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C'eſt pourquoy il n'eſt pas neceſſaire de s'attacher ſcrupuleuſement à ſuivre toûjours les fables receuës, d'où l'on tire ordinairement les ſujets des Tragedies. Cela ſeroit ridicule, car ce qui eſt connû, l'eſt ordinairement de peu de perſonnes, & cependant il divertit tout le monde également.

7.

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.) — 9 focus

Φανερὸν δὲ ἐκ τῶν εἰρημένων καὶ ὅτι οὐ τὸ τὰ γενόμενα λέγειν, τοῦτο ποιητοῦ ἔργον ἐστίν, ἀλλ᾿ οἷα ἂν γένοιτο, καὶ τὰ δυνατὰ κατὰ τὸ εἰκὸς ἢ τὸ ἀναγκαῖον.

Ὁ γὰρ ἱστορικὸς καὶ ὁ ποιητὴς οὐ τῷ ἢ ἔμμετρα λέγειν ἢ ἄμετρα διαφέρουσιν· εἴη γὰρ ἂν τὰ Ἡροδότου εἰς μέτρα τεθῆναι, καὶ οὐδὲν ἧττον ἂν εἴη ἱστορία τις μετὰ μέτρου ἢ ἄνευ μέτρων· ἀλλὰ τούτῳ διαφέρει, τῷ τὸν μὲν τὰ γενόμενα λέγειν, τὸν δὲ οἷα ἂν γένοιτο.

Διὸ καὶ φιλοσοφώτερον καὶ σπουδαιότερον ποίησις ἱστορίας ἐστίν· ἡ μὲν γὰρ ποίησις μᾶλλον τὰ καθόλου, ἡ δ᾿ ἱστορία τὰ καθ᾿ ἕκαστον λέγει.

Ἔστι δὲ καθόλου μέν, τῷ ποίῳ τὰ ποῖ᾿ ἄττα συμβαίνει λέγειν ἢ πράττειν κατὰ τὸ εἰκὸς ἢ τὸ ἀναγκαῖον, οὗ στοχάζεται ἡ ποίησις ὀνόματα ἐπιτιθεμένη· τὰ δὲ καθ᾿ ἕκαστον, τί Ἀλκιβιάδης ἔπραξεν ἢ τί ἔπαθεν.

Ἐπὶ μὲν οὖν τῆς κωμῳδίας ἤδη τοῦτο δῆλον γέγονεν· συστήσαντες γὰρ τὸν μῦθον διὰ τῶν εἰκότων οὕτω τὰ τυχόντα ὀνόματα ἐπιτιθέασι, καὶ οὐχ ὥσπερ οἱ ἰαμβοποιοὶ περὶ τῶν καθ᾿ ἕκαστον ποιοῦσιν.

Ἐπὶ δὲ τῆς τραγῳδίας τῶν γενομένων ὀνομάτων ἀντέχονται. Αἴτιον δ᾿ ὅτι πιθανόν ἐστι τὸ δυνατόν· τὰ μὲν οὖν μὴ γενόμενα οὔπω πιστεύομεν εἶναι δυνατά, τὰ δὲ γενόμενα φανερὸν ὅτι δυνατά· οὐ γὰρ ἂν ἐγένετο, εἰ ἦν ἀδύνατα.

Οὐ μὴν ἀλλὰ καὶ ἐν ταῖς τραγῳδίαις ἐνίαις μὲν ἓν ἢ δύο τῶν γνωρίμων ἐστὶν ὀνομάτων, τὰ δὲ ἄλλα πεποιημένα, ἐν ἐνίαις δὲ οὐθέν, οἷον ἐν τῷ Ἀγάθωνος ἄνθει· ὁμοίως γὰρ ἐν τούτῳ τά τε πράγματα καὶ τὰ ὀνόματα πεποίηται, καὶ οὐδὲν ἧττον εὐφραίνει.

Ὥστ᾿ οὐ πάντως εἶναι ζητητέον τῶν παραδεδομένων μύθων, περὶ οὓς αἱ τραγῳδίαι εἰσίν, ἀντέχεσθαι. Καὶ γὰρ γελοῖον τοῦτο ζητεῖν, ἐπεὶ καὶ τὰ γνώριμα ὀλίγοις γνώριμά ἐστιν, ἀλλ᾿ ὅμως εὐφραίνει πάντας.

Δῆλον οὖν ἐκ τούτων ὅτι τὸν ποιητὴν μᾶλλον τῶν μύθων εἶναι δεῖ ποιητὴν ἢ τῶν μέτρων, ὅσῳ ποιητὴς κατὰ τὴν μίμησίν ἐστι, μιμεῖται δὲ τὰς πράξεις.

Κἂν ἄρα συμβῇ γενόμενα ποιεῖν, οὐθὲν ἧττον ποιητής ἐστιν· τῶν γὰρ γενομένων ἔνια οὐδὲν κωλύει τοιαῦτα εἶναι οἷα ἂν εἰκὸς γενέσθαι καὶ δυνατὰ γενέσθαι, καθ᾿ ὃ ἐκεῖνος αὐτῶν ποιητής ἐστιν.

Τῶν δὲ ἁπλῶν μύθων καὶ πράξεων αἱ ἐπεισοδιώδεις εἰσὶ χείρισται. Λέγω δ᾿ ἐπεισοδιώδη μῦθον, ἐν ᾧ τὰ ἐπεισόδια μετ᾿ ἄλληλα οὔτ᾿ εἰκὸς οὔτ᾿ ἀνάγκη εἶναι.

Τοιαῦται δὲ ποιοῦνται ὑπὸ μὲν τῶν φαύλων ποιητῶν δι᾿ αὐτούς, ὑπὸ δὲ τῶν ἀγαθῶν διὰ τοὺς ὑποκριτάς· ἀγωνίσματα γὰρ ποιοῦντες, καὶ παρὰ τὴν δύναμιν παρατείναντες μῦθον, πολλάκις διαστρέφειν ἀναγκάζονται τὸ ἐφεξῆς.

Ἐπεὶ δὲ οὐ μόνον τελείας ἐστὶ πράξεως ἡ μίμησις ἀλλὰ καὶ φοβερῶν καὶ ἐλεεινῶν, ταῦτα δὲ γίνεται καὶ μάλιστα, καὶ μᾶλλον ὅταν γένηται παρὰ τὴν δόξαν, δι᾿ ἄλληλα·

τὸ γὰρ θαυμαστὸν οὕτως ἕξει μᾶλλον ἢ εἰ ἀπὸ τοῦ αὐτομάτου καὶ τῆς τύχης, ἐπεὶ καὶ τῶν ἀπὸ τύχης ταῦτα θαυμασιώτατα δοκεῖ, ὅσα ὥσπερ ἐπίτηδες φαίνεται γεγονέναι, οἷον ὡς ὁ ἀνδριὰς ὁ τοῦ Μίτυος ἐν Ἄργει ἀπέκτεινε τὸν αἴτιον τοῦ θανάτου τῷ Μίτυϊ, θεωροῦντι ἐμπεσών· ἔοικε γὰρ τὰ τοιαῦτα οὐκ εἰκῇ γενέσθαι,

ὥστε ἀνάγκη τοὺς τοιούτους εἶναι καλλίους μύθους.

Περὶ ποιητικῆς (OCR draft) Perseus (Aristotle, De arte poetica liber. Rudolf Kassel, editor. Oxford: Clarendon Press, 1965. Reference edition for passage alignment.) — 9 focus

φανερὸν δὲ ἐκ τῶν εἰρημένων καὶ ὅτι οὐ τὸ τὰ γενόμενα λέγειν, τοῦτο ποιητοῦ ἔργον ἐστίν, ἀλλ’ οἷα ἂν γένοιτο καὶ τὰ δυνατὰ κατὰ τὸ εἰκὸς ἢ τὸ ἀναγκαῖον.

ὁ γὰρ 1451b 1 ἱστορικὸς καὶ ὁ ποιητὴς οὐ τῷ ἢ ἔμμετρα λέγειν ἢ ἄμετρα διαφέρουσιν (εἴη γὰρ ἂν τὰ Ἡροδότου εἰς μέτρα τεθῆναι καὶ οὐδὲν ἧττον ἂν εἴη ἱστορία τις μετὰ μέτρου ἢ ἄνευ μέτρων)· ἀλλὰ τούτῳ διαφέρει, τῷ τὸν μὲν τὰ γενόμενα 5 λέγειν, τὸν δὲ οἷα ἂν γένοιτο.

