
Μανθανειν
to learn, to know, i. e. merely to recognize, discover, &c. See
Harris, On Music, Painting, &c. ch. iv. note (b)
. The meaning is sufficiently explained by what follows.
Dryden
, who scarce ever mentions Aristotle without discovering that he had looked only at the wrong side of the tapestry, says—
"Aristotle tells us, that imitation pleases because it affords matter for a rea-
2
soner to enquire into the truth or falsehood of imitation,"
&c.
3
But Aristotle is not here speaking of reasoners, or inquiry; but, on the contrary, of the vulgar, the generality of mankind, whom he expressly opposes to philosophers, or reasoners: and his
συλλογίζεσθαι
is no more than that rapid, habitual, and imperceptible act of the mind, that
"raisonnement aussi prompt que le coup d'œil,"
(as it is well paraphrased by
M. Batteux
,) by which we collect, or infer, from a comparison of the picture with the image of the original in our minds, that it was intended to represent that original.
The fullest illustration of this passage is to be found in another work of Aristotle, his
Rhetoric, lib. iii. cap. x.
,
4
where he applies the same principle to metaphorical language, and resolves the pleasure we receive from such language, into that which arises from the
μαθησις ΤΑΧEIA
—the exercise of our understandings in discovering the meaning, by a quick and easy perception of some quality or qualities common to the thing expressed, and the thing intended—to a mirror, for example, and to the theatre, when the latter is is called metaphorically,
"The mirror of human life."
5
In the
Problems, Sect. 19, Prob. V.
the same principle is applied to Music. The Problem is, Why we are more pleased with singing when we are acquainted with the air that is sung, than when it is new to us?—And one of the answers is,
ὅτι ἡδυ το μανθανειν
. i. e. to say, this is such a tune, or song, &c. And indeed the pleasure afforded by recognition, is no where, perhaps, more visibly illustrated, than in the raptures and rhythmical agitation of a popular
audience, at the return of the leading air, in that species of infallible ear-trap, the
RONDEAU.
I must add, as somewhat amusing, that
Plato
makes use of this principle to prove a dog to be a philosophical animal:
"for, (he argues,)
το φιλομαθες και φιλοσοφον, τ'αυτον
, the love of knowing, and the love of wisdom, are one and the same thing. Now dogs are delighted with knowing, simply, and disinterestedly; they fawn upon every one whom they know, and bark at the approach of every stranger;
6
and that, without having ever experienced good from the one, or harm from the other."
The philosophy of Aristotle here, though undoubtedly true, as far as it goes, will, I am afraid, to those who examine it, hardly appear to be perfectly satisfactory, or to reach the bottom of the subject. It is however to be considered, that what he has said, seems applicable chiefly to rude and unskilful spectators, and should, perhaps, be considered as a description of the effect of a picture or a statue upon children, and the multitude, who are little accustomed to view works of imitative art. And even with respect to them, the principle seems scarcely applicable but to portraits, and individual resemblances, such as may not be instantly recognized. When we look at a picture of that kind, we may not discover, till after a comparison of, at least, a few moments, that it is an imitation of this or that person; but, that it is an imitation of a man, we see at once and where there is not even a momentary ignorance, or doubt, I do not see how any information can be said to be acquired by the spectator, nor how, on the philosopher's own principles, (if I rightly understand him,) the pleasure conveyed by the imitation, can, in any sense, be resolved into that, which the mind receives from the exertion of its own powers in inferring, or discovering, the resemblance.
I say, on Aristotle's own principles, because, in the passage above referred to, where he explains himself more fully in applying the principle to metaphor, he expressly allows, that this pleasure of recognition, is not afforded by proper or common words, since they instantly suggest their meaning and cannot be mistaken.
8
Now a painting, considered as an imitation of a man, a horse, a house, in general, obviously answers in this respect, unless the imitation be grossly imperfect, to the common and familiar word; the one suggesting its original, as readily and immediately, as the other suggests its idea.
9
Among Aristotle's illustrations of this physical principle of the pleasure of self-information, as it might be called, there are two short passages, in particular, which seem to be so explicit with regard to the nature of that pleasure, that I will venture to add to the length of this note by a transcript and translation of them both. They will, I think, satisfy the learned reader that I have not, in the foregoing remarks, misrepresented the philosopher's meaning. After having applied the principle to metaphor, he applies it in like manner to the enthymemes, or arguments, of the orator.
"Διο ἐτε τα ἐπιπολαια των ἐνθυμηματων ευδοκιμει (ἐπιπολαια γαρ λέγομεν τα παντι δηλα, και ῾Α ΜΗΔΕΝ ΔΕΙ ΖΗΤΗΣΑΙ·) ἐτε όσα ειρημενα ἀγνοκμενα ἐστι᾿ ἀλλ᾿ ὅσων, ἡ ἁμα λεγομενων ἡ γνωσις γινεται, και ει μη προτερον ὑπηρχεν, μικρον ύστερίζει ἡ διανοια γίνεται γαρ ῾ΟΙΟΝ ΜΑΘΗΣΙΣ· ἐκεινως δε, οὐδετερον."
