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Crates fut le premier des Atheniens qui la ſuivit en renonçant aux railleries groſſieres qui regnoient auparavant.

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 (5)

Περὶ ποιητικῆς (OCR draft) (Aristotle, Poetics. Immanuel Bekker, editor, Aristotelis Opera, volume 2. Oxford: Oxford University Press, 1837.) — 5 focus

Ἡ δὲ κωμῳδία ἐστίν, ὥσπερ εἴπομεν, μίμησις φαυλοτέρων μέν, οὐ μέντοι κατὰ πᾶσαν κακίαν, ἀλλὰ τοῦ αἰσχροῦ ἐστὶ τὸ γελοῖον μόριον.

Τὸ γὰρ γελοῖόν ἐστιν ἁμάρτημά τι καὶ αἶσχος ἀνώδυνον καὶ οὐ φθαρτικόν, οἷον εὐθὺς τὸ γελοῖον πρόσωπον αἰσχρόν τι καὶ διεστραμμένον ἄνευ ὀδύνης.

Αἱ μὲν οὖν τῆς τραγῳδίας μεταβάσεις, καὶ δι᾿ ὧν ἐγένοντο, οὐ λελήθασιν, ἡ δὲ κωμῳδία διὰ τὸ μὴ σπουδάζεσθαι ἐξ ἀρχῆς ἔλαθεν· καὶ γὰρ χορὸν κωμῳδῶν ὀψέ ποτε ὁ ἄρχων ἔδωκεν, ἀλλ᾿ ἐθελονταὶ ἦσαν.

Ἤδη δὲ σχήματά τινα αὐτῆς ἐχούσης οἱ λεγόμενοι αὐτῆς ποιηταὶ μνημονεύονται. Τίς δὲ πρόσωπα ἀπέδωκεν ἢ προλόγους ἢ πλήθη ὑποκριτῶν καὶ ὅσα τοιαῦτα, ἠγνόηται.

Τὸ δὲ μύθους ποιεῖν Ἐπίχαρμος καὶ Φόρμις.

Τὸ μὲν οὖν ἐξ ἀρχῆς ἐκ Σικελίας ἦλθεν, τῶν δὲ Ἀθήνησιν Κράτης πρῶτος ἦρξεν ἀφέμενος τῆς ἰαμβικῆς ἰδέας καθόλου ποιεῖν λόγους καὶ μύθους.

Ἡ μὲν οὖν ἐποποιία τῇ τραγῳδίᾳ μέχρι μόνου μέτρου μετὰ λόγου μίμησις εἶναι σπουδαίων ἠκολούθησεν· τῷ δὲ τὸ μέτρον ἁπλοῦν ἔχειν καὶ ἀπαγγελίαν εἶναι, ταύτῃ διαφέρουσιν.

Ἔτι δὲ τῷ μήκει· ἡ μὲν γὰρ ὅτι μάλιστα πειρᾶται ὑπὸ μίαν περίοδον ἡλίου εἶναι ἢ μικρὸν ἐξαλλάττειν, ἡ δὲ ἐποποιία ἀόριστος τῷ χρόνῳ, καὶ τούτῳ διαφέρει.

Καίτοι τὸ πρῶτον ὁμοίως ἐν ταῖς τραγῳδίαις τοῦτο ἐποίουν καὶ ἐν τοῖς ἔπεσιν.

Μέρη δ᾿ ἐστὶ τὰ μὲν ταὐτά, τὰ δὲ ἴδια τῆς τραγῳδίας.

Διόπερ ὅστις περὶ τραγῳδίας οἶδε σπουδαίας καὶ φαύλης, οἶδε καὶ περὶ ἐπῶν· ἃ μὲν γὰρ ἐποποιία ἔχει, ὑπάρχει τῇ τραγῳδίᾳ, ἃ δὲ αὐτή, οὐ πάντα ἐν τῇ ἐποποιίᾳ.

Περὶ ποιητικῆς (OCR draft) Perseus (Aristotle, De arte poetica liber. Rudolf Kassel, editor. Oxford: Clarendon Press, 1965. Reference edition for passage alignment.) — 5 focus

ἡ δὲ κωμῳδία ἐστὶν ὥσπερ εἴπομεν μίμησις φαυλοτέρων μέν, οὐ μέντοι κατὰ πᾶσαν κακίαν, ἀλλὰ τοῦ αἰσχροῦ ἐστι τὸ γελοῖον μόριον.

τὸ γὰρ γελοῖόν ἐστιν 35 ἁμάρτημά τι καὶ αἶσχος ἀνώδυνον καὶ οὐ φθαρτικόν, οἷον εὐθὺς τὸ γελοῖον πρόσωπον αἰσχρόν τι καὶ διεστραμμένον ἄνευ ὀδύνης.

αἱ μὲν οὖν τῆς τραγῳδίας μεταβάσεις καὶ δι’ ὧν ἐγένοντο οὐ λελήθασιν, ἡ δὲ κωμῳδία διὰ τὸ μὴ 1449b 1 σπουδάζεσθαι ἐξ ἀρχῆς ἔλαθεν· καὶ γὰρ χορὸν κωμῳδῶν ὀψέ ποτε ὁ ἄρχων ἔδωκεν, ἀλλ’ ἐθελονταὶ ἦσαν.

ἤδη δὲ σχήματά τινα αὐτῆς ἐχούσης οἱ λεγόμενοι αὐτῆς ποιηταὶ μνημονεύονται. τίς δὲ πρόσωπα ἀπέδωκεν ἢ προλόγους ἢ 5 πλήθη ὑποκριτῶν καὶ ὅσα τοιαῦτα, ἠγνόηται.

τὸ δὲ μύθους ποιεῖν Ἐπίχαρμος καὶ Φόρμις τὸ μὲν ἐξ ἀρχῆς ἐκ Σικελίας ἦλθε,

τῶν δὲ Ἀθήνησιν Κράτης πρῶτος ἦρξεν ἀφέμενος τῆς ἰαμβικῆς ἰδέας καθόλου ποιεῖν λόγους καὶ μύθους.