διὸ καὶ φιλοσοφώτερον καὶ σπουδαιότερον ποίησις ἱστορίας ἐστίν· ἡ μὲν γὰρ ποίησις μᾶλλον τὰ καθόλου, ἡ δ’ ἱστορία τὰ καθ’ ἕκαστον λέγει.

ἔστιν δὲ καθόλου μέν, τῷ ποίῳ τὰ ποῖα ἄττα συμβαίνει λέγειν ἢ πράττειν κατὰ τὸ εἰκὸς ἢ τὸ ἀναγκαῖον, οὗ 10 στοχάζεται ἡ ποίησις ὀνόματα ἐπιτιθεμένη· τὸ δὲ καθ’ ἕκαστον, τί Ἀλκιβιάδης ἔπραξεν ἢ τί ἔπαθεν.

ἐπὶ μὲν οὖν τῆς κωμῳδίας ἤδη τοῦτο δῆλον γέγονεν· συστήσαντες γὰρ τὸν μῦθον διὰ τῶν εἰκότων οὕτω τὰ τυχόντα ὀνόματα ὑποτιθέασιν, καὶ οὐχ ὥσπερ οἱ ἰαμβοποιοὶ περὶ τὸν καθ’ ἕκαστον 15 ποιοῦσιν.

ἐπὶ δὲ τῆς τραγῳδίας τῶν γενομένων ὀνομάτων ἀντέχονται. αἴτιον δ’ ὅτι πιθανόν ἐστι τὸ δυνατόν· τὰ μὲν οὖν μὴ γενόμενα οὔπω πιστεύομεν εἶναι δυνατά, τὰ δὲ γενόμενα φανερὸν ὅτι δυνατά· οὐ γὰρ ἂν ἐγένετο, εἰ ἦν ἀδύνατα.

οὐ μὴν ἀλλὰ καὶ ἐν ταῖς τραγῳδίαις ἐν ἐνίαις μὲν ἓν 20 ἢ δύο τῶν γνωρίμων ἐστὶν ὀνομάτων, τὰ δὲ ἄλλα πεποιημένα, ἐν ἐνίαις δὲ οὐθέν, οἷον ἐν τῷ Ἀγάθωνος Ἀνθεῖ· ὁμοίως γὰρ ἐν τούτῳ τά τε πράγματα καὶ τὰ ὀνόματα πεποίηται, καὶ οὐδὲν ἧττον εὐφραίνει.

ὥστ’ οὐ πάντως εἶναι ζητητέον τῶν παραδεδομένων μύθων, περὶ οὓς αἱ τραγῳδίαι εἰσίν, 25 ἀντέχεσθαι. καὶ γὰρ γελοῖον τοῦτο ζητεῖν, ἐπεὶ καὶ τὰ γνώριμα ὀλίγοις γνώριμά ἐστιν, ἀλλ’ ὅμως εὐφραίνει πάντας.

δῆλον οὖν ἐκ τούτων ὅτι τὸν ποιητὴν μᾶλλον τῶν μύθων εἶναι δεῖ ποιητὴν ἢ τῶν μέτρων, ὅσῳ ποιητὴς κατὰ τὴν μίμησίν ἐστιν, μιμεῖται δὲ τὰς πράξεις.

κἂν ἄρα συμβῇ 30 γενόμενα ποιεῖν, οὐθὲν ἧττον ποιητής ἐστι· τῶν γὰρ γενομένων ἔνια οὐδὲν κωλύει τοιαῦτα εἶναι οἷα ἂν εἰκὸς γενέσθαι καὶ δυνατὰ γενέσθαι, καθ’ ὃ ἐκεῖνος αὐτῶν ποιητής ἐστιν.

τῶν δὲ ἁπλῶν μύθων καὶ πράξεων αἱ ἐπεισοδιώδεις εἰσὶν χείρισται· λέγω δ’ ἐπεισοδιώδη μῦθον ἐν ᾧ τὰ 35 ἐπεισόδια μετ’ ἄλληλα οὔτ’ εἰκὸς οὔτ’ ἀνάγκη εἶναι.

τοιαῦται δὲ ποιοῦνται ὑπὸ μὲν τῶν φαύλων ποιητῶν δι’ αὐτούς, ὑπὸ δὲ τῶν ἀγαθῶν διὰ τοὺς ὑποκριτάς· ἀγωνίσματα γὰρ ποιοῦντες καὶ παρὰ τὴν δύναμιν παρατείνοντες τὸν μῦθον 1452a 1 πολλάκις διαστρέφειν ἀναγκάζονται τὸ ἐφεξῆς.

ἐπεὶ δὲ οὐ 2 μόνον τελείας ἐστὶ πράξεως ἡ μίμησις ἀλλὰ καὶ φοβερῶν καὶ ἐλεεινῶν, ταῦτα δὲ γίνεται καὶ μάλιστα καὶ μᾶλλον ὅταν γένηται παρὰ τὴν δόξαν δι’ ἄλληλα·

τὸ γὰρ 5 θαυμαστὸν οὕτως ἕξει μᾶλλον ἢ εἰ ἀπὸ τοῦ αὐτομάτου καὶ τῆς τύχης, ἐπεὶ καὶ τῶν ἀπὸ τύχης ταῦτα θαυμασιώτατα δοκεῖ ὅσα ὥσπερ ἐπίτηδες φαίνεται γεγονέναι, οἷον ὡς ὁ ἀνδριὰς ὁ τοῦ Μίτυος ἐν Ἄργει ἀπέκτεινεν τὸν αἴτιον τοῦ θανάτου τῷ Μίτυι, θεωροῦντι ἐμπεσών· ἔοικε γὰρ τὰ τοιαῦτα 10 οὐκ εἰκῇ γίνεσθαι·

ὥστε ἀνάγκη τοὺς τοιούτους εἶναι καλλίους μύθους.

Poetics, Greek text (Ingram Bywater, 1909) (OCR draft) Experimental (Ingram Bywater's Greek text of Aristotle's Poetics, published in 1909.) — 9 focus

Φανερὸν δὲ ἐκ τῶν εἰρημένων καὶ ὅτι οὐ τὸ τὰ γενόμενα
λέγειν, τοῦτο ποιητοῦ ἔργον ἐστίν, ἀλλ᾽ οἷα ἂν γένοιτο
καὶ τὰ δυνατὰ κατὰ τὸ εἰκὸς ἢ τὸ ἀναγκαῖον.

ὁ γὰρ ἱστορικὸς καὶ ὁ ποιητὴς οὐ τῷ ἢ ἔμμετρα λέγειν ἢ ἄμετρα
διαφέρουσιν (εἴη γὰρ ἂν τὰ Ἡροδότου εἰς μέτρα τεθῆναι
καὶ οὐδὲν ἧττον ἂν εἴη ἱστορία τις μετὰ μέτρου ἢ ἄνευ μέτρων)·
ἀλλὰ τούτῳ διαφέρει, τῷ τὸν μὲν τὰ γενόμενα λέγειν,
τὸν δὲ οἷα ἂν γένοιτο.

διὸ καὶ φιλοσοφώτερον καὶ
σπουδαιότερον ποίησις ἱστορίας ἐστίν· ἡ μὲν γὰρ ποίησις
μᾶλλον τὰ καθόλου, ἡ δ᾽ ἱστορία τὰ καθ᾽ ἕκαστον λέγει.

ἔστιν δὲ καθόλου μέν, τῷ ποίῳ τὰ ποῖα ἄττα συμβαίνει
λέγειν ἢ πράττειν κατὰ τὸ εἰκὸς ἢ τὸ ἀναγκαῖον, οὗ στοχάζεται
ἡ ποίησις ὀνόματα ἐπιτιθεμένη· τὸ δὲ καθ᾽ ἕκαστον,
τί Ἀλκιβιάδης ἔπραξεν ἢ τί ἔπαθεν.

ἐπὶ μὲν οὖν τῆς
κωμῳδίας ἤδη τοῦτο δῆλον γέγονεν· συστήσαντες γὰρ τὸν
μῦθον διὰ τῶν εἰκότων οὕτω τὰ τυχόντα ὀνόματα ὑποτιθέασιν,
καὶ οὐχ ὥσπερ οἱ ἰαμβοποιοὶ περὶ τὸν καθ᾽ ἕκαστον
ποιοῦσιν.