10
"For the same reason, we are pleased, neither with superficial arguments, (by which we mean such as are obvious to every one, and require no thought or search in the hearer;) nor with such as we do not understand when we have heard them; but, with those, which the mind apprehends, either while we hear them, (though not at first,) or in the moment after they are delivered:—for by these, we, in a manner, LEARN something: by the others, we learn nothing in either of these ways."
The other passage, in which the nature of the pleasure that Aristotle means is still more expressly marked, is this:
"Παντων δε των συλλογισμων θορυβειται μαλιστα τα τοιαυτα όσα ἀρχομενα ΠΡΟΟΡΩΣΙ, μη τῳ ἐπιπολης ἐἶναι ἁμα γαρ και ΑΥΤΟΙ ΕΦ ΕΑΥΤΟΙΣ ΧΑΙΡΟΥΣΙ προαισθανομενοι και ὅσων τοσετον ὑστεριζεσιν, ὡσθ άμα ειρημενων γνωρίζειν."
"Of all arguments, those are most applauded
11
, of which the audience have no sooner heard the beginning, than they foresee the conclusion;—not, however, from their being trite and obvious; for they are pleased, [not only with the ingenuity of the speaker, but] at the same time, WITH THEMSELVES and their
own sagacity. Those arguments, also, afford pleasure, which, the moment after they are delivered, we are no longer at a loss to apprehend."
23.
mvp-aristotle-comment-23
NOTE 23.
4.4
P. 70. IN A MORE TRANSIENT AND COMPENDIOUS MANNER.
Επι βραχυ
:—literally,
"for a short time."
AS
PLATO
,
Rep. iii. p. 396
,
κατα βραχυ
, for a moment—
en passant
.
Dacier's
explanation—
Quoi qu'ils ne soient pas tous egalement propres à apprendre,
—is, surely, wide of Aristotle's purpose. None of the versions, that I have seen, seem to give the exact idea, except that of
Heinsius
:—
"Quamquam minor BREVIORQUE ad hos perveniat voluptas."
24.
mvp-aristotle-comment-24
NOTE 24.
4.6
P. 70. FROM THE WORKMANSHIP.—
Δια την ΑΠΕΡΓΑΣΙΑΝ
—
"neatness"—"finishing,"
&c. In the following passages of
PLATO
, it is opposed to a slight sketch:—
και αυτων τετων [sc. δικαιοσυνης, σωφροσυνης, &c.] ἐχ ΥΠΟΓΡΑΦΗΝ δει, ώσπερ νυν θεασασθαι, άλλα την τελεωτάτην ΑΠΕΡΓΑΣΙΑΝ μη παριέναι
Rep. vi. p. 504
. So again,
lib. viii. p. 548
, the verb,
ἀπεργαζεσθαι
, is opposed to
ὑπογραφειν
.
25.
mvp-aristotle-comment-25
NOTE 25.
4.7
P. 70. METRE—A SPECIES OF RHYTHM.
Μορια
—parts. The following passage will ascertain the sense of the word in this place, and justify my version. Explaining the
different senses in which the word
Mep
was used, Aristotle says,
ἔτι, εις το διαιρεθειη ἀν, ἄνευ τε Ποσε, και ταυτα ΜΟΡΙΑ λεγεται τετε διο τα ΕΙΔΗ, το ΓΕΝΟΥΣ φασιν είναι ΜΟΡΙΑ
.—
Metaphys. lib. v. cap. 25.
So, in this treatise,
cap. 5.
—
τε Αισχρε ἐστι το Γελοιον ΜΟΡΙΟΝ
—
"a part, or species, of the ridiculous."
26.
mvp-aristotle-comment-26
NOTE 26.
4.7
P. 70. THOSE PERSONS, IN WHOM, ORIGINALLY, THESE PROPENSITIES WERE THE STRONGEST, &c.
It is obvious to remark here, that Aristotle, in this deduction of the art from the mimetic and musical instincts, includes verse in his idea of Poetry, which he, at least, considered as imperfect without it. All that he drops, elsewhere, to the disparagement of metre, must be understood only comparatively... An eminent writer has adjusted this matter... in his
Dissertation On the idea of Universal Poetry
.
12
What is there said, of
"the origin and first application of Poetry among all nations,"
will furnish the best comment I can give, upon the passage which is the subject of this note.
"Poetry is every where of the most early growth, preceding every other sort of composition; and being destined for the ear, that is, to be either sung, or at least recited, it adapts itself, even in its first rude essays, to that sense of measure, and proportion in sounds, which is so natural to us. The hearer's attention is the sooner gained by this means, his entertainment quickened, and his admiration of the performer's art excited. Men are ambi-
tious of pleasing, and ingenious in refining upon what they observe will please. So that musical cadences and harmonious sounds, which nature dictated, are farther softened and improved by art, till Poetry become as ravishing to the ear, as the images, it presents, are to the imagination. In process of time, what was at first the extemporaneous production of genius or passion, under the conduct of a natural ear, becomes the labour of the closet, and is conducted by artificial rules; yet still, with a secret reference to the sense of hearing, and to that acceptation which melodious sounds meet with in the recital of expressive words."