ἡ μὲν οὖν ἐποποιία τῇ τραγῳδίᾳ μέχρι μὲν τοῦ μετὰ 10 μέτρου λόγῳ μίμησις εἶναι σπουδαίων ἠκολούθησεν· τῷ δὲ τὸ μέτρον ἁπλοῦν ἔχειν καὶ ἀπαγγελίαν εἶναι, ταύτῃ διαφέρουσιν·

ἔτι δὲ τῷ μήκει· ἡ μὲν ὅτι μάλιστα πειρᾶται ὑπὸ μίαν περίοδον ἡλίου εἶναι ἢ μικρὸν ἐξαλλάττειν, ἡ δὲ ἐποποιία ἀόριστος τῷ χρόνῳ καὶ τούτῳ διαφέρει,

καίτοι 15 τὸ πρῶτον ὁμοίως ἐν ταῖς τραγῳδίαις τοῦτο ἐποίουν καὶ ἐν τοῖς ἔπεσιν.

μέρη δ’ ἐστὶ τὰ μὲν ταὐτά, τὰ δὲ ἴδια τῆς τραγῳδίας·

διόπερ ὅστις περὶ τραγῳδίας οἶδε σπουδαίας καὶ φαύλης, οἶδε καὶ περὶ ἐπῶν· ἃ μὲν γὰρ ἐποποιία ἔχει, ὑπάρχει τῇ τραγῳδίᾳ, ἃ δὲ αὐτῇ, οὐ πάντα ἐν τῇ 20 ἐποποιίᾳ.

Poetics, Greek text (Ingram Bywater, 1909) (OCR draft) Experimental (Ingram Bywater's Greek text of Aristotle's Poetics, published in 1909.) — 5 focus

ἡ δὲ κωμῳδία ἐστὶν ὥσπερ εἴπομεν μίμησις φαυλοτέρων
μέν, οὐ μέντοι κατὰ πᾶσαν κακίαν, ἀλλὰ τοῦ
αἰσχροῦ ἐστι τὸ γελοῖον μόριον.

τὸ γὰρ γελοῖόν ἐστιν ἁμάρτημά
τι καὶ αἶσχος ἀνώδυνον καὶ οὐ φθαρτικόν, οἷον
εὐθὺς τὸ γελοῖον πρόσωπον αἰσχρόν τι καὶ διεστραμμένον
ἄνευ ὀδύνης.

αἱ μὲν οὖν τῆς τραγῳδίας μεταβάσεις καὶ
δι᾽ ὧν ἐγένοντο οὐ λελήθασιν, ἡ δὲ κωμῳδία διὰ τὸ μὴ
σπουδάζεσθαι ἐξ ἀρχῆς ἔλαθεν· καὶ γὰρ χορὸν κωμῳδῶν
ὀψέ ποτε ὁ ἄρχων ἔδωκεν, ἀλλ᾽ ἐθελονταὶ ἦσαν.

ἤδη δὲ
σχήματά τινα αὐτῆς ἐχούσης οἱ λεγόμενοι αὐτῆς ποιηταὶ
μνημονεύονται. τίς δὲ πρόσωπα ἀπέδωκεν ἢ προλόγους ἢ
πλήθη ὑποκριτῶν καὶ ὅσα τοιαῦτα, ἠγνόηται.

τὸ δὲ μύθους
ποιεῖν Ἐπίχαρμος καὶ Φόρμις τὸ μὲν ἐξ ἀρχῆς ἐκ
Σικελίας ἦλθε,

τῶν δὲ Ἀθήνησιν Κράτης πρῶτος ἦρξεν
ἀφέμενος τῆς ἰαμβικῆς ἰδέας καθόλου ποιεῖν λόγους καὶ
μύθους.

ἡ μὲν οὖν ἐποποιία τῇ τραγῳδίᾳ μέχρι μὲν τοῦ
διὰ μέτρου μεγάλου μίμησις εἶναι σπουδαίων ἠκολούθησεν·
τῷ δὲ τὸ μέτρον ἁπλοῦν ἔχειν καὶ ἀπαγγελίαν εἶναι, ταύτῃ
διαφέρουσιν·

ἔτι δὲ τῷ μήκει· ἡ μὲν ὅτι μάλιστα πειρᾶται
ὑπὸ μίαν περίοδον ἡλίου εἶναι ἢ μικρὸν ἐξαλλάττειν, ἡ δὲ
ἐποποιία ἀόριστος τῷ χρόνῳ καὶ τούῳ διαφέρει,

καίτοι
τὸ πρῶτον ὁμοίως ἐν ταῖς τραγῳδίαις τοῦτο ἐποίουν καὶ ἐν
τοῖς ἔπεσιν.

μέρη δ᾽ ἐστὶ τὰ μὲν ταὐτά, τὰ δὲ ἴδια τῆς
τραγῳδίας·

διόπερ ὅστις περὶ τραγῳδίας οἶδε σπουδαίας
καὶ φαύλης, οἶδε καὶ περὶ ἐπῶν· ἃ μὲν γὰρ ἐποποιία
ἔχει, ὑπάρχει τῇ τραγῳδίᾳ, ἃ δὲ αὐτῇ, οὐ πάντα ἐν τῇ
ἐποποιίᾳ.

Poetics, Greek text (S. H. Butcher, 1911) (OCR draft) Experimental (S. H. Butcher's Greek text from Aristotle's Theory of Poetry and Fine Art, fourth edition, 1911.) — 5 focus

[1] 31 Ἡ δὲ κωμῳδία ἐστὶν ὥσπερ εἴπομεν μίμησις φαυλοτέρων μέν, οὐ μέντοι κατὰ πᾶσαν κακίαν, ἀλλὰ τοῦ αἰσχροῦ ἐστι τὸ γελοῖον μόριον. ἀλλ’ οὐ τοῦ αἰσχροῦ¹ 33 τὸ γὰρ γελοῖόν ἐστιν ἁμάρτημά τι καὶ αἶσχος ἀνώδυνον καὶ οὐ φθαρτικόν...

[4] 1449b 9 ἡ μὲν οὖν ἐποποιία τῇ τραγῳδίᾳ μέχρι μὲν τοῦ μετὰ μέτρου μέτρου μεγάλου² μίμησις εἶναι σπουδαίων ἠκολούθησεν...