ἐπὶ δὲ τῆς τραγῳδίας τῶν γενομένων ὀνομάτων
ἀντέχονται. αἴτιον δ᾽ ὅτι πιθανόν ἐστι τὸ δυνατόν· τὰ μὲν
οὖν μὴ γενόμενα οὔπω πιστεύομεν εἶναι δυνατά, τὰ δὲ γε-
νόμενα φανερὸν ὅτι δυνατά· οὐ γὰρ ἂν ἐγένετο, εἰ ἦν ἀδύνατα.

οὐ μὴν ἀλλὰ καὶ ἐν ταῖς τραγῳδίαις ἐνίαις μὲν ἓν
ἢ δύο τῶν γνωρίμων ἐστὶν ὀνομάτων, τὰ δὲ ἄλλα πεποιημένα,
ἐν ἐνίαις δὲ οὐθέν, οἷον ἐν τῷ Ἀγάθωνος Ἀνθεῖ· ὁμοίως
γὰρ ἐν τούτῳ τά τε πράγματα καὶ τὰ ὀνόματα πεποίηται,
καὶ οὐδὲν ἧττον εὐφραίνει.

ὥστ᾽ οὐ πάντως ἂν εἴη ζητητέον
τῶν παραδεδομένων μύθων, περὶ οὓς αἱ τραγῳδίαι εἰσίν, ἀντέχεσθαι.

καὶ γὰρ γελοῖον τοῦτο ζητεῖν, ἐπεὶ καὶ τὰ γνώριμα
ὀλίγοις γνώριμά ἐστιν, ἀλλ᾽ ὅμως εὐφραίνει πάντας.

δῆλον οὖν ἐκ τούτων ὅτι τὸν ποιητὴν μᾶλλον τῶν μύθων
εἶναι δεῖ ποιητὴν ἢ τῶν μέτρων, ὅσῳ ποιητὴς κατὰ τὴν μίμησίν
ἐστιν, μιμεῖται δὲ τὰς πράξεις.

κἂν ἄρα συμβῇ γενόμενα
ποιεῖν, οὐθὲν ἧττον ποιητής ἐστι· τῶν γὰρ γενομένων
ἔνια οὐδὲν κωλύει τοιαῦτα εἶναι οἷα ἂν εἰκὸς γενέσθαι καὶ
δυνατὰ γενέσθαι, καθ᾽ ὃ ἐκεῖνος αὐτῶν ποιητής ἐστιν.

τῶν δὲ ἁπλῶν μύθων καὶ πράξεων αἱ ἐπεισοδιώδεις
εἰσὶν χείρισται· λέγω δ᾽ ἐπεισοδιώδη μῦθον ἐν ᾧ τὰ ἐπεισόδια
μετ᾽ ἄλληλα οὔτ᾽ εἰκὸς οὔτ᾽ ἀνάγκη εἶναι.

τοιαῦται
δὲ ποιοῦνται ὑπὸ μὲν τῶν φαύλων ποιητῶν δι᾽ αὑτούς, ὑπὸ
δὲ τῶν ἀγαθῶν διὰ τοὺς ὑποκριτάς· ἀγωνίσματα γὰρ
ποιοῦντες καὶ παρὰ τὴν δύναμιν παρατείναντες μῦθον πολλάκις
διαστρέφειν ἀναγκάζονται τὸ ἐφεξῆς.

ἐπεὶ δὲ οὐ
μόνον τελείας ἐστὶ πράξεως ἡ μίμησις ἀλλὰ καὶ φοβερῶν
καὶ ἐλεεινῶν, ταῦτα δὲ γίνεται καὶ μάλιστα καὶ μᾶλλον
ὅταν γένηται παρὰ τὴν δόξαν δι᾽ ἄλληλα·

τὸ γὰρ θαυμαστὸν
οὕτως ἕξει μᾶλλον ἢ εἰ ἀπὸ τοῦ αὐτομάτου καὶ
τῆς τύχης, ἐπεὶ καὶ τῶν ἀπὸ τύχης ταῦτα θαυμασιώτατα
δοκεῖ ὅσα ὥσπερ ἐπίτηδες φαίνεται γεγονέναι, οἷον ὡς ὁ
ἀνδριὰς ὁ τοῦ Μίτυος ἐν Ἄργει ἀπέκτεινεν τὸν αἴτιον τοῦ
θανάτου τῷ Μίτυι, θεωροῦντι ἐμπεσών· ἔοικε γὰρ τὰ τοιαῦτα
οὐκ εἰκῇ γίνεσθαι·

ὥστε ἀνάγκη τοὺς τοιούτους εἶναι καλλίους
μύθους.

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.) — 9 focus

Φανερὸν δὲ ἐκ τῶν εἰρημένων καὶ ὅτι οὐ τὸ τὰ γενόμενα λέγειν, τοῦτο ποιητοῦ ἔργον ἐστίν, ἀλλ᾽ οἷα ἂν γένοιτο, καὶ τὰ δυνατὰ κατὰ τὸ εἰκὸς ἢ τὸ ἀναγκαῖον.

ὁ γὰρ ἱστορικὸς καὶ ὁ ποιητὴς οὐ τῷ ἢ ἔμμετρα λέγειν ἢ ἄμετρα διαφέρουσιν· εἴη γὰρ ἂν τὰ Ηροδότου εἰς μέτρα τεθῆναι, καὶ οὐδὲν ἧττον ἂν εἴη ἱστορία τις μετὰ μέτρου ἢ ἄνευ μέτρων· ἀλλὰ τούτῳ διαφέρει, τῷ τὸν μὲν τὰ γενόμενα λέγειν, τὸν δὲ οἷα ἂν γένοιτο.

διὸ καὶ φιλοσοφώτερον καὶ σπουδαιότερον ποίησις ἱστορίας ἐστίν· ἡ μὲν γὰρ ποίησις μᾶλλον τὰ καθόλου, ἡ δ᾽ ἱστορία τὰ καθ' ἕκαστον λέγει.

ἔστι δὲ καθόλου μέν, τῷ ποίῳ τὰ ποῖ᾽ ἄττα συμβαίνει λέγειν ἢ πράττειν κατὰ τὸ εἰκὸς ἢ τὸ ἀναγκαῖον [, οὗ στοχάζεται ἡ ποίησις ὀνόματα ἐπιτιθεμένη], τὰ δὲ καθ' ἕκαστον, τί Ἀλκιβιάδης ἔπραξεν ἢ τί ἔπαθεν.

ἐπὶ μὲν οὖν τῆς κωμῳδίας ἤδη τοῦτο δῆλον γέγονεν· συστήσαντες γὰρ τὸν μῦθον διὰ τῶν εἰκότων οὕτω τὰ τυχόντα ὀνόματα ὑποτ¹ιθέασιν, καὶ οὐχ ὥσπερ οἱ ἰαμβοποιοὶ περὶ τῶν καθ᾿ ἕκαστον ποιοῦσιν.

ἐπὶ δὲ τῆς τραγῳδίας τῶν γενομένων ὀνομάτων ἀντέχονται. αἴτιον δ' ὅτι πιθανόν ἐστι τὸ δυνατόν· τὰ μὲν οὖν μὴ γενόμενα οὔπω πιστεύομεν εἶναι δυνατά, τὰ δὲ γενόμενα φανερὸν ὅτι δυνατά· οὐ γὰρ ἂν ἐγένετο, εἰ ἦν ἀδύνατα.

οὐ μὴν ἀλλὰ καὶ ἐν ταῖς τραγῳδίαις ἐνίαις μὲν ἓν ἢ δύο τῶν γνωρίμων ἐστὶν ὀνομάτων, τὰ δὲ ἄλλα πεποιημένα, ἐν ἐνίαις δὲ οὐθέν, οἷον ἐν τῷ Ἀγάθωνος ῎Ανθει· ὁμοίως γὰρ ἐν τούτῳ τά τε πράγματα καὶ τὰ ὀνόματα πεποίηται, καὶ οὐδὲν ἧττον εὐφραίνει.

ὥστ᾽ οὐ πάντως εἶναι ζητητέον τῶν παραδεδομένων μύθων, περὶ οὓς αἱ τραγῳδίαι εἰσίν, ἀντέχεσθαι. καὶ γὰρ γελοῖον τοῦτο ζητεῖν, ἐπεὶ καὶ τὰ γνώριμα ὀλίγοις γνώριμά ἐστιν, ἀλλ᾽ ὅμως εὐφραίνει πάντας.