27.
mvp-aristotle-comment-27
NOTE 27.
The scraps that have been preserved of this Poem, the
Dunciad of
HOMER
, are so few, and so short, that it may be worth while, for the convenience of the reader, to collect them.—
Μεσαων θεράπων και ἐκηβολε Απολλωνα,
13
—a line as likely to be found in one kind of Poem as in another... The other fragments are a little more interesting, as they give some idea of the hero of the Poem.
ΤΟΝΔ᾽ ἐτ᾿ ἀν σκαπτηρα θεοι θεσαν, ἐτ᾿ ἀροτηρα, Ουτ᾿ ἄλλως τι σοφον πασης δ ήμαρτανε τέχνης.
Preserved by Aristotle, Eth. lib. vi. cap. 7
Πολλ᾿ ἡπιστατο ἐργα, κακως δ ήπιστατο παντα.
Plato, Alcib. Secund. p. 147. Ed. Serrani.
28.
mvp-aristotle-comment-28
NOTE 28.
4.12
P. 71. HIS MARGITES BEARS THE SAME ANALOGY TO COMEDY, AS HIS ILIAD AND ODYSSEY TO TRAGEDY.
Whenever Aristotle speaks of
COMEDY
, we must remember, that he speaks of the Old, or Middle Comedy, which was no other than what we should call farce, and to which his definition of Comedy was adapted:
μιμησις φαυλοτέρων
; that is, as he explains himself,
"an imitation of RIDICULOUS characters."
14
—This remark is necessary to explain what is here said of the
Margites.
A Poem, which, as far we can form any idea of it, celebrated the blunders and absurdities of an idiot, cannot well be conceived to have been analogous to any thing, that would now be denominated a Comedy. It seems to verge to the very bottom of the dramatic scale;
"jusq' au bouffon; celui-ci sera l'extrême de la Comedie, le
plus bas degré de l'echelle, opposé au terrible qui est à l'autre bout."
15
The
Bourgeois Gentilhomme of Moliere is certainly farce, however excellent in its way. But Mons. Jourdain is a very Ulysses, compared with Margites.
29.
mvp-aristotle-comment-29
NOTE 29.
4.14
P. 72. BY SUCH SUCCESSIVE IMPROVEMENTS AS WERE MOST OBVIOUS.
Ὅσον ἐγινετο φανερον αυτης
—literally,
"so much of it as was manifest."
I doubt of the reading: but, taking it as it stands, I have given what appears to me to offer itself as the most natural and simple meaning of the expression, if not the only one that it will reasonably bear.
30.
mvp-aristotle-comment-30
NOTE 30.
4.16
P. 72. ÆSCHYLUS-----ABRIDGED THE CHORAL PART.
The words are,
ΤΑ το χορό
. Aristotle would hardly have expressed himself thus, had he meant, as
Madius
,
Bayle
, and others, have understood, a retrenchment in the number of choral performers.
ΤΑ τε χορε
, the choral part, is opposed to
ΤΑ άπο σκηνης
, the dialogue,
Prob. xv. of Sect. 19.
It is singular, that
Stanley
should misunderstand this passage; and still more singular, that he should cite
Philostratus
, who is directly against him: for his words are,
συνεστειλε τες χορός, ΑΠΟΤΑΔΗΝ ΟΝΤΑΣ
:
"he contracted the chorusses, which were immoderately long."
16
This is confirmed by one of Aristotle's Problems, referred to by Victorius. The Problem is,
Δια τι οι περι Φρυνίχον ἦσαν μαλλον μελοποιοι
; (meaning, I suppose, more Musicians than the dramatic Poets of his own time:) The answer is,
ή, δια το πολλαπλασια είναι τοτε τα μέλη ἐν ταις των μετρων τραγωδίαις
;
17
I believe the passage may be rectified by transposition—
πολλ. είναι τοτε τα μέλη των μέτρων ἐν τ. Τ.
Perhaps, too, we should read,
των ΤΡΙΜΕΤΡΩΝ
. But, even taking it as it stands, it may sufficiently answer our purpose, as it shews clearly enough how much the Lyric parts of Tragedy, before the time of Æschylus, wanted contraction.
The prolixity of the Tragic Chorus, we know, was sometimes trying to the patience of an Athenian audience. This is pleasantly glanced at by
Aristophanes
in his
Ορνιθες: where the Chorus of birds, descanting on the convenience of wings, tell the spectators, that if they had wings, whenever, in the Theatre, they
"found themselves hungry, and were tired with the Tragic Chorus, they might fly home and eat their dinners, and fly back again, when the Chorus was over."
ΧΟΡ. Ουδεν ἐς᾿ ἀμεινον, ἐδ᾽ ἡδιον, φυσαι πτερα. Αυτιχ, ύμων των θεατων ἐι τις ὴν ὑποπτερο, Ειτα, πανων, τοις χοροισι των Τραγῳδων ήχθετο, Εκπετομενοι ἐν ἑτα ἠρισησεν, ἐλθων ὀικαδε, Κατ᾿ ἀν, ἐμπλησθεις, ἐφ ἡμας ἀυθις κατεπτατο.
v. 786.