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.) — 5 focus

τὸ γὰρ γελοῖόν ἐστιν ἁμάρτημά τι καὶ αἶσχος ἀνώδυνον καὶ οὐ φθαρτικόν, οἷον εὐθὺς τὸ γελοῖον πρόσωπον αἰσχρόν τι καὶ διεστραμμένον ἄνευ ὀδύνης.

αἱ μὲν οὖν τῆς τραγωδίας μεταβάσεις, καὶ δι' ὧν ἐγένοντο, οὐ λελήθασιν, ἡ δὲ κωμῳδία διὰ τὸ μὴ σπουδάζεσθαι ἐξ ἀρχῆς ἔλαθεν· καὶ γὰρ χορὸν κωμῳδῶν ὀψέ ποτε ὁ ἄρχων ἔδωκεν, ἀλλ᾽ ἐθελονταὶ ἦσαν.

ἤδη δὲ σχήματά τινα αὐτῆς ἐχούσης οἱ λεγόμενοι αὐτῆς ποιηταὶ μνημονεύονται. τίς δὲ πρόσωπα ἀπέδωκεν ἢ λόγους ἢ πλήθη ὑποκριτῶν καὶ ὅσα τοια¹ῦτα, ἠγνόηται·

τὸ δὲ μύθους ποιεῖν Ἐπίχαρμος καὶ Φόρμις. τὸ μὲν ἐξ ἀρχῆς ἐκ Σικελίας ἦλθεν,

τῶν δὲ Ἀθήνησιν Κράτης πρῶτος ἦρξεν ἀφέμενος τῆς ἰαμβικῆς ἰδέας καθόλου ποιεῖν λόγους καὶ μύθους.

ἡ μὲν οὖν ἐποποιία τῇ τραγῳδίᾳ [μέχρι μόνου μέτρου μεγάλου] μίμησις εἶναι σπουδαίων ἠκολούθησεν· τῷ δὲ τὸ μέτρον ἁπλοῦν ἔχειν καὶ ἀπαγγελίαν εἶναι, ταύτῃ διαφέρουσιν.

ἔτι δὲ τῷ μήκει· ἡ μὲν γὰρ ὅτι μάλιστα πειρᾶται ὑπὸ μίαν περίοδον ἡλίου εἶναι ἢ μικρὸν ἐξαλλάττειν, ἡ δὲ ἐποποιία αόριστος τῷ χρόνῳ, καὶ τούτῳ διαφέρει.

καίτοι τὸ πρῶτον ὁμοίως ἐν ταῖς τραγῳδίαις τοῦτο ἐποίουν καὶ ἐν τοῖς ἔπεσιν.

μέρη δ᾽ ἐστὶ τὰ μὲν ταὐτά, τὰ δὲ ἴδια τῆς τραγῳδίας.

διόπερ ὅστις περὶ τραγῳδίας οἶδε σπουδαίας καὶ φαύλης, οἶδε καὶ περὶ ἐπῶν· ἃ μὲν γὰρ ἐποποιία ἔχει, ὑπάρχει τῇ τραγῳδία, ἃ δὲ αὐτή, οὐ πάντα ἐν τῇ ἐποποιίᾳ.

Translations (13)

Poetics (W. H. Fyfe) (OCR draft) Perseus (William Hamilton Fyfe's English translation of Aristotle's Poetics, Loeb Classical Library, 1939 printing.) — 5 focus

Comedy, as we have said, is a representation of inferior people, not indeed in the full sense of the word bad, but the laughable is a species of the base or ugly.¹

It consists in some blunder or ugliness that does not cause pain or disaster, an obvious example being the comic mask which is ugly and distorted but not painful.

The various stages of tragedy and the originators of each are well known, but comedy remains obscure because it was not at first treated seriously. 1449b 1 Indeed it is only quite late in its history² that the archon granted a chorus for a comic poet; before that they were volunteers.³

Comedy had already taken certain forms before there is any mention of those who are called its poets. Who introduced masks or prologues, the number of actors, and so on, is not known.

Plot making [Epicharmus and Phormis]⁴ originally came from Sicily ,

and of the Athenian poets Crates⁵ was the first to give up the lampooning form and to generalize his dialogue and plots.

Epic poetry agreed with tragedy only in so far as it was a metrical representation of heroic action, but inasmuch as it has a single metre and is narrative in that respect they are different.

And then as regards length, tragedy tends to fall within a single revolution of the sun or slightly to exceed that, whereas epic is unlimited in point of time;

and that is another difference, although originally the practice was the same in tragedy as in epic poetry.

The constituent parts are some of them the same and some peculiar to tragedy.

Consequently any one who knows about tragedy, good and bad, knows about epics too, since tragedy has all the elements of epic poetry, though the elements of tragedy are not all present in the epic.

Arabic Poetics (Badawī edition, 1953) (OCR draft) (The ancient Arabic translation of Aristotle's Poetics in ʿAbd al-Raḥmān Badawī's 1953 edition.) — 5 focus

〈الكوميديا والهزلى ومراحل الكوميديا الأولى؛ المقارنة بين المأساة والملحمة〉

ومذهب الهجاء هو كما قلنا: [هى] تشبيه ومحاكاة الذين دنوا وتزيفوا وليس فى كل شر ورذيلة، لكن إنما هى شىء مستهزأ فى باب ما هو قبيح، وهى جزء مستهزئة. وذلك أن الاستهزاء هو زلل ما وبشاعة غير ذات صعوبة ولا فاسدة، مثال ذلك وجه المستهزئ هو من ساعته بشع قبيح، وهو منكر بلا ضغينة.

فأما العاملون لصناعة المديح، ومن أين نشأوا وحدثوا، فلست أظن أنه يغبا أمرهم فى ذلك ولا يهمل وينسى. فأما صناعة الهجاء فانه لما كانت غير معتنى بها، فانها أنسيت وغبا أمرها منذ الابتداء. وذلك أن صفوف الرقاصين والدستبند من أهل الهجاء من حيث إنما أطلق ذلك [أو] الوالى على أثينية بالأخرة، غير أن العمل بذلك إنما كان مردوداً إلى اختيارهم وإرادتهم من حيث كان لهم من جهة شكل ما أن يعدوا ممن كان من شعرائها وكانوا يذكرون.