δῆλον οὖν ἐκ τούτων ὅτι τὸν ποιητὴν μᾶλλον τῶν μύθων εἶναι δεῖ ποιητὴν ἢ τῶν μέτρων, ὅσῳ ποιητὴς κατὰ τὴν μίμησίν ἐστι, μιμεῖται δὲ τὰς πράξεις.

κἂν ἄρα συμβῇ γενόμενα ποιεῖν, οὐθὲν ἧττον ποιητής ἐστιν· τῶν γὰρ γενομένων ἔνια οὐδὲν κωλύει τοιαῦτα εἶναι οἷα ἂν εἰκὸς γενέσθαι καὶ δυνατὰ γενέσθαι, καθ' ὃ ἐκεῖνος αὐτῶν ποιητής ἐστιν.

τῶν δὲ ἁπλῶν μύθων καὶ πράξεων αἱ ἐπεισοδιώδεις εἰσὶ χείρισται. λέγω δ᾽ ἐπεισοδιώδη μῦθον, ἐν ᾧ τὰ ἐπεισύδια μετ᾿ ἄλληλα οὔτ᾽ εἰκὸς οὔτ᾽ ἀνάγκη εἶναι.

τοιαῦται δὲ ποιοῦνται ὑπὸ μὲν τῶν φαύλων ποιητῶν δι᾽ αὐτούς, ὑπὸ δὲ τῶν ἀγαθῶν διὰ τοὺς ὑποκριτάς· ἀγωνίσματα γὰρ ποιοῦντες, καὶ παρὰ τὴν δύναμιν παρατείναντες μῦθον, πολλάκις διαστρέφειν ἀναγκάζονται τὸ ἐφεξῆς.

ἐπεὶ δὲ οὐ μόνον τελείας ἐστὶ πράξεως ἡ μίμησις ἀλλὰ καὶ φοβερῶν καὶ ἐλεεινῶν, ταῦτα δὲ γίνεται [καὶ μάλιστα καὶ μᾶλλον, ὅταν γένηται παρὰ τὴν δόξαν,] δι᾽ ἄλληλα * * *.

τὸ γὰρ θαυμαστὸν οὕτως ἕξει μᾶλλον ἢ εἰ ἀπὸ τοῦ αὐτομάτου καὶ τῆς τύχης, ἐπεὶ καὶ τῶν ἀπὸ τύχης ταῦτα θαυμασιώτατα δοκεῖ ὅσα ὥσπερ ἐπίτηδες φαίνεται γεγονέναι, οἷον ὡς ὁ ἀνδριὰς ὁ τοῦ Μίτυος ἐν ῎Αργει ἀπέκτεινε τὸν αἴτιον τοῦ θανάτου τῷ Μίτ²υϊ, θεωροῦντι ἐμπεσών· ἔοικε γὰρ τὰ τοιαῦτα οὐκ εἰκῇ γενέσθαι,

ὥστε ἀνάγκη τοὺς τοιούτους εἶναι καλλίους μύθους.

Translations (13)

Poetics (W. H. Fyfe) (OCR draft) Perseus (William Hamilton Fyfe's English translation of Aristotle's Poetics, Loeb Classical Library, 1939 printing.) — 9 focus

What we have said already makes it further clear that a poet’s object is not to tell what actually happened but what could and would happen either probably or inevitably.

The difference between a historian and a poet is not that one writes in prose and the other in verse— 1451b 1 indeed the writings of Herodotus could be put into verse and yet would still be a kind of history, whether written in metre or not. The real difference is this, that one tells what happened and the other what might happen.

For this reason poetry is something more scientific and serious than history, because poetry tends to give general truths while history gives particular facts.

By a general truth I mean the sort of thing that a certain type of man will do or say either probably or necessarily. That is what poetry aims at in giving names to the characters.¹ A particular fact is what Alcibiades did or what was done to him.

In the case of comedy this has now become obvious, for comedians construct their plots out of probable incidents and then put in any names that occur to them. They do not, like the iambic satirists, write about individuals.²

In tragedy, on the other hand, they keep to real names. The reason is that what is possible carries conviction. If a thing has not happened, we do not yet believe in its possibility, but what has happened is obviously possible. Had it been impossible, it would not have happened.

20 It is true that in some tragedies one or two of the names are familiar and the rest invented; indeed in some they are all invented, as for instance in Agathon’s Antheus,³ where both the incidents and the names are invented and yet it is none the less a favourite.

One need not therefore endeavor invariably to keep to the traditional stories with which our tragedies deal. Indeed it would be absurd to do that, seeing that the familiar themes are familiar only to a few and yet please all.⁴

It is clear, then, from what we have said that the poet must be a maker not of verses but of stories, since he is a poet in virtue of his representation, and what he represents is action.

Even supposing he represents what has actually happened, he is none the less a poet, for there is nothing to prevent some actual occurrences being the sort of thing that would probably or inevitably happen, and it is in virtue of that that he is their maker.

Of simple⁵ plots and actions the worst are those which are episodic. By this I mean a plot in which the episodes do not follow each other probably or inevitably.

Bad poets write such plays because they cannot help it, and good poets write them to please the actors. Writing as they do for competition, they often strain a plot beyond its capacity and are thus obliged to sacrifice continuity.⁶

But this is bad work, 1452a 1 since tragedy represents not only a complete action but also incidents that cause fear and pity, and this happens most of all when the incidents are unexpected and yet one is a consequence of the other.⁷

For in that way the incidents will cause more amazement than if they happened mechanically and accidentally, since the most amazing accidental occurrences are those which seem to have been providential, for instance when the statue of Mitys at Argos killed the man who caused Mitys’s death by falling on him at a festival. Such events do not seem to be mere accidents.

So such plots as these must necessarily be the best.

Arabic Poetics (Badawī edition, 1953) (OCR draft) (The ancient Arabic translation of Aristotle's Poetics in ʿAbd al-Raḥmān Badawī's 1953 edition.) — 9 focus

〈الشعر أكبر فلسفة من التاريخ وتطبيق ذلك على الملهاة والمأساة〉

وظاهر مما قيل أن التى كانت مثلاً ليست من فعل الشاعر، لكن ذلك إنما فى مثل أى شىء يكون إما ما هو الممكن من ذلك على الحقيقة، وإما التى تدعو الضرورة إليه: وذلك أن الذى يثبت الأحاديث والقصص والشاعر أيضاً، وإن كانا يتكلمان هكذا — بالوزن وبغير وزن هما مختلفان (وذلك أن لايرودوطس أن يكون بالوزن، وليس لما يدون ويكتب أن يكون مع الوزن أو بغير وزن بأقل) لكن هذا يخالف بأن ذاك لقول التى تقال، وأما هذا فأى الأشياء كانت. ولذلك صارت صناعة الشعر هى أكثر فلسفية وأكثر فى باب ما هى حريصة من إيسطوريا الأمور من قبل أن صناعة الشعر هى كلية أكثر، وأما إيسطوريا فانما تقول وتخبر بالجزئيات، وهى بالكلية التى فى الكيفية. والكيفيات كل التى كأنها يعرض أن تقال أو تعمل: إما التى بالحقيقة، وإما تلك التى هى ضرورية، كالتوهم الذى يكون فى صناعة الشعر عندما تكون صناعة الشعر نفسها تضع الأسماء [فى]؛ فالوحيدات والجزئيات مثلا هى أن يقال ماذا فعل ألقيبيادس.

أما الذى انفعل ففى التى تقال بصناعة الهجاء، فهذا قد ظهر هذا؛ وذلك أنه عندما ركبوا الخرافة بالتى كانت تجب ليس أى الأسماء التى كانوا وضعوا، ولا كما يعملون عند الوحيدات والجزئيات الذى فى إيامبو...

من قبل أن فى صناعة المديح كانوا يتمسكون بالأسماء التى كانت؛ والسبب فى هذا هو أن الحال الممكنة هى مقنعة والتى لم تكن بعد فلسنا نصدق أنها يمكن أن تكون؛ وأما التى قد كانت توجد إن كان قد كانت موجودة، فلا يمكن ألا تكون.