31.
mvp-aristotle-comment-31
NOTE 31.
4.16
P. 72. AND MADE THE DIALOGUE THE PRINCIPAL PART OF TRAGEDY.
—
Και τον λογον πρωταγωνισην παρεσκευασε.
Victorius, and others, have supposed Aristotle to mean the Prologue. But it seems to be
a sufficient objection to this sense, that no example has been produced of the word
πρωταγωνισην
, used as merely synonymous to
πρωτο
; as signifying first only, not principal. Nor is it easy to discover any reason, why Aristotle should have recourse here to an unusual and ambiguous expression, when, presently after, in speaking of the improvements of Comedy [
cap. v.
], he makes use of the proper and established term,
προλογ
. There seem to be no words in the Greek language, of which the sense is more clearly fixed, than that of
πρωταγωνισης—πρωταγωνιζειν
. They occur frequently, and always, as far as I know, in the same sense, of principal—
primas agere
, &c. To this sense, therefore, I thought it necessary to adhere.
But I confess I cannot be satisfied with either of the explanations which have been given of the word
ΛΟΓΟΣ
. It appears strange to say, that Æschylus first introduced two actors, and then to add, as a distinct improvement, that he also first introduced a principal part or character:—unless we are to understand, what seems not very probable, that the two actors even of Æschylus himself were, at first, personages of equal dignity and importance in the drama... and that, afterwards, he was the first who corrected this error... and reduced the drama to unity of action by a proper subordination of characters. But, admitting this sense to be without difficulty, the expression of it, I think, is not.
Λόγος
, for a part in the drama,
role, personnage
, (as
Dacier
,) character, &c. seems harsh, and unusual. At least, I know no example of it.
The difficulties which attend both the expression and the sense, in each of these interpretations, have almost convinced me, that the very construction of the words has been mistaken; and that the meaning is,
"he made the discourse, or dialogue, the principal part of Tragedy."
This is well connected with what precedes, and agreeable to the known history of the Tragic drama, in which, originally, the Chorus was the essential, and the Episodes, or dra-
matic part, only the accessory. But Æschylus
"abridged the Chorus, and made the Episodic part the principal."
Λόγος
, here, may well be understood to mean what Aristotle elsewhere calls
λεξις
; the speaking, or recitative, part of Tragedy, whether delivered by one or more actors, as opposed to the
μέλη
, or Lyric part.
18
Παρεσκευασε
,
reddidit, effecit
, &c. as...
ευσεβεστερες τε και σωφρονεςέρες της συνοντας παρεσκευασεν
"magis pios et temperatos reddidit."
19
And thus Aristotle himself,
cap. xix.
ὅταν ἡ ἐλεεινα δεινα δεη παρασκευαζαν.
i. e. to make things piteous, terrible, &c. as in
Goulston's
version; and that of the accurate
Piccolomini
:—
"Quando occorre d'havere à far parere le cose, à miserabili, atroci,"
&c.
20
If the use of
πρωταγωνισης
as an adjective be an objection, it is one to which the other explanations are equally liable. On the whole, I have not scrupled to prefer this sense in my version.
32.
mvp-aristotle-comment-32
NOTE 32.
4.16
P. 72. SOPHOCLES ADDED THE DECORATION OF PAINTED SCENERY.
To adjust exactly the rival claims of Æschylus and Sophocles with respect to the
oψις
, or decoration, of the Tragic stage, would be a desperate undertaking. Some accounts are so liberal to Æschylus, as scarce to leave his successors any room for farther improvements. They give him
"paintings, machinery, altars, tombs, trumpets, ghosts, and furies:"
—to which others add a very sin-
gular species of Tragic improvement, the
"exhibition of drunken men."
—
την δε σκηνην ἐκοσμησε, και την όψιν των θεωμενων κατεπληξε τη λαμπρότητι - ΓΡΑΦΑΙΣ και μηχαναίς, βωμοις τε και τάφοις, σαλπιγξιν, ειδωλοις, ἔριννυσι.
21
—And
Athenæus
says,
πρωτου ἐκεινΘ----παρηγαγε την των ΜΕΘΥΟΝΤΩΝ ΟΨΙΝ ἐς τραγωδιαν.
p. 428.
He adds an example. In the Tragedy called
Καβειροι, he introduced
"Jason and his retinue drunk!"
The passage given by
Dacier
from
Vitruvius
is very general; it says only,
"scenam fecit."
22
This may, or may not, include painting; which, indeed, rather seems to be implied, in what follows, about the improvements of
Democritus
and
Anaxagoras
, where the
"imagines ædificiorum in scenarum picturis"
are mentioned. But all this is far outweighed by the testimony of Aristotle, who here explicitly attributes the introduction of painted Scenery to Sophocles.
33.
mvp-aristotle-comment-33
NOTE 33.