وبعض الوجوه الذين أعطوا إما بسبب تقدمة الكلام أو من كثرة المرائين والمنافقين، فان جميع من كان مثل هؤلاء لم يعرفوا. والعمل للقصص والخرافات هو أن ننزل جميع الكلام الذى يكون بالاختصار. ومنذ قديم الدهر أيضاً عندما أتى بها من سيقليا. وكان أول من أنشأها وأحدثها بأثينية قراطس فان هذا ترك النوع المعروف بالامباقيا، وبدأ أن يعمل الكلام والقصص.

والتشبيه والمحاكاة للأفاضل صارت لازمة لصناعة الشعر المسماة أفى فى صناعة المديح إلى معدن ما من الوزن مزمع القول وكون الوزن بسيطاً وأن يكون عهود — فان هذه مختلفة؛ وأيضاً فى الطول: أما تلك فهى تزيد خاصة أن تكون تحت دائرة واحدة شمسية، أو أن تتغير قط قليلا؛ وأما عمل الأفى فهو غير محدود فى الزمان؛ وهذا هو مخالف، على أنهم كانوا أولاً يفعلون هذا فى المديحات على مثال واحد وفى جميع الأفى.

وأما الأجزاء: أما بعضها فهذه، ومنها هى خاصة بالمديحات. ولذلك كل من كان عارفاً من صناعة المديح تلك التى هى حريصة، وتلك التى هى مزيفة، فانه يكون عارفاً بجميع هذه الصغار: أيما منها يصلح لعمل الأفى فى صناعة المديح، وأما التى تصلح لهذه فليس جميعها يصلح لعمل الأفى.

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.) — 5 focus

Comedy is, as we have said, an imitation of characters
of a lower type—not, however, in the full sense of the
word bad, the Ludicrous being merely a subdivision of the ugly.

It consists in some defect or ugliness which
is not painful or destructive. To take an obvious
example, the comic mask is ugly and distorted, but does
not imply pain.

The successive changes through which Tragedy passed,
and the authors of these changes, are well known, whereas
Comedy has had no history, because it was not at first
treated seriously. It was late before the Archon granted a comic chorus to a poet; the performers were till then voluntary.

Comedy had already taken definite shape
when comic poets, distinctively so called, are heard of.
Who furnished it with masks, or prologues, or increased
the number of actors, these and other similar details remain unknown.

As for the plot, it came originally
from Sicily;

but of Athenian writers Crates was the
first who, abandoning the 'iambic' or lampooning form,
generalised his themes and plots.

Epic poetry agrees with Tragedy in so far as it is an
imitation in verse of characters of a higher type. They
differ, however, in that Epic poetry admits but one kind of
metre, and is narrative in form.

They differ, again,
in their length: for Tragedy endeavours, as far as
possible, to confine itself within a single revolution of the sun, or but slightly to exceed this limit;

whereas the
Epic action has no limits of time. This, then, is a
second point of difference; though at first the same freedom was admitted in Tragedy as in Epic poetry.

Of their constituent parts some are common to both,
some peculiar to Tragedy:

whoever, therefore, knows
what is good or bad Tragedy, knows also about Epic
poetry. All the elements of an Epic poem are found in
Tragedy, but the elements of a Tragedy are not all found in the Epic poem.

Aristotle on the Art of Poetry (Ingram Bywater, 1909) (OCR draft) Experimental (Ingram Bywater's English translation of Aristotle's Poetics, published in 1909.) — 5 focus

As for Comedy, it is (as has been observed) an imitation of
men worse than the average; worse, however, not as regards
any and every sort of fault, but only as regards one particular
kind, the Ridiculous, which is a species of the Ugly.

The Ridiculous may be defined as a mistake or deformity not
productive of pain or harm to others; the mask, for instance,
that excites laughter, is something ugly and distorted without
causing pain.

Though the successive changes in Tragedy and their authors are
not unknown, we cannot say the same of Comedy; its early
stages passed unnoticed, because it was not as yet taken
up in a serious way.

It was only at a late point in its progress that a chorus of
comedians was officially granted by the archon; they used
to be mere volunteers. It had also already certain definite
forms at the time when the record of those termed comic
poets begins. Who it was who supplied it with masks, or
prologues, or a plurality of actors and the like, has remained unknown.

The invented Fable, or Plot, however, originated in Sicily, with
Epicharmus and Phormis;

of Athenian poets Crates was the first to drop the Comedy
of invective and frame stories of a general and non-personal
nature, in other words, Fables or Plots.

Epic poetry, then, has been seen to agree with Tragedy to
this extent, that of being an imitation of serious subjects
in a grand kind of verse. It differs from it, however, (1) in
that it is in one kind of verse and in narrative form;

and (2) in its length—which is due to its action having
no fixed limit of time, whereas Tragedy endeavours to keep
as far as possible within a single circuit of the sun, or
something near that.

This, I say, is another point of difference between them,
though at first the practice in this respect was just the
same in tragedies as in epic poems.

They differ also (3) in their constituents, some being common
to both and others peculiar to Tragedy—

hence a judge of good and bad in Tragedy is a judge of
that in epic poetry also. All the parts of an epic are included
in Tragedy; but those of Tragedy are not all of them to
be found in the Epic.

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.) — 5.6 focus

But, of Athenian Poets, Crates was the first who abandoned the Iambic form¹ of comedy, and made use of invented and general stories, or fables.

IX.