وليس ذلك إلا فى المدائح الأفراد والبعض، وهى التى منها فى الواحدة اثنتين من التى هى من الذين هم معروفون هو لهذه التى فعل لأشياء أخر اسم واحد، وأما فى الأفراد والبعض فولا شىء بمنزلة من يضع أن الخير هو واحد، وأن فى ذلك الأمر والاسم انفعالاً أو فعلا على مثال و[أحد، فليس] الانتفاع بهما بالأقل...

حتى لا ينبغى أن يطلب لا محالة المفيد للخرافات التى يكون نحوها المدائح أن يوجد بها؛ وذلك أن الطلب لهذا هو مما يضحك منه، من قبل أن الدلائل موجودة غير أن يسر الكل.

فظاهر من هذه أن الشاعر خاصةً يكون شاعر الخرافات والأوزان بمبلغ ما يكون شاعراً بالتشبيه والمحاكاة؛ وهو يشبه ويحاكى الأعمال والأفعال الإرادية وإن عرض أن يعمل شىء فى التى قد كانت، فليس هو فى ذلك شاعراً بالدون، من قبل أن التى كانت: منها مالا مانع يمنع يكون حالها فى ذلك مثلا كالتى هى موضوعة بأن توجد، كحال ذلك الذى هو شاعرها.

وأما للخرافات المعلولة فالأفعال الإرادية أيضاً معلولة. وأعنى بالخرافة المدخولة المعلولة تلك التى المعلولين على الاضطرار واحد بعد آخر ليس يكون من الضرورة ولا على طريق الحق. ومثل 〈هذه〉 يعمل أما من الشعر فمن المزورين المزيفين منهم بسببها، وأما الشعراء الأخيار فيسبب المنافقين والمرائين؛ وأما 〈وعند ما يعمـ〉ـلون الجهادات فليس يمتدون بالخرافة فوق الطاقة، وأحياناً وكثيراً ما قد يضطرون إلى أن يردوا ويعدوا الخرافة التى تبقى.

من قبل أن التشبيه والمحاكاة إنما هى لعمل مستكمل فقط، لكنها للأشياء المخوفة المهولة وللأشياء الحزينة التوجيد، وهذه تكون خاصية أكثر مما تكون من الثناء وبعض بالبعض؛ وذلك أن التى هى عجيبة فهكذا فليكن حالها خاصة أكثر من تلك التى هى من تلقاء نفسها ومما يتفق، من قبل أن التى هى من الاتفاق قد يظن بها هى أيضاً أنها عجيبة أكثر بمبلغ ما نرى أنها تكون دفعة بمنزلة حال التى لاندراس بن ميطاوس، وهى أنه كان قتل فى أرغوس؛ لذلك الذى كان سبب [مو]ميتة مياطياس عندما رآه وقد سقط، وذلك أنه يشتبه فى هذه الأشياء التى تجرى هذا المجرى أنها ليس تكون باطلا ولا جزافاً حتى يلزم ضرورةً أن تكون هذه التى هى على هذا النحو خرافات جيدة.

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.) — 9 focus

It is, moreover, evident from what has been said,
that it is not the function of the poet to relate what
has happened, but what may happen, — what is possible
according to the law of probability or necessity.

The
poet and the historian differ not by writing in verse or
in prose. The work of Herodotus might be put into
verse, and it would still be a species of history, with
metre no less than without it. The true difference is
that one relates what has happened, the other what may
happen.

Poetry, therefore, is a more philosophical and
a higher thing than history: for poetry tends to express
the universal, history the particular.

By the universal
I mean how a person of a certain type will on occasion
speak or act, according to the law of probability or
necessity; and it is this universality at which poetry
aims in the names she attaches to the personages.

The
particular is — for example — what Alcibiades did or
suffered. In Comedy this is already apparent: for here
the poet first constructs the plot on the lines of prob-
ability, and then inserts characteristic names; — unlike
the lampooners who write about particular individuals.

But tragedians still keep to real names, the reason being
that what is possible is credible: what has not happened
we do not at once feel sure to be possible: but what has
happened is manifestly possible: otherwise it would not
have happened.

Still there are even some tragedies in
which there are only one or two well known names, the rest
being fictitious. In others, none are well known, — as
in Agathon's Antheus, where incidents and names alike
are fictitious, and yet they give none the less pleasure.

We must not, therefore, at all costs keep to the received
legends, which are the usual subjects of Tragedy.

Indeed,
it would be absurd to attempt it; for even subjects that
are known are known only to a few, and yet give pleasure
to all. It clearly follows that the poet or 'maker'
should be the maker of plots rather than of verses;
since he is a poet because he imitates, and what he
imitates are actions.

And even if he chances to take
an historical subject, he is none the less a poet; for
there is no reason why some events that have actually
happened should not conform to the law of the probable
and possible, and in virtue of that quality in them he is
their poet or maker.

Of all plots and actions the epeisodic
are the worst. I call a plot 'epeisodic' in which the episodes or
acts succeed one another without probable or necessary sequence.

Bad poets compose such pieces by their own fault, good
poets, to please the players; for, as they write show
pieces for competition, they stretch the plot beyond its
capacity, and are often forced to break the natural con-
tinuity.

But again, Tragedy is an imitation not only of a
complete action, but of events inspiring fear or pity.
Such an effect is best produced when the events come on
us by surprise; and the effect is heightened when, at the
same time, they follow as cause and effect.

The tragic
wonder will then be greater than if they happened of
themselves or by accident; for even coincidences are most
striking when they have an air of design. We may
instance the statue of Mitys at Argos, which fell upon his
murderer while he was a spectator at a festival, and killed
him. Such events seem not to be due to mere chance.

Plots, therefore, constructed on these principles are
necessarily the best.

Aristotle on the Art of Poetry (Ingram Bywater, 1909) (OCR draft) Experimental (Ingram Bywater's English translation of Aristotle's Poetics, published in 1909.) — 9 focus

From what we have said it will be seen that the poet's
function is to describe, not the thing that has happened, but
a kind of thing that might happen, i. e. what is possible as
being probable or necessary.

The distinction between his-
torian and poet is not in the one writing prose and the
other verse-you might put the work of Herodotus into
verse, and it would still be a species of history; it consists
really in this, that the one describes the thing that has been,
and the other a kind of thing that might be.

Hence poetry
is something more philosophic and of graver import than
history, since its statements are of the nature rather of
universals, whereas those of history are singulars.

By a
universal statement I mean one as to what such or such
a kind of man will probably or necessarily say or do-which
is the aim of poetry, though it affixes proper names to the
characters; by a singular statement, one as to what, say,
Alcibiades did or had done to him.

In Comedy this has
become clear by this time; it is only when their plot is
already made up of probable incidents that they give it
a basis of proper names, choosing for the purpose any names
that may occur to them, instead of writing like the old
iambic poets about particular persons.

In Tragedy, how-
ever, they still adhere to the historic names; and for this
reason: what convinces is the possible; now whereas we are
not yet sure as to the possibility of that which has not hap-
pened, that which has happened is manifestly possible, else
it would not have come to pass.

Nevertheless even in
Tragedy there are some plays with but one or two known
names in them, the rest being inventions; and there are
some without a single known name, e. g. Agathon's Antheus,
in which both incidents and names are of the poet's inven-
tion; and it is no less delightful on that account.

So that one
must not aim at a rigid adherence to the traditional stories
on which tragedies are based. It would be absurd, in fact,
to do so, as even the known stories are only known to a few,
though they are a delight none the less to all.

It is evident from the above that the poet must be more
the poet of his stories or Plots than of his verses, inasmuch
as he is a poet by virtue of the imitative element in his work,
and it is actions that he imitates.

And if he should come
to take a subject from actual history, he is none the less
a poet for that; since some historic occurrences may very
well be in the probable and possible order of things; and
it is in that aspect of them that he is their poet.

Of simple Plots and actions the episodic are the worst.
I call a Plot episodic when there is neither probability nor
necessity in the sequence of its episodes.

Actions of this
sort bad poets construct through their own fault, and good
ones on account of the players. His work being for public
performance, a good poet often stretches out a Plot beyond
its capabilities, and is thus obliged to twist the sequence
of incident.

Tragedy, however, is an imitation not only of a complete
action, but also of incidents arousing pity and fear.