4.17
P. 72. IT WAS LATE BEFORE TRAGEDY----ATTAINED ITS PROPER DIGNITY.
—
Οιψε ἀπεσεμνωθη
:—and to
"late,"
we might add, imperfectly. For, what
Horace
says of the Roman Tragedy, is, in some measure, though perhaps not equally, applicable to the Greek:
in longum tamen ævum Manferunt, hodieque manent veftigia ruris.
Ep. ad Aug. v. 160.
Prejudice aside, it cannot surely be said, that the Greek Tragedy, in the hands, at least, of Æschylus, Sophocles, or Euripides, ever attained its proper dignity. I do not speak of modern dignity; of that uniform, unremitting strut of pomp and solemnity, which is now required in Tragedy. This was equally unknown to the manners, and to the Poetry, of the antients. I speak only of such a degree of dignity as excludes, not simplicity, but meanness—the familiar, the jocose, the coarse, the comic. Now it cannot, I think, be said, with any truth, that these are thoroughly excluded in any of the Greek Tragedies that are extant: in some of them they are admitted to a very considerable degree.
In particular, something of this sort—of what the French call
mesquin
—is almost constantly to be found in the short dialogue of the Greek Tragedies; in that part, I mean, which the eye, when we turn over any Tragedy, easily distinguishes from the rest, by its being carried on in a regular alternation of single verses. In this
"close fighting"
of the dialogue, as
Dryden
calls it,
23
which seems to have retained something of the spirit of the old satyric diverbia, where...
VERSIBUS ALTERNIS opprobria rustica fundunt,
HOR.
—in this part of the dialogue, we generally find... somewhat more than what
Brumoy
calls
"un petit vernis de familiarité ;"
24
especially when these scenes are, as they often are, scenes of altercation and angry repartee.
25
In the
Iphigenia in Aulide of
Euripides
, Menelaus, in the struggle with the old messenger for the letter, threatens to break his head with his sceptre,
Σκηπτρῳ ταχ άρα σον καθαιμάξω καρα.
v. 311.
Fairly rendered by Mr. Potter's verse—
"Soon shall thy head this sceptre stain with blood."
Unfairly dignified by
Brumoy's
prose—
"Prends garde qu'une mort prompte ne punisse ton audace."
Even Sophocles, who gave the Tragic tone, in general, its proper pitch, between the
ογκος
of Æfchylus, and the
ίσχνοτης
of Euripides,
26
is by no means free from some mixture of this alloy in the language of his short dialogue. For example: in the scene between Ulysses and Neoptolemus in the
Philoctetes, [v. 1250,] when Neoptolemus declares his resolution of restoring to Philoctetes his bow and arrows, at which Ulysses expresses his surprise by a repetition of the question,
Τι φης; τιν ειρηκας λογον;
—Neoptolemus replies,
"Would you have me tell you the same thing two or three times over?"
Δις τ'αυτα βέλει και τρις ἀναπολειν μ ἐπη;
v. 1238 [Oxford turn v. 1267].
In another scene... between Teucer and Menelaus, after a long altercation about the interment of Ajax, Menelaus says—
ὧν σοι φρασω τονδ᾽ ἐστιν ἐχι θαπτεον.
—to which Teucer replies—
Συ δ' ἀντακεσον τετον ὡς τεθαψεται.
Ajax, v. 1140 [Oxford turn v. 1159].
In plain English, but no plainer than the Greek—
"M. One thing I'll tell you—he shall not be buried. T. And I'll tell another thing—he shall be buried."
—Certainly this approaches
very nearly to the language of a contest between two washer-women.
27
These may be reckoned among the passages, in which the spirit of Sophocles, according to the observation of a great critic,
σβεννυται άλογως πολλακις, και πίπτει άτυχεστατα
.
28
In the
Antigone there is a scene of altercation between Creon, Ismene, and Antigone, in which, when Ismene, pleading for her sister, asks Creon whether he will put her to death, who was to become the wife of his son, his answer is—
ΑΡΩΣΙΜΟΙ γαρ χάτερων εισιν ΓΥΑΙ.
v. 569 [Oxford turn v. 576].
The prejudiced admirers of the antients are very angry at the least insinuation that they had any idea of our barbarous Tragi-Comedy. But after all, it cannot be dissembled, that, if they had not the name, they had the thing, or something very nearly approaching to it. If that be Tragi-Comedy, which is partly serious and partly comical, I do not know why we should scruple to say, that the
Alcestis of
Euripides
is, to all intents and purposes, a Tragi-Comedy. I have not the least doubt, that it had upon an Athenian audience the proper effect of Tragi-Comedy; that is, that in some places it made them cry, and in others, laugh. And the best thing we have to hope, for the credit of
Euripides
, is, that he intended to produce this effect. For though he may be an unskilful Poet, who purposes to write Tragi-Comedy, he surely is a more unskilful Poet, who writes one without knowing it.
The learned reader will understand me to allude particularly to the scene, in which the domestic describes the behaviour of
Hercules
; and to the speech of
Hercules
himself, which follows.