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.) — 5.6 focus

for among the Athenians, Crates was the first who forsook personal satire and introduced a general subject or¹

The epopee agrees only with tragedy in using verse

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.) — 5.6 focus

which, therefore, originated from Sicily. But among the Athenians, Crates, rejecting the Iambic ¹²³ form, first began generally to compose speeches and fables. ⁴

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.) — 5 focus

Comoedia autem est, ut diximus, imitatio deteriorum quidem, non tamen in omni vitiorum genere, sed turpitudinis nonnisi pars est ridiculum.

nam ridiculum est peccatum quoddam et turpitudo doloris expers neque perniciosa, sicut statim ridicula persona est turpe quid et distortum sine doloris significatione.

iam tragoediae immutationes, etiam a quibus factae sint, non latuerunt, comoedia autem quod primo minus existimabatur delituit: etenim chorum comoedorum sero tandem archon dedit, sed voluntarii erant.

sed postquam iam formas quasdam nacta est, memorantur qui comici poetae dicuntur.

quis vero personas dederit aut sermones aut plures histriones et quaecumque sunt huiusmodi, non compertum est: fabulas autem pangere Epicharmus et Phormis.

hoc quidem primum ex Sicilia venit, sed Atheniensium Crates primus coepit missa forma invectiva generatim narrationes pangere et fabulas.

epopoeia vero tragoediam [nonnisi metro longo excepto] ita assectata est ut graves imitaretur: sed quod metrum simplex habet et narratio est, eo discrepant.

praeterea longitudine: etenim haec quam maxime studet intra unum solis circuitum versari vel paulum excedere, epopoeia autem temporis definitionem non admittit, et hoc differt.

quamquam primo aeque in tragoediis hoc faciebant atque in carminibus epicis.

partes autem aliae sunt communes, aliae tragoediae peculiares.

quamobrem quicumque tragoediam gravem et vilem compertam habet, idem sapit in epicis: quae enim epopoeia habet, insunt in tragoedia, quae autem ipsa, non omnia in epopoeia,

Poetica d'Aristotile (Bernardo Segni, 1549) (OCR draft) Experimental (Bernardo Segni's 1549 Florentine Italian translation, aligned to the Kassel reference passage sequence.) — 5 focus

A la Commedia (come noi habbiam' detto) e vna imitation' di coſe cattiue; ma non già, che habbino il ſommo grado della cattiuità: ma è vna imi tatione di quella parte ridicula, che contien'la bruttez za.¹

Conciofia che il ridiculo ſia vn' difetto, & vna vergogna ſenza dolore ; & che non corrompa la natura di chi l'ha:ſicome è un'uolto brutto,& cótraffatto, il quale ſenza dolore di chi l'ha è ridiculo.

Non fono adunche incognite le mutationi, che ha la Tragedia ſopportatos nè anchora gli autori d'eſſe; ma ben' quelle della Com media da principio furon' occulte per non hauer' ella hauuto troppi affettionati di lei. Perchè il Principe Athenieſe doppo vn' gran tempo le conceſſe il choro, il quale fu d'huomini volontarii compoſto;

nè di lei fi raccontan'Poeti, ſenő dappoi ch'ella venne ſotto qual che formaine ſi ſa già chi v'ordinaſſe le perſone,ò i prologhi, ò la moltitudine de gli Iftrioni, & altre coſe ſimi li.

Ma alla compofitione della Fauola Epicarmo, & Forme detter' principio.

Onde tal coſa imprima di Sicilia venne. Et il primo, che da Athene defle à tal'co fa principio, fu Crate; il quale, laſciata la forma della Poefia Iambica, cominciò generalmente à finger' le fauole, & i ragionamenti.

Ł Poema Heroico adunche cóuiene co'k Tragico I in queſto ſolo, che ciascuno d'efsi col parlare in ver ſi imita l'attioni virtuoſe; ma è differente l'un' dall' altro & perchè il Poema Heroico ha il verſo d'una ſola fatta: & perchè e' fa la narratione: & anchora è diffesente per la lunghezza.²

Conciofia che il Tragico finiſca l'impreſa ſua ſotto vn' circuito di ſole, ò poco più.. Et l'Heroico la faccia ſenza tempo determinato.

Et cer tamente da prima fu vſata la medefima libertà del tempo nell'uno, & nell'altro Poema.

Le parti d'amendue queſti Poemi ſono & comuni; & parte ſono propie della Tragedia.

Onde chi ſa difcerner'bene intrala Tra gedia buona, & la Tragedia maluagia; coſtui il medefimo faprà difcernere infra' Poemi Heroici:imperochè tutto quello, ch'è nel Poema Heroico, è nella Tragedia: ma non già per l'oppoſito.

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.) — 5 focus

Comoedia vero est, ut dicebamus, imitatio peiorum. at non secundum omne vitium: sed turpitudinis est particula ridiculum.

etenim ridiculum est erratum quoddam, et turpitudo sine dolore, et non habent vim interimendi, ut statim ridicula facies turpis ac distorta sine dolore.

ac mutationes quidem tragoediae, et per quos factae sint, non latent: comoedia vero, quia in ipsa a principio positum studium non est, latuit. etenim chorum comoedorum sero magistratus dedit: sed illi voluntarii erant.

atque cum figuras quasdam iam ipsa nacta esset, pauci ipsius poëtae commemorantur. quis autem personas assignaverit aut prologos aut multitudines histrio num, et quaecunque talia, ignorantur.

at fabulas facere Epicharmus et Phormis coeperunt. ac ex Sicilia quidem a principio venit.

eorum vero qui Athenis orti sunt, Crates primus, cum iambicam formam abiecisset, coepit in universum facere sermones vel fabulas.

epopoeia igitur tragoediam usque ad solum hunc terminum conse- cuta consecuta est, quod sit cum sermone imitatio bonorum. in eo autem differunt, quod illa quidem metrum simplex habet, et enarratio est, praeterea longa est:

haec vero quam maxime conatur suh sub uno solis ambitu esse aut paulisper variare, cum epopoeia indefinita sit tempore.

atque in hoc differt, etiam si primis temporibus id simi liter faciebant, tum in tragoediis tum in epicis.

partes antem autem quaedam eaedem sunt, quaedam propriae tragoediae.

quare quicunque cognitionem habuerit tragoediae bonae et malae, habuerit etiam epicorum: quae enim epopoeia habet, insunt in tragoedia, quae vero ipsa, non omnino in epopoeia.

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.) — 5 focus

Komodia autem est, sicut diximus, imitatio peiorum quidem, non tamen secundum omnem malitiam, sed turpis est quod risile particula ;

nam risile est. peccatum aliquod et turpitudo non dolorosa et non corruptiva, puta mox risilis facies turpis aliqua et inversa sine dolore. —

Que quidem igitur tragodie transitiones, et per que facte sunt, non latuerunt ; komodia autem, quia non studebatur a principio, latuit. Et enim chorum komodorum tarde aliquando archon tradidit, sed ethellonte erant.

lam autem scemata quedam habente ipsa, qui dicuntur ipsius poete memorantur.