Such
incidents have the very greatest effect on the mind when
they occur unexpectedly and at the same time in consequence
of one another; there is more of the marvellous in them
then than if they happened of themselves or by mere chance.
Even matters of chance seem most marvellous if there is
an appearance of design as it were in them; as for instance
the statue of Mitys at Argos killed the author of Mitys'
death by falling down on him when a looker-on at a public
spectacle; for incidents like that we think to be not without
a meaning.

A Plot, therefore, of this sort is necessarily
finer than others.

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.) — 9.8 focus

It is by no means, therefore, essential, that a Poet should confine himself to the known and established subjects of Tragedy. Such a restraint would, indeed, be ridiculous; since even those subjects that are known, are known, comparatively, but to few, and yet are interesting to all.

[6]

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.) — 9.8 focus

indeed, it would be ridiculous to endeavour scrupulously to do it, since those fables that are known, are known only to a few

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.) — 9.8 focus

Hence, one must not seek to adhere entirely to traditional fables, which are the subjects of tragedy. For it is ridiculous to make this the object of search, because even known subjects are known but to a few, though at the same time they ¹² delight all men. ³

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.) — 9 focus

Manifestum vero ex iis quae disputavimus simul est non quae facta sunt dicere, id poetae officium esse, sed quae fieri possint, eaque quomodo fieri aut probabile sit aut necessarium.

nam rerum scriptor et poeta non metricae et prosae orationis usu differunt: : possent enim quae Herodotus scripsit metris adstricta esse, nec minus foret historia quaedam cum metro atque sine metris: sed hoc differunt, quod hic quae facta sunt dicit, ille quae possunt fieri.

quamobrem et magis philosophicum et gravius est poesis quam historia: nam poesis potius quae generalia, historia autem singularia dicit.

sunt autem generalia, qualem qualia conveniat dicere vel facere secundum verisimilitudinem vel necessitatem [, cui studet poesis nomina imponens], singularia autem, quid Alcibiades fecerit aut quid passus sit.

in comoedia quidem hoc iam perspicuum factum est: nam fabulam e probabilibus posteaquam componere coeperunt, iam nomina pro arbitrio subiiciunt, neque ut iamborum scriptores circa singularia versantur.

in tragoedia vero propriorum hominum nomina tenent. causa est quod credibile videtur quod fieri potest: atqui quae facta non sunt nondum confidimus fieri posse, quae autem facta sunt fieri posse liquet: non enim facta essent, si fieri non possent.

verum tamen etiam in tragoediis, in quibusdam unum vel duo ex notis nominibus sunt, cetera autem ficta, in quibusdam nullum, velut in Agathonis Flore: pariter enim in hoc et facta et nomina ficta sunt, et nihilo minus oblectant.

quare non utique contendendum eo ut traditas fabulas, in quibus tragoediae versantur, teneamus. etenim ridiculum eo contendere, siquidem etiam quae nota paucis nota sunt, et tamen oblectant omnes.

perspicuum igitur ex his poetam potius fabulas pangere quam metra, quatenus poeta est secundum imitationem, imitando autem actiones exprimit.

quamvis igitur eveniat eum pangere quae facta sunt, nihilo minus pocta est: nam quae facta sunt, eorum nonnulla nihil obstat quo minus talia sint, qualia facta esse verisimile sit et quae facta esse possint, quo nomine ille haec pangit.

sed ex meris fabulis actionibusque pessimae sunt quae episodicae. dico autem episodicam fabulam, in qua episodia neque verisimiliter neque necessario sese subsequuntur.

tales vero panguntur a malis quidem poetis sua ipsorum culpa, a bonis autem propter histriones: concertationes enim dum faciunt et ultra modum extendunt fabulam, saepe distorquere coguntur rerum consecutionem.

sed quoniam non solum absolutae actionis est imitatio sed etiam metuendorum et miserandorum, haec autem accidunt [et maxime et magis, si fiant contra exspectationem] propter sese in vicem * * *.

admirabile enim sic habebit magis quam si sua sponte et casu, quandoquidem etiam eorum quae casu eveniunt ea maxime admirabilia videntur, quae quasi consilio videntur facta esse, veluti cum statua Mityis Argis occidit eum qui caedis causa Mityi fuerat, incidens spectanti:

talia enim non temere vi dentur fieri, ut tales fabulas esse pulchriores oporteat.

Poetica d'Aristotile (Bernardo Segni, 1549) (OCR draft) Experimental (Bernardo Segni's 1549 Florentine Italian translation, aligned to the Kassel reference passage sequence.) — 9 focus

Et dalle cofe dette fia manifeſto non effer' l'uffitio del Poeta il raccontar'le coſe fatte, come elle furon' fatte; ma come elle douereb bono eſſere ſtate fatte. Et parimente effer ſuo vfficio di direle coſe poſsibili ad effere, ſecondo che le com porta il verifimile, òilineceſſario.

Che non già fta la dif ferenza intral Poeta,& lo Hiſtoriografo, perchè l'uno parli in verfi, & l'altro in proſa. Conciofia che 'Hiſtoria d'Herodoto ſi poſſa mettere in verſi; nè per queſto debba meno effer chiamata Hiftoria in verfi, o nón in verſiche ella ſi ſia ſcritta. Ma fono differenti l'uno, & Paltro per queſta cagione; perchè l'uno cioè dice le co fe feguite: & l'altro le dice come elle douerebbono ef fere ſeguite.

Onde nuuiene, che la Poeſia ha più del fi lofofo,& più del virtuoſo, che non ha l'Hiſtoria; con ciofia che la Poefia dica più l'uniuerfale, & l'Hiftoria più il particulare.

Dicefi vniuerfalmente, quando e fi dicono le cofe, che conuenientemente interuengono diqueſti, & à quegli, o che fi operano nel modo che fia, è verifimile, o neceffario. Ilche la Poefia va conietturan do,& mette i nomi per queſta cagione. Particularmen te fi dice, quando e'ſi raccontano le cofe, che fece Alci biade;ò quelle, che gli incontrarono.

Nella Commedia adunche queſto, che io ho detto, manifeftamente ſi ve de; perche eſſendo in eſſa la Fauola intrecciataui per via del verifimile, vi ſono nel medesimo modo poſtii nomi, che ha dato la forte; & non vi è finto il particu Jare: ficome fingeuono gli antichi Poeti Manella.

Tra gedia s'è vſato conferuare iverinomi. Et di ciò è ſtato cagione il perfuafibile, che non è ſenon quello, che può effere. Maleicofe, che non ſono ſtate, non fi crede, che poſsino effeve. Et allincontro le cofe ſtate è manifeſto,chwefelle poſſono eſſere ſtate, perchè, altrimenti ef fendo, elle non mai farebbono ſtate.

Contuttociò fi tro uano certe Tragedie, doue non è meſſo altro ch'un'no me folosò due de'veni; & gli altri tutti vi ſono finti. Ec certé n'è, doue no e alcuno vero; come in quella di Aga tone intitolata Il Fiore: che quiui fi linuentione, fi li nomi fon' finti, & non dimanco diletta affai.

Onde non fi debbe sforzare il Poeta nelle fue inuentioni da Tragedie di mantenere à punto il caſo come egli è diuulgato. Che queſto inuero farebbe coſa ridicula, concio fia che quello, che in eſsi è cognito, à pochifia cognito; & nondimeno diletti tutti gli Spettatori.

Manifeftafi adunche per le cofe dette, che più propio vifitio del Poeta è il comporre l'inuentione, che comporre i veri; inquanto dico al riſpetto, che il Poeta è detto tale per cagione della imitatione: & che egli imita l'attioni.¹

Et febene e mette nel Poema talhora caſi, che ſieno ſegui ti; non è per queſto, che e' fi debba chiamare manco Poeta. Imperochè niente prohibiſce, che certe cofe fe guite non pofsino eſſere in quel modo ſeguite, che il.

verifimile, & il poſsibile comporti; ſecondo i quai termini il Poeta è di tai coſe Poeta A INfra le Fauole, & le Attioni ſcempie, quelle che han no affai Epiſodii, ſon' cattiuiſsime. Io chiamo Fauo la Epiſodiaca quella, doue gli Epiſodii vi ſono ſcambie uolmete meſsi ſenza offeruatione di verifimile, ò di ne ceffario.

Et tali fi fatte naſcono da' Poeti cattiui per vi tio d'eſsi Poetiset da Poeti buoni per vitio d'eſsi Iſtrio ni; perchè in quei lor' gareggiamenti, mentre che eſsi più del giusto l'allungano: ſon' conſtretti perciò molteuolte à ſtorcere l'ordine d'eſſe.