29
Nothing can well be of a more comic cast than the servant's complaint. He describes the hero as the most greedy
30
and ill-
mannered guest he had ever attended, under his master's hospitable roof; calling about him, eating, drinking, and singing, in a room by himself, while the master and all the family were in the height of funereal lamentation. He was not contented with such refreshments as had been set before him;
ἐτι σωφρονως ἔδεξατο Τα προστυχοντα ξενια Αλλ ἐι τι μη φερομεν, ΩΤΡΥΝΕΝ φερεια
Then he drinks—
Ἕως ἐθερμην᾿ ἀυτον ἀμφιβασα φλοξ
—crowns himself with myrtle, and sings,
ΑΜΟΥΣ ΥΛΑΚΤΩΝ
—and all this, alone.
"Cette description,"
says
Fontenelle
,
"est si burlesque, qu'on diroit d'un crocheteur qui est de confrairie ."
31
A censure somewhat justified by
Euripides
himself, who makes the servant take
Hercules
for a thief:—
πανέργον ΚΛΩΠΑ και ΛΗΙΣΤΗΝ τινα.
The speech of
Hercules
,
φιλοσοφεντου ἐν μεθῃ
, as the scholiast observes, (v. 776,)
"philosophizing in his cups,"
is still more curious. It is, indeed, full of the
φλοξ όνε
, and completely justifies the attendant's description. Nothing can be more jolly. It is in the true spirit of a modern drinking song; recommending it to the servant to uncloud his brow, enjoy the present hour, think nothing of the morrow, and drown his cares in love and wine:
ΟΥΤΟΣ τι σεμνον και πεφροντικού βλέπεις;
32
Ου χρη σκυθρωπον, κ. τ. αλ. ΔΕΥΡ ΕΛΘ᾽, ὅπως ἀν και σοφωτέρου γενη. Τα θνητα πραγματ οἰδας ἦν ἐχει φυσιν; ΟΙΜΑΙ μεν ΟΥ· ΠΟΘΕΝ ΓΑΡ; –ἀλλ᾿ ἀκει με. Βροτοις άπασι κατθανειν ὀφειλεται, Κεκ ἐστι θνητων όστις ἐξεπισταται Την άυριον μελλεσαν ἐι βιωσεται. Ευφραινε σαυτον ΠΙΝΕ! –τον καθ ήμεραν Βιον λογίζε σον, τα δ' άλλα, της τυχης. Τιμα δε και την πλειστον ήδιστην θεων ΚΥΠΡΙΝ βροτοισιν κ. τ. λ.
If any man can read this, without supposing it to have set the audience in a roar, I certainly cannot demonstrate that he is mistaken. I can only say, that I think he must be a very grave man himself, and must forget that the Athenians were not a very grave people. The zeal of
Pere Brumoy
in defending this Tragedy, betrays him into a little indiscretion. He says,
"tout cela à fait penser à quelques critiques modernes que cette piece etoit une Tragicomedie; chimere inconnu aux anciens. Cette piece est du gout des autres Tragedies antiques."
33
Indeed they, who call this play a Tragi-Comedy, give it rather a favourable name; for, in the scenes alluded to, it is, in fact, of a lower species than our Tragi-Comedy: it is, rather, burlesque Tragedy; what
Demetrius
calls
τραγωδια παίζεσα
.
34
Much of the comic cast prevails in other scenes; though mixed with those genuine strokes of simple
and universal nature, which abound in this Poet, and which I should be sorry to exchange for that monotonous and unaffecting level of Tragic dignity, which never falls, and never rises.
I will only mention one more instance of this Tragi-comic mixture, and that from
Sophocles
. The dialogue between
Minerva
and
Ulysses
, in the first scene of the
Ajax, from
v. 74 to 88
, is perfectly ludicrous. The cowardice of Ulysses is almost as comic as the cowardice of
Falstaff
. In spite of the presence of Minerva, and her previous assurance, that she would effectually guard him from all danger by rendering him invisible, when she calls
Ajax
out, Ulysses, in the utmost trepidation, exclaims—
Τι δρας, Αθανα; μηδαμως σφ' ἐξω καλει.
35
Minerva answers—
Ου σιγ άνεξη, μηδε δείλιαν ἀρεις;
36
But Ulysses cannot conquer his fears:—
ΜΗ, ΠΡΟΣ ΘΕΩΝ-ἀλλ᾽ ἐνδον ἀρκειτω μένων.
37
And in this tone the conversation continues; till, upon Minerva's repeating her promise that Ajax should not see him, he consents to stay; but in a line of most comical reluctance, and with an afide, that is in the true spirit of
Sancho Pança
:—
Μενοιμ᾿ ἀν ΗΘΕΛΟΝ Δ᾽ ΑΝ ΕΚΤΟΣ ΩΝ ΤΥΧΕΙΝ.
v. 88.
No unprejudiced person, I think, can read this scene without being convinced, not only, that it must have actually produced, but that it must have been intended to produce, the effect of Comedy.