Quis autem larvas tradidit aut prologos aut multitudines ypocritarum et quecumque talia, ignoratum est. Fabulas autem facere Epicharmus et Formis. Quantum ad id quod a principio ex Sicilia venit,

eorum autem qui Athenis, Krates primus incepit dimissa iambica specie universaliter facere sermones et fabulas. —

Epopoiia quidem igitur tragodie usque ad solum metrum simplex habere et enuntiationem esse, hac differunt ;

adhuc autem longitudine, hec quidem quam maxime temptat sub una periodo solis esse aut modicum variat, epopoiia autem optima tempore, et hoc differt'

equidem primo similiter in tragodiis.

Propter quod quicumque de tragodia novit studiosa et prava, novit et de versibus ; que quidem enim habet epopoiia, existunt tragodie, que autem ipsi, non omnia in epopoiia.

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.) — 5 focus

‏ومذهب الهجا هو كما فلنا [هى] تشبيه ومحاكاة اكبر ٮووٮرا وتزيفا وليس فى كل شر ورذيلة لكن انما هى شى مستهزا فى باب ما هو قبيح وهى جزو ومستهزية

‏وذلك ان الاستهزا هو زلل ما وشناعة غير ذات صعوبة ولا فاسدة مثال ذلك وجه المستهزى هو من ساعته شنيع قبيح وهو منكر بلا صعٮٮه

‏فاما العاملون لصناعة المديح ومن اين نشوا وحدثوا فلست اظن انه يعما امرهم فى ذلك ولا يهمل ويسا فاما صناعة الهجا فانه لما كانت غير معتنا بها فانها انسيت وعما امرها منذ الابتدا وذلك ان صفوف الرقاصين والدستبند من اهل الهجا من حيث انما اطلق ذلك او الوالى على اثينية بلاخرة غير ان العمل بذلك انما كان مردود الى اختيارهم وارادتهم

‏من حيث كان لهم من جهة شكل ما ان يعدون ممن كان من سراٮها وكانوا يذكرون وبعض الوجوه الذين اعطوا اما تسليم ٮقدمة الكلام او من كثرة المرايين والمنفقين فان جميع من كان مثل هولا لم يعرفون

‏والعمل للقصص والخرافات هو ان ٮٮرل جميع [من كان مثل] الكلام الذى يكون بالاختصار ومنذ قديم الزمان ايضا عند ما اتى بها من سيقليا

‏وكان اول من انشاها واحدثها باثنية قراطس فان هذا ترك النوع المعروف بالامباقيا وبدا يعمل الكلام والقصص

‏والتشبه والمحاكاة للافاضل صارت لازمة لصناعة الشعر المسماة افى فى صناعة المديح الى معدن ما من الوزن مزمع القول وكون الوزن بسيط وان يكون عهود فان هذه مختلفة

‏وايضا فى الطول اما تلك فهى تريد خاصة ان تكون تحت دايرة واحدة شمسية او ان تتغير قط قليلا واما عمل الافى فهو غير محدود فى الزمان وبهذا هو مخالف

‏على انهم كانوا اولا يفعلون هذا فى المديحات على مثال واحد وفى جميع الافى

‏واما الاجزا اما بعضها فهذه ومنها هى خاصية بالمديحات

‏ولذلك كل من كان عارفا من صناعة المديح تلك التى هى حريصة وتلك التى هى مزيفة فانه يكون عارفا بجيمع هذه الصغار ايما منها يصلح العمل الافى فى صناعة المديح واما التى تصلح لهذه فليس جميعها يصلح لعمل الافى

Arabic Poetics (Abū Bishr Mattā; Tkatsch edition, unaligned) (OCR draft) Experimental (Tkatsch's edition of the medieval Arabic translation in its original, unaligned segmentation.) — 5 focus

‏من حيث كان لهم من جهة شكل ما ان يعدون ممن كان من سراٮها وكانوا يذكرون

‏وبعض الوجوه الذين اعطوا اما تسليم ٮقدمة الكلام او من كثرة المرايين والمنفقين فان جميع من كان مثل هولا لم يعرفون

‏والعمل للقصص والخرافات هو ان ٮٮرل جميع [من كان مثل] الكلام الذى يكون بالاختصار

‏ومنذ قديم الزمان ايضا عند ما اتى بها من سيقليا وكان اول من انشاها واحدثها باثنية قراطس فان هذا ترك النوع المعروف بالامباقيا وبدا يعمل الكلام والقصص

‏على انهم كانوا اولا يفعلون هذا فى المديحات على مثال واحد وفى جميع الافى

‏واما الاجزا اما بعضها فهذه ومنها هى خاصية بالمديحات

Commentary

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

4. mvp-aristotle-comment-171

1449b3 μνημονεύονται As soon as Comedy became a state institution, an official record of the successful poets must have been kept in the public archives.

4. mvp-aristotle-comment-172

ἀπέδωκεν : De sensu 2, 438 b 17

ἀποδιδόναι καὶ προσάπτειν ἕκαστον τῶν αἰσθητηρίων ἑνὶ τῶν στοιχείων

. In Plato Laws 2, 669 C

ἀποδοῦναι

and προσαρμόττειν are treated as synonyms.

4. mvp-aristotle-comment-173

προλόγους The term is defined in 12, 1452 b 19 . The introduction of a 'prologue' in Tragedy was sometimes said to have been due to Thespis: Themist. Or. 26 p. 382 Dind.

Θέσπις δὲ πρόλογον καὶ ῥῆσιν ἐξεῦρεν

. It was obviously a significant moment in the history of the Drama when the play, instead of beginning with a choral song, opened with a statement spoken by an actor.

4. mvp-aristotle-comment-174

1449b4 πλήθη : comp. the use of πλήθη in 4, 1449 a 28 and 21, 1458 a 13 . The plural is in keeping with that in προλόγους and μύθους in the context.