Ma perchè la Fauola è vna imitatione no pur' d'attione perfetta, ma anchora di caſi ſpauentofi, & compassioneuoli;& tali maſsimaméte, & più allhora interuengono, quando egli accag giono l'uno doppo l'altro fuori della oppinione:perchè il caſo in tal modo ſucceſſo dà maggior marauiglia, che fe e' fuccedeſſe in quel modo medeſimo per via del ca- 10,ò della fortuna.

Che certamente ſi vede in eſsi cafi fortuiti quegli porger grandifsima marauiglia, che ap pariſchino d'effer venuti à poſta; ſicome interuenne nella ſtatua di Mite nella Città d'Argo, che caduta addoflo à vno, che la riguardaua, ammazzò chı era ſtato cagione della morte d'eſſo Mite: perchè e' pare iuuero, che tal fatto non veniffe à cafſo.

Onde di neceſsità fi con chiude, che le Fauole in queſta maniera cópoſte ſieno maggiormente belle.

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.) — 9 focus

Manifestum autem est ex iis quae dicta sunt, non esse poetae munus facta dicere, sed qualia fieri debent et qua fieri possunt, secundum verisimile vel necessarium.

nam historicus et poeta non a eo quod aut cum metro dicant aut sine metro, inter se "differunt: liceret enim, quae Herodoti, in metris ponere, et nihilo minus esset historia quaedam cum metro quam sine metris. sed in hoc est differentia, quod unus quidem facta dicit, alter vero qualia fieri debent.

quamobrem et res magis philosophica et melior poësis est quam historia: nam poësis magis universalia, historia magis singularia dicit.

est autem universale, cum exponitur quemadmodum tali talia contingat dicere aut facere secundum verisimile aut necessarium; id quod spectat poesis, nomina imponens. singulare vero, quid Alcibiades fecerit aut passus sit.

ac in comoedia quidem iam hoc manifestum factum est: nam cum constituerint fabulam per verisimilia, sic quaelibet nomina imponunt, et non ut iambici circa aliquem singularem faciunt.

in tragoedia autem factis nominibus haerent. causa vero est, quod persuasibile est possibile; ac non facta quidem non credimus esse possibilia, facta vero manifestum est possibilia esse: non enim facta essent, si impossibilia essent.

nec tamen non in aliquibus tragoediis unum aut duo sunt ex notis nominibus, alia vero ficta. in quibusdam autem nullum, ut in Agathonis Flore: similiter enim in hoc et res et nomina ficta sunt, et nihilo minus delectat.

quare non omnino quaerendum est ut traditis fabulis, in quibus tragoediae versantur, haereamus: nam est ridiculum hoc quaerere, quoniam et nota paucis nota sunt, et tamen delectant omnes.

manifestum igitur ex his poetam esse oportere magis fabularum effectorem quam metrorum, quatenus poeta secundum imitationem est, imitatur autem actiones.

quamvis igitur contigerit facta pangere, nihilo minus poeta est. factorum enim nonnulla nihil prohibet talia esse qualia verisimile est fieri et possibilia esse,

secundum quod ille ipsorum poeta est. simplicium autem fabularum et actionum episodicae sunt pessimae. dico episodicam fabulam, in qua episodia altera post altera esse neque verisimile neque necesse est.

ac tales efficiuntur a malis quidem poetis propter ipsos, a bonis vero propter histriones: certamina enim facientes, et supra facultatem fabulam extendentes, distorquere sae- penumero saepenumero coguntur quod ex ordine est.

quoniam autem non solum est perfectae actionis imitatio sed etiam terribilium et miserabilium, atque haec fiunt maxime talia, et magis, cum fiant praeter opinionem inter se (nam admirabile sic habebunt magis quam si a casu et fortuna,

quoniam et eorum quae a fortuna sunt, haec maxime admirabilia videntur quaecunque tanquam ex industria apparent facta fuisse, sicuti statua Mityi Argis interfecit eum qui fuit causa interitus Mityi, cum in eius caput incidisset, dum ipse spectaret:

videntur enim talia non temere facta esse), iccirco necesse est tales fabulas pulchriores esse.

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.) — 9 focus

Manifestum autem ex dictis et quod non gesta dicere poete opus est, sed qualia utique fierent et possibilia secundum verisimile aut necessarium.

Hystoricus enim et poeta non per metrizata dicere aut sine metro differunt (esset enim utique que Herodoti in metra poni, et nichil minus utique hystoria cum metro aut sine metris), sed hoc differt, scilicet hunc quidem gesta dicere, hunc autem qualia utique fierent. —

Propter quod et magis philosophicum et studiosius poesis quam hystoria est ; poesis quidem enim magis que universaliter, hystoria autem particularia dicit.

Est autem universaliter quidem, quali qualia quedam accidit dicere aut agere secundum verisimile aut necessarium, quod coniecturat poesis nomina imponens, particulare autem quid Alkibiades egit aut quid passus est. —

In komodia quidem igitur iam hoc palam factum est ; constituentes enim fabulam per verisimilia, sic contingentia nomina supponunt, et non sicut iambofici circa particulare faciunt.

In tragodia autem facta nomina attendunt; causa autem quia probabile est quod possibile. Non gesta quidem igitur nondum credimus esse possibilia, gesta autem manifestum quod possibilia; non enim utique ro gesta essent si erant inpossibilia. —

Quin immo et in tragodiis quibusdam quidem unum aut duo sunt notorum nominum, alia autem poetizata, in quibusdam autem nullum, puta in Agathonis Anthe ; similiter enim in hoc et res et nomina poetizata sunt, et nichil minus letificant ;

quare non omnino esse querendum traditas fabulas, circa quas tragodie sunt, attendere. Et enim ridiculum hoc querere, quoniam et nota paucis nota sunt, sed tamen letificant omnes. —

Palam igitur ex hiis, quod poetam magis oportet esse fabularum factorem quam metrorum, tamquam poeta secundum imitationem est, imitatur autem actiones.

Quamvis ergo accidat gesta poetizare, nichil minus poeta est; gestorum enim quedam nichil prohibet esse talia qualia utique verisimile facta esse et possibilia fieri, secundum quod ille ipsorum poeta est. —

Simplicibus autem fabulis et actionibus que episodiodees sunt pessime. Dico autem episodiodeam (idest superadventitiam) fabulam in qua superadvenientia post invicem neque verisimile neque necesse esse.

Tales autem poetizantur a pravis quidem poetis propter ipsos, a bonis autem propter ypocritas; agonismata enim facientes et preter potentiam protendentes fabulam, sepe pervertere 3o coguntur quod consequenter. —

Quoniam autem non solum perfecte actionis est imitatio, sed et terribilis et miserabilis, hec autem fiunt et maxime et magis quando facta fuerunt preter opinionem secus invicem.

Nam quod mirabile sic habebit magis quam si a casu et fortuna, hec mirabilissima videntur, quecumque tamquam idonee videntur facta esse, puta ut statua Mityos in Argo, occidit causam mortis Mityo, incidens consideranti; videntur enim que talia non vane facta esse.

Quare necesse tales esse pulcriores fabulas.