38
It appears, indeed, to me, that we may plainly trace in the Greek Tragedy, with all its improvements, and all its beauties, pretty strong marks of its popular and Tragi-comic origin. For,
Τρα-
γῳδια
, we are told, was, originally, the only dramatic appellation
39
; and when, afterwards, the ludicrous was separated from the serious, and distinguished by its appropriated name of Comedy, the separation seems to have been imperfectly made, and Tragedy, distinctively so called, seems still to have retained a tincture of its original merriment. Nor will this appear strange, if we consider the popular nature of the Greek spectacles. The people, it is probable, would still require, even in the midst of their Tragic emotion, a little dash of their old satyric fun, and Poets were obliged to comply, in some degree, with their taste.
40
When we speak of the Greek Tragedies as correct and perfect models, we seem merely to conform to the established language of prejudice, and content ourselves with echoing, without reflection or examination, what has been said before us.
Lord Shaftsbury
, for example, talks of Tragedy's being
"raised to its height by Sophocles and Euripides, and no room left for further excellence or emulation."
41
I should be sorry to be ranked in the class of those critics, who
prefer that Poetry which has the fewest faults, to that which has the greatest beauties.
42
I mean only to combat that conventional and hearsay kind of praise, which has so often held out the Tragedies of the Greek Poets, as elaborate and perfect models, such as had received the last polish of art and meditation. The true praise of Æschylus, Sophocles, and Euripides, is, (in kind at least, though not in degree,) the praise of Shakspeare; that of strong, but irregular, unequal, and hasty genius. Every thing, which this genius and the feeling of the moment could produce... these writers possess in great abundance: what meditation, and
"the labour and delay of the file"
only can effect, they too often want. Of Shakspeare, however, compared with the Greek Poets, it may justly, I think, be pronounced, that he has much more, both of this want, and of that abundance.
34.
mvp-aristotle-comment-34
NOTE 34.
4.18
P. 72. ORIGINALLY, THE TROCHAIC TETRAMETER WAS MADE USE OF, &c.
As the Trochaic measure was still occasionally admitted, even in the improved and serious Greek Tragedy, and, in particular, occurs very frequently in the Tragedies of Euripides, it is natural to suppose, that a still more frequent use of it would be one of the characteristics of the fatyric drama, which seems to have been only a sort of revival, in an improved and regular form, of the old Trochaic Tragedy with its chorus of dancing fatyrs. It seems therefore somewhat remarkable, though I have not seen it noticed, that in the only fatyric drama extant, the CYCLOPS, and that written by Euripides, who has made so much use of this measure in his Tragedies, not a single Trochaic tetrameter is to be found.
35.
mvp-aristotle-comment-35
NOTE 35.
4.19
P. 73. THE IAMBIC IS, OF ALL METRES, THE MOST COLLOQUIAL, &c.
Compare
Rhet. lib. iii. cap. i.
and
cap. viii. Ed. Duval.
And
Demet. Περι Ἑρμ. Sect. 43.
36.
mvp-aristotle-comment-36
NOTE 36.
4.19
P. 73. ----SELDOM INTO HEXAMETER, AND ONLY WHEN WE DEPART FROM THE USUAL MELODY OF SPEECH.
It has been thought strange, that Aristotle should introduce here the mention of hexameters, when he has been speaking only of Trochaic and Iambic verse, and is accounting for the adoption of the latter, in preference, not to the hexameter, but to the Trochaic tetrameter: and it has, therefore, been doubted, whether we should not read
τετραμετρα
43
. But the established reading, I believe, is right. The Trochaic tetrameter, Aristotle has, both here, and in his Rhetoric, characterized as
σατυρικον - τροχερον όρχης ικωτερον
and even
κορδακικωτερον
44
. He did not, I apprehend, consider it as being, in any degree,
λεκτικóν
. It was therefore entirely out of the question, when a metre proper for the general dialogue of Tragedy was to be sought for: but the bexameter was not so; and it might, without absurdity, be asked by an objector, as Castelvetro and Piccolomini have observed, why that species of verse was not adopted; especially as the Tragic Poets were the successors of the Epic, or Heroic, and Homer, according to Plato, was "the first of Tragic Poets"
45
. As its character was grave and stately, it might seem, on that account, well adapted to Tragedy, where, indeed, we actually find it occasionally introduced. But Aristotle objects to it as less proper, because, though
σεμνον
, it was at the same time,
least
λεκτικον
. He allows, however, that it was not so remote from the rhythm of common speech, but that it might be casually produced, like the Iambic, though it rarely happened. He even goes so far, as to allow, in his concluding chapter, that Tragedy "might adopt the Epic metre."
46
—All this seems to afford sufficient support to the common reading. The Heroic and Iambic feet are, in the same manner, considered together,
Rhet. iii. 8.
By
λεκτικη άρμονια
, Aristotle means what Aristoxenus calls
ΜΕΛΟΣ λογωδες
47
. We must not suppose him to use the word
ἁρμονια
here, in that lax and general sense, in which we commonly apply it to the rhythm of speech, when we talk of the harmony of a verse or a period. He speaks with his usual accuracy. Speech, as well as Music, has its melody and its rhythm; and these, in speech animated by passion, are so modified, as to approach, more or less perceptibly, to musical melody and rhythm.
