Aristote Poetics 6.5

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Cette imitation étant faite par des gens qui agiſſent, il s'enfuit de là neceſſairement, que la décoration de la Scene eſt en quelque ſorte une partie de la Tragedie, comme la melodie & le diſcours avec quoy on fait cette imitation.

Poetics. Aristote. Paris. 1692.

Current edition Experimental

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

Provisional text from uncorrected OCR; expect errors.

Editions (4)
Περὶ ποιητικῆς (OCR draft) (Aristotle, Poetics. Immanuel Bekker, editor, Aristotelis Opera, volume 2. Oxford: Oxford University Press, 1837.) — 6 focus
Περὶ ποιητικῆς (OCR draft) Perseus (Aristotle, De arte poetica liber. Rudolf Kassel, editor. Oxford: Clarendon Press, 1965. Reference edition for passage alignment.) — 6 focus
Poetics, Greek text (Ingram Bywater, 1909) (OCR draft) Experimental (Ingram Bywater's Greek text of Aristotle's Poetics, published in 1909.) — 6 focus
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.) — 6 focus
Translations (13)
Poetics (W. H. Fyfe) (OCR draft) Perseus (William Hamilton Fyfe's English translation of Aristotle's Poetics, Loeb Classical Library, 1939 printing.) — 6 focus
Arabic Poetics (Badawī edition, 1953) (OCR draft) (The ancient Arabic translation of Aristotle's Poetics in ʿAbd al-Raḥmān Badawī's 1953 edition.) — 6 focus
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.) — 6 focus
Aristotle on the Art of Poetry (Ingram Bywater, 1909) (OCR draft) Experimental (Ingram Bywater's English translation of Aristotle's Poetics, published in 1909.) — 6 focus
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.) — 6.5 focus
Now as Tragedy imitates by acting, the DECORATION 1 , in the first place, must necessarily be one of its parts: then the MELOPOEIA, (MUSIC 2 ,) and the DICTION; for these last include the means of tragic imitation.
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.) — 6.5 focus
As the imitation is performed by persons acting; in the first place it will be a necessary consequence that the decorations of the theatre must be considered as a principal part of tragedy and then the music and the language for these are the means of imitation.
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.) — 6.5 focus
But since they produce imitation by acting, in the first place the ornament of the spectacle will be a certain part of the tragedy, and in the next place the melopoeia and the diction. For by these they produce imitation.
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.) — 6 focus
Poetica d'Aristotile (Bernardo Segni, 1549) (OCR draft) Experimental (Bernardo Segni's 1549 Florentine Italian translation, aligned to the Kassel reference passage sequence.) — 6 focus
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.) — 6 focus
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.) — 6 focus
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.) — 6 focus
Arabic Poetics (Abū Bishr Mattā; Tkatsch edition, unaligned) (OCR draft) Experimental (Tkatsch's edition of the medieval Arabic translation in its original, unaligned segmentation.) — 6 focus

Commentary

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

5. mvp-aristotle-comment-210

πράττοντες ποιοῦνται τὴν μίμησιν scil. οἱ μιμούμενοι. Aristotle is thinking not of the poet but of the performers, who tell the story by acting it on the stage (v. on 3, 1448 a 23 ). πράττοντες recalls the idea of the δρώντων in the preceding definition of Tragedy.

5. mvp-aristotle-comment-211

1449b33 ὁ τῆς ὄψεως κόσμος ὄψις is usually rendered by 'spectaculum,' 'apparatus,' 'scenery,' or mise en scène; according to Twining it comprehends 'scenery, dresses—the whole visible apparatus of the theatre'. This explanation is too wide; the reference is merely to the visible appearance of the actors when got up in character by the σκευοποιός or costumier (see on 6, 1450 b 20 ). Aristotle accordingly more than once uses the word in a concrete sense in the plural, because each of the characters would require a special and distinctive make-up. The formula ὁ τῆς ὄψεως κόσμος implies that the visible make-up of the actors is of the nature of a decorative adjunct (v. on 4, 1449 a 29 ), a mere accessory to the poet's work (v. 6, 1450 b 16 ), on which he, as an artist, has no right to rely for his effects (v. 14, 1453 b 7 ). The term ὄψις like many other technical words in the Poetics was probably already familiar in this sense in the language of the theatre (comp. Festschrift Theodor Gomperz dargebracht p. 166 ).

5. mvp-aristotle-comment-212

μελοποιία (properly the making of μέλη) replaces the original term μέλος as a synonym for it; comp. 6, 1450 b 16 , and Pol. 8. 7, 1341 b 23
τὴν μουσικὴν ὁρῶμεν διὰ μελοποιίας καὶ ῥυθμῶν οὖσαν
.
1449b34

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

11. mvp-aristotle-comment-151

6.5 11. Cette imitation étant faite par des gens qui agiſſent, il s'enfuit de là neceſſairement, que la décoration de la Scene eſt en quelque ſorte une partie de la Tragedie.] 1

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

4. mvp-aristotle-comment-39

Ritter, cap. 6 § 4

ὁ τῆς ὄψεως κόσμος: quia personae agentes ipsae producuntur, et quidem homines gravitate conspicui ac fere claris natalibus orti, non solum scena opus est, sed co etiam apparatu quo viri graves et illustres instructi solent itaque non solum ὄψις sed ὄψεως κόσμος requiritur. etiam illud notandum est, ipsi Aristoteli ὄψιν vel ὄψεως κόσμον esse.videri necessariam tragoediae partem ( ἐξ ἀνάγκης τι μόριον τραγωδίας). aliter iudicavit huius operis interpolator infra §. 19 et c. 26, 3. vide quae ad illos locos monentur et ad c. 14, 1. εἶτα μελοποιία καὶ λέξις: postquam agentes in conspectum spectatorum venerunt, eos aut loqui aut canere oportet: eo enim imitationem peragunt. λέγω δὲ λέξιν μὲν αὐτὴν τὴν τῶν μέτρων σύνθεσιν: λέξις vulgo quamcumque dictionem denotat, sed hoc loco Aristoteles orationem modis musicis cantuque carentem sed numeris tamen adstrictam λέξιν nove vocavit. discrepat quod infra (§. 18) scripsit auctor personatus λέγω δέ, ὥσπερ πρότερον εἴρηται, λέξιν εἶναι τὴν διὰ τῆς ὀνομασίας ἑρμηνείαν. – μελοποιίαν δὲ ὃ τὴν δύναμιν φανερὰν ἔχει πᾶσαν: vocis μελοποιίας in aperto esse omnem potestatem sive significationem dicit: λέξιν enim modo posuit discedens a vulgari loquendi usu, μελοποιίαν autem intelligit eam quam vulgo dicere solent. πᾶσιν, non πᾶσαν, legendum esse Madius putavit.