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

7. mvp-aristotle-comment-123

5.4 7. Mais depuis que la Comedie eut commencé à prendre quelque forme, on ſçait les Poëtes qui y ont travaillé.]¹

8. mvp-aristotle-comment-124

5.4 8. On ignore ceux qui ont employé les premiers les maſques, fait des prologues, & augmenté le nombre des Acteurs.]²

9. mvp-aristotle-comment-125

5.4 9. Fait des prologues.)³

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

39. mvp-aristotle-comment-39

NOTE 39.

5.4 P. 73. ITS POETS HAVE BEEN RECORDED.

The original is,

δι ΛΕΓΟΜΕΝΟΙ αυτης ποιηται μνημονευονται

: the only fair translation of which, I think, is,

"they who are called its Poets."

But as it seems not easy to find any reasonable meaning for this, I have not translated the word at all. The text is probably corrupt. Castelvetro conjectured, very ingeniously,

ΟΛΙΓΟΙ ΜΕΝ ΟΙ ΑΥΤΗΣ ποιηται

.—But this Greek,

όλιγοι οι ποιηται

, is, I fear, what the critics call,

πονηρκ κομματα

. I will venture to mention another conjecture that has occurred to me. The learned reader will dispose of it as he pleases. It seems not improbable that Aristotle wrote,

Ηδη δε σχηματα τινα αυτης ἐχεσης ΟΙΑ ΛΕΓΟΜΕΝ, ΟΙ αυτης, &c.

i. e.

"When it had acquired a certain form, such as we say,"

alluding to what he had said of Homer's suggesting, by his Margites, the true form, or idea, of Comedy, in which the ridiculous was substituted for the mere invective of the old Iambic, or Satyric form.

Τα της κωμωδίας ΣΧΗΜΑΤΑ πρωτο ὑπεδειξεν, ἐ ψογον, άλλα ΤΟ ΓΕΛΟΙΟΝ δραματοποιησας,

[cap. iv.] See, also, what he says immediately after, of the forms (

σχηματα

) of Tragedy and Comedy being

ἐντιμοτερα

, in higher credit and esteem, than those of the old satirical and encomiastic poems which preceded them: for this seems to accord with what he here says, that Comedy was neglected till it attained something of this its proper form, and aimed at its proper object, the ridiculous. The reader will see the connection :

Ἡ δε κωμῳδια, δια το ΜΗ ΣΠΟΥΔΑΖΕΣΘΑΙ ἐξ ἀρχης, ἐλαθεν. ——ΗΔΗ ΔΕ ΣΧΗΜΑΤΑ τίνα αυτης ἐχεσης ὉΙΑ ΛΕΓΟΜΕΝ, ΟΙ αυτης ποιηται μνημονευονται

.—This differs from the present reading only by the insertion of a single letter,

, which might easily have been omitted, from its resemblance to the

that follows.

40. mvp-aristotle-comment-40

NOTE 40.

5.4 P. 73. PROLOGUES.

We are not, I think, to look for a sense of the word

Προλογο

, as here applied to Comedy, different from that, in which it is applied, ch. xii.

[Transl. Part II. Sect. 10.]

to Tragedy. In both, it was that introductory part of the drama, the business of which was, to give the spectator, either directly, in its very outlet, or, more obliquely, in the course of it, so much information relative to the subject of the piece, as would enable him to follow the action without confusion. ¹ This we learn clearly from the following passage in that part of Aristotle's Rhetoric , where he explains and illustrates the oratorical exordium, by a comparison of it with that of the Epic Poem, and with the prologue of a drama. After giving, as examples, the openings of the Iliad and Odyssey, he goes on:—

και οι Τραγικοι δηλεσι περι το δραμα, καν μη ευθυς, ώσπερ Ευριπίδης, ἀλλ᾽ ἐν ΤΩΙ ΠΡΟΛΟΓΩ γε ΠΟΥ δηλοι, ώσπερ και Σοφοκλης ---ΚΑΙ Ἡ ΚΩΜΩΔΙΑ ΩΣΑΥΤΩΣ

[Rhet. iii. 14.] . ²—This clearly excludes the separate prologue, such as that of the Roman Comedy; and it is, also, irreconcilable with Dacier's idea, that by the prologue, in the passage we are considering, Aristotle meant what was afterwards called the Parabasis ; for this was merely an address from the Poet to the audience, through the mouth of the Chorus, occurring indifferently in any part of the play, and even, sometimes, at the end of it. ³ It seems to differ from the prologue of the Roman Comedy, and of the modern drama, only in its being delivered by the Chorus, and in the body of the piece.

Tragedy, according to the usual account of it, seems to have consisted, at first, only of two parts, the

Χορικον

, and

Επεισοδίον

, and to have begun and ended with those choral songs, which were then esteemed the essential part of Tragedy. But, afterwards, these scanty fables,

μικροι μυθοι

, as Aristotle calls them, were drawn out to their proper size , not only by introducing a greater variety of episodic incidents , but by prefixing to the first choral song, (or to the first speech of the entire chorus, according to Aristotle's account of the Parode, cap. xii.) the introductory part called

Προλογού

, and adding, after the last, the concluding part called

Έξοδος

. The case was probably the same with Comedy. The Phallic songs, from which it received its birth, were, I suppose, regarded originally as the essential part of the Comic drama, in the same manner as the Bacchic hymns were of the Tragic. Aristotle plainly speaks of Comedy, as having gradually received similar additions and improvements to those of Tragedy ; and, among these, that of the

Προλογά

. That such an introductory part, or act, which should be, as Aristotle expresses it,

δειγμα λογε

, and

ὁδοποιησις τῳ ἐπιοντι

, was indeed still more necessary to Comedy than to Tragedy, is obvious from the very nature of the former drama.

The nature and office of the Greek prologue, and its two different manners, are, I observe, very exactly expressed by Terence in the conclusion of his separate prologue to the Adelphi ; as they are also very well exemplified in the two first scenes. Dehinc, ne expectetis argumenta fabulæ. Senes qui primi venient, hi, partem aperient, In agendo partem oftendent. That is, as I understand it, part of the plot they will open to you in the way of direct narration, like the prologues of Euripides, (as, in the soliloquy of Mitio,) and part they will discover in a more oblique and dramatic way, in the scene of action and dialogue that follows:

"In agendo partem oftendent."