48
And what Aristotle here asserts, I think, is, that the
Greeks seldom, or never, departed so far from the usual rhythm of speech, as to run into hexameter verse, except when they were led, by the same cause, to depart equally from its usual melody or tones.
37.
mvp-aristotle-comment-37
NOTE 37.
4.20
P. 73. THE EPISODES WERE MULTIPLIED.
The mistakes, into which some commentators have been led by annexing to the term
Επεισοδιον
, as applied by Aristotle to Tragedy, the modern and Epic idea of a digression, "hors-d'œuvre, intermede, morceau d'attache", have been well pointed out by Le Bossu,
Tr. du Poeme Ep. liv. ii. ch. iv. v. vi.
. But he appears to me to have gone too far, and to have fallen into the opposite error, by extending the word even to the most essential parts of the general action, to which he will not allow the
ἐπεισοδια
to be, in any sense, added, united, &c.-but insists that they constitute that action,
"comme les membres font la matiere des corps." With this idea, he had, indeed, some reason to call the word
ἐπασοδιον
, "terme trompeur;" for, in this application of it, all sight of its etymological sense is lost. By all that I can gather from an attentive comparison of all the passages in which Aristotle uses the word, there appears to me no reason to suppose, that he any where meant to apply it indiscriminately to all the incidents of a fable; and it is for this reason that I have no where ventured to render it by the word incident, which would have been too general. Le Bossu's definition is," Les Episodes sont les parties necessaires de l'action etendues avec des circonstances vraisemblables." -The death of Cato, for example, in the Tragedy of Addison, answers to this definition. But would Aristotle have called that an Episode? I can scarce think it. The most I can conceive is, that he might have applied the term
ἐπεισοδια
to the particular circumstances and detail of the action, which were the additions of the Poet's fancy. Le Bossu mentions, as an instance, the escape of Orestes by means of the ablution, in the
Iphig. in Taur. of Euripides; which, he says, Aristotle calls an Episode. But, it is not the escape of Orestes, (
ἡ σωτηρια
) that Aristotle so denominates; this was an essential circumstance, and is expressly included by him in that general sketch of the plot, into which the
ἐπεισοδια
were afterwards to be worked: and one of these Episodes was the detail of the manner in which the escape was effected,
δια της καθάρσεως
. - See
NOTE 143
.
The word
ἐπεισοδιον
is, I think, used by Aristotle only in two senses: 1. The technical sense, in which it is clearly defined to mean, all that part, or, rather, those parts, of a Tragedy, that are included between entire choral odes.
49
2. It is evidently applied, in
other passages, to the particular parts, subordinate actions, circumstances, or incidents, of the fable; but only, I think, to such, as were not essential parts of the Poet's plan or story, though they might be, and indeed ought to be, closely connected with it:-such, as, however important in the action, by contributing to promote the catastrophe, were yet no way necessitated by history, or popular tradition, or, in subjects of pure invention, by the Poet's general and determined plan, but depended on the invention or the choice of the Poet, who might, without any alteration in the
καθόλε λογώ
, as Aristotle calls it, of his drama, have conducted the action to its catastrophe by different means.
The word
ἐπεισοδιον
, then, appears to me never to be used by Aristotle but in its proper and derivative sense, of something more or less adventitious or accessory-something inserted, superadded, introduced, at pleasure, by the Poet. But the Epic Poem, from its extent of plan, and the variety requisite to its purpose, admits, and requires, subordinate actions of greater length and slighter relation to the principal action of the fable, than is consistent with the shorter compass, closer unity, and different end, of Tragedy. As the Episodes of Epic Poetry, therefore, had more distinctness, entireness, and projection from the subject, if I may so express myself, than those of Tragedy, this, as it was the most obvious, became in time almost the only, application of the term; till, at length, from the frequent abuse of this Epic privilege of variety,
and the
μεταβαλλαν τον ἀκεοντα
, scarce any other idea was annexed to the word Episode, than that of digression, bors-d'œuvre, something foreign to the subject, or connected with it only by the slightest thread. Hence, too, in modern language, the word, I think, is applied only to entire actions of this additional, or digressive kind; not to the minuter circumstances or incidents which form the detail of an action. Thus, we call the whole story of Dido, in the
Aneid, an Episode; but we should not give that name to any of the incidents by which the death of Turnus (an action essential to the fable,) is circumstantiated, though equally introduced and supplied by the Poet, and therefore equally, in Aristotle's sense,
ἐπεισοδια
. And so much, as to his use of this term, in general. Whether these remarks are well or ill founded, will best appear, when we come to apply them to the particular passages in which the word occurs. In that now before us, it is used, I think, in the second of the two senses I mentioned; and its best comment seems to be another passage,
cap. xxiv.
where the critic observes the advantage which the Epic Poem has in the variety of its Episodes, and assigns the want of that variety, as one common cause of ill success in Tragic writing: –
το γαρ ΟΜΟΙΟΝ ταχυ πληρεν ἐκπιπτειν ποια τας τραγωδίας
.