I ventured, in a former note, to say, that the Greek Tragedy appeared to me to have retained, with all its improvements, some traces of its origin. Something of this may be perceived, I think, in the very opening of many of the Greek dramas: but especially in those of Euripides , whose inartificial prologues of explanatory narration, addressed directly to the spectators, remind us of the state of Tragedy previous to the introduction of the dialogue ; when it consisted only of a story told between the acts, (if I may so speak,) of the Dithyrambic Chorus, which was then the main body and substance of the entertainment. When I read the opening of the Hecuba:

ΗΚΩ, νεκρων κευθμωνα και σκοτε πύλας Διπων, ἐν᾿ Αδης χωρις ᾠκισται θεων, ΠΟΛΥΔΩΡΟΣ, Εκαβης παις γεγως της Κίσσέως Πριαμέτε πατρα κ. τ. αλ.

Hec. v. 1. ⁴ —that of the Perfe of Æschylus :—

ΤΑΔΕ μεν Περσων των διχομενων Ελλαδ᾽ ἐις άναν πιστα καλείται.

Pers. v. 1. —or, even the—

ΑΥΤΟΣ ὧδ᾽ ἐληλυθα Ο ΠΑΣΙ ΚΛΕΙΝΟΣ ΟΙΔΙΠΟΥΣ ΚΑΛΟΥΜΕΝΟΣ

Oed. Tyr. v. 7. —of Sophocles , I cannot help thinking of the single actor of Thespis , announcing his own name and family, and telling the simple tale of his achievements or misfortunes.

This sort of direct explanation was afterwards, with much more propriety, taken from the persons of the drama, and consigned to the actors in a detached prologue, such as those of Plautus and Terence : a practice, which, if we did not know the attachment of Ben Jonson to every thing antient, we might suspect he meant to ridicule, by the pleasant use he has made of it in the prologue to his puppet-shew of Hero and Leander, in the Bartholomew Fair. "Gentles, that no longer your expectations may wander, Behold our chief actor, amorous Leander, With a great deal of cloth lapp'd about him like a scarf, For he yet serves his father, a dyer at Puddle-wharf," &c.

The next, and the last step, in the history of Prologues, was again to leave the argument, as it had been left by Sophocles, to the oblique information and gradual development of the action itself, and to make the separate prologue subservient to other purposes, unconnected with the subject of the drama. The worst of these purposes, and the greatest possible abuse of the term, is to be found in what is called the Prologue of the French Opera ; which is wholly composed of two ingredients, almost equally disgusting to a just poetical, or moral taste—allegory and adulation.

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

2. mvp-aristotle-comment-33

Ritter, cap. 5 § 2

χορόν κωμῳδῶν ὀψέ ποτε ὁ ἄρχων ἔδωκεν: primo non magni aestimatam esse comoediam inde docet, quod archon ad chorum comicum et conducendum et omni apparatu ornandum poetis comoedias in certamen commissuris sero demum choragum impensas praebentem ex civibus ditissimis 1) assignaverit. hoc est χορὸν διδόναι, poeta ipse χορὸν λαβεῖν dicitur, si fabula eius archonti probata in certamen admittitur, atque chorus ad eam docendam decernitur. vid. Aristophanes Ran. 94. Hesychius (correctus a Bergkio in Commentat. de reliquiis comoediae Atticae p. 30.) πῦρ πυρὶ ἔγχει· Κρατῖνος ἀπὸ διθυράμβου ἐν Βουκόλοις ἀρξάμενος, ἐπειδὴ χορὸν οὐκ ἔλαβε παρὰ τοῦ ἄρχοντος, παρ' οὗ ᾐτήκει. qui fabulam docendam archonti offert αἰτεῖν χορὸν dicitur. lege Cratini fragmentum ex Βουκόλοις servatum ab Athenaeo XIV. p. 638 F. ὃς οὐκ ἔδωκ᾽ αὐτοῦντι Σοφοκλέει χορόν, κτλ. Aristophan. Equit. 513. ἀλλ' ἐθελονταὶ ἦσαν: comoediarum scriptores aut ipsi aut eorum amici sumptus ad chorum docendum et instruendum diu fecerunt: publice sero tandem choragis datis adiuti sunt. Cra- 1) De choragia choragique officiis diligenter et accurate expositum est a Boeckhio in Oeconomia Atheniensium t. I. p. 487 sqq. conf. Schoemanni Antiquitates iuris publici Graecorum p. 324.tinus primus videtur fuisse qui fere chorum ab archonte acciperet, quamquam etiam huic interdum denegatum esse comperimus ex Hesychii verbis modo allatis. illa ipsa Βουκόλων comoedia cum daretur, κωμῳδοὺς ἐθελοντὰς fuisse iudico dissentiens hac in re a Bergkio 1. 1., qui Cratinum putat proximis Dionysiis, cum non multo ante repulsam tulisset, chorum impetravisse et hac opportunitate usum esse, ut omne irae virus in priorem istum archontem evomeret. ceterum nomen ἐθελονταi hoc loco propter praegressum χορὸν κωμῳδῶν non de ipsis poetis sed de κωμῳδοῖς sive χορευταῖς dictum intelligi debet, quamquam et ipsi poetae qui suis impensis chorum exornabant eo nomine designabantur. conf. Aelius Dionysius apud Eustathium p. 800, 30 (locum Tyrwhittus attulit) : ἐθελοντής ὁ αὐθαιρέτως τι ποιῶν. ἐκαλοῦντο δὲ καὶ ἐθελονταὶ διδάσκαλοι δραμάτων δηλαδή, ὅτε τις μὴ λαβών χορὸν μηδὲ χορηγητὴν ἔχων ἑαυτῷ τὰ πάντα παρεῖχε. οἱ λεγόμενοι αὐτῆς ποιηταί, h. e. qui a comoedia nomen invenerunt sive o ἱ κωμῳδοποιοί. pro rudibus prisci temporis comoedis iam comoediarum poetae exstiterunt. ipsum nomen κωμῳδοποιός ς. κωμωδιοποιός artem indicat.

Aristote Poetics 5.6