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.) — 9 focus

‏وظاهر مما قيل ان التى كانت مثلا ليست من فعل الشاعر لكن ذلك انما فى مثل اى شى يكون اما ما هو الممكن من ذلك على الحقيقة واما التى تدعوا الضرورة اليه

‏وذلك ان الذى يثبت الاحاديث والقصص والشاعر ايضا وان كانا يتكلمان هكذى بالوزن وبغير وزن هما مختلفان وذلك ان لايرودوطس ان يكون بالوزن وليس لما يدون ويكتب ان يكون مع الوزن او بغير وزن باقل لكن هذا يخالف بان ذاك يقول الى تقال واما هذا فاى الاشيا كانت

‏ولذلك صارت صناعة الشعر هى اكثر فلسفية واكثر فى باب ما هى حريصة من ايسطوريا الامور من قبل ان صناعة الشعر هى كلية اكثر واما ايسطوريا فانما تقول وتخبر بالجزويات

‏وهى بالكلية والتى فى الكيفية والمكيفيات كل التى كانها تعرض ان تقال او تعمل اما التى بالحقيقة واما التى هى ضرورية كالتوهم الذى يكون فى صناعة الشعر عند ما تكون صناعة الشعر نفسها تضع الاسما [فى] فالوحيدات والجزويات مثلا هى ان يقال ماذا فعل الفسادس اما الذى انفعل

‏ففى التى تقال بصناعة الهجا فهذا قد ظهر هذا وذلك انه عند ما ركبوا الخرافة بالتى كانت تجب ليس اى الاسما التى كانوا وضعوا ولا كما يعملون عند الوحيدات والجزويات الذى فى ايامبو

‏من قبل ان فى صناعة المديح كانوا يتمسكون بالاسما التى كانت والسبب فى هذا هو ان الحال الممكنة هى مقنعة والتى لم تكن بعد فلسنا نصدق انها يمكن ان تكون واما التى قد كانت توجد ان كان قد كانت موجودة فلا يمكن الا تكون

‏وليس ذلك الا فى المدايح الافراد والبعض وهى التى منها فى الواحدة اثنتين من التى هى من الذين هم معروفون هو لهذه التى فعل لاشيا اخر اسم واحد واما فى الافراد والبعض فولا شى بمنزلة من يضع ان الخير هو واحد وان فى ذلك الامر والاسم انفعالا او فعلا على مثال واحـ*و*ٮس الانتفاع بهما بالاقل

‏حتى لا ينبغى ان نطلب لا محالة المفيد للخرافات التى تكون نحوها المدايح ان يوجد بها وذلك ان الطلب لهذا هو مما يضحك منه من قبل ان الدلايل موجودة غير ان تسر الكل

‏فظاهر من هذه ان شاعر خاصة يكون شاعر الخرافات والاوزان بمبلغ ما يكون شاعرا بالتشبيه والمحاكاة وهو يشبه ويحاكى الاعمال والافعال الارادية

‏وان عرض ان يعمل شى فى التى قد كانت فليس هو فى ذلك شاعرا بالدون من قبل ان التى كانت منها ما لا مانع يمنع يكون حالها فى ذلك مثلا كالتى هى موضوعة بان توجد كحال ذاك الذى هو شاعرها

‏واما للخرافات المعلولة فالافعال الارادية ايضا معلولة واعنى بالخرافة المدخولة المعلولة تلك التى المعلولين على الاضطرار واحد بعد اخر ليس يكون من الضرورة ولا على طريق الحق

‏ومثل بعمل اما من الشعر فمن المزورين المزيفين منهم بسببها واما الشعر الاخيار فبسبب المنافقين والمرايين واما وعند ما يعملون الجهادات فليس يمتدون بالخرافة فوق الطاقة واحيانا وكثير ما قد يضطرون الى ان يردوا ويعدوا الخرافة التى ٮٮـقا من ان قبل

‏التشبيه والمحاكاة انما هى لعمل مستكمل فقل لكنها للاشيا المخوفة المهولة وللاشيا لحرٮٯه الٮوحيد وهذه تكون خاصية اكثر مما تكون من الٮنا وبعض بالبعض

‏وذلك ان التى هى عجيبة فهكذى فليكن حالها خاصة اكثر من تلك التى هى من تلقا نفسها ومن ما يتفق من قبل ان التى هى من الاتفاق قد يظن بها هى ايضا انها عجيبة اكثر بمبلغ ما ترى انها تكون دفعة بمنزلة حال التى لاندراس بن ميطياوس وهى انه كان قتل فى ارغوس لذلك الذى كان سبب مومٮٮه مياطياس عند ما راه وقد سقط وذلك انه يشتبه هى هذه الاشيا التى تجرى هذا المجرى انها ليس تكون باطلا ولا خرافا

‏حتى يلزم ضرورة ان تكون هذه التى على هذا النحو خرافات جيدة

Arabic Poetics (Abū Bishr Mattā; Tkatsch edition, unaligned) (OCR draft) Experimental (Tkatsch's edition of the medieval Arabic translation in its original, unaligned segmentation.) — 9 focus

‏من قبل ان فى صناعة المديح كانوا يتمسكون بالاسما التى كانت

‏والسبب فى هذا هو ان الحال الممكنة هى مقنعة والتى لم تكن بعد فلسنا نصدق انها يمكن ان تكون واما التى قد كانت توجد ان كان قد كانت موجودة فلا يمكن الا تكون

‏وليس ذلك الا فى المدايح الافراد والبعض وهى التى منها فى الواحدة اثنتين من التى هى من الذين هم معروفون هو لهذه التى فعل لاشيا اخر اسم واحد واما فى الافراد والبعض فولا شى

‏بمنزلة من يضع ان الخير هو واحد وان فى ذلك الامر والاسم انفعالا او فعلا على مثال واحـ*و*ٮس الانتفاع بهما بالاقل حتى لا ينبغى ان نطلب لا محالة المفيد للخرافات التى تكون نحوها المدايح ان يوجد بها

‏وذلك ان الطلب لهذا هو مما يضحك منه من قبل ان الدلايل موجودة غير ان تسر الكل

‏واما للخرافات المعلولة فالافعال الارادية ايضا معلولة

‏واعنى بالخرافة المدخولة المعلولة تلك التى المعلولين على الاضطرار واحد بعد اخر ليس يكون من الضرورة ولا على طريق الحق

‏التشبيه والمحاكاة انما هى لعمل مستكمل فقل لكنها للاشيا المخوفة المهولة وللاشيا لحرٮٯه الٮوحيد وهذه تكون خاصية اكثر مما تكون من الٮنا وبعض بالبعض وذلك ان التى هى عجيبة فهكذى فليكن حالها خاصة اكثر من تلك التى هى من تلقا نفسها ومن ما يتفق من قبل ان التى هى من الاتفاق قد يظن بها هى ايضا انها عجيبة اكثر بمبلغ ما ترى انها تكون دفعة بمنزلة حال التى لاندراس بن ميطياوس وهى انه كان قتل فى ارغوس لذلك الذى كان سبب مومٮٮه مياطياس عند ما راه وقد سقط وذلك انه يشتبه هى هذه الاشيا التى تجرى هذا المجرى انها ليس تكون باطلا ولا خرافا حتى يلزم ضرورة ان تكون هذه التى على هذا النحو خرافات جيدة

Commentary

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

7. mvp-aristotle-comment-359

1451b19 Ἀνθεῖ was first suggested, somewhat tentatively, by Welcker in his Gr. Tragödien p. 995 . 'The Flower' would certainly be a very strange title for a Greek tragedy. The play being on a purely fictitious story, the names also of the characters, instead of being taken over from legend or history, were fictions, and due to the choice of the poet himself. But they need not be supposed to have been new or newly-coined names. Ἀνθεύς, for instance, seems to have been known already in mythical history as the name of certain legendary personages; and not so very long after Agathon's time it was actually borne by an Athenian citizen ( Kirchner, Prosopographia Attica 953 ). In this respect, therefore, it was in just the same position as so many of the names in Comedy, Chremes, Menedemus, Phormio, and the like.

1451b23

7. mvp-aristotle-comment-360

εὐφραίνει an incidental recognition of pleasure as the immediate end of Tragedy (see 14, 1453 b 12 , and Döring, Kunstlehre des Aristoteles p. 104 ). εὐφραίνειν serves as a transitive to χαίρειν: Top. 2. 6, 112 b 21

ἔτι καὶ εἰ αὐτὸ αὐτῷ συμβεβηκὸς ἔθηκεν ὡς ἕτερον διὰ τὸ ἕτερον εἶναι ὄνομα, καθάπερ Πρόδικος διῃρεῖτο τὰς ἡδονὰς εἰς χαρὰν καὶ τέρψιν καὶ εὐφροσύνην· ταῦτα γὰρ πάντα τοῦ αὐτοῦ, τῆς ἡδονῆς, ὀνόματά ἐστιν

εἰ οὖν τις τὸ χαίρειν τῷ εὐφραίνεσθαι φήσει συμβεβηκέναι, αὐτὸ ἂν αὐτῷ φαίη συμβεβηκέναι

. — Eth. E. 3. 2, 1231 a 6

τῶν ὀσμῶν ταύταις χαίρουσιν ὅσαι κατὰ συμβεβηκὸς εὐφραίνουσιν

. The word may describe the pleasurable effect of anything, e. g. that of a painting ( Poet. 6, 1450 a 2 ), of music ( Pol. 8. 5, 1339 b 24 ), and of odours ( Eth. E. l. c. ; Rhet. 3. 4, 1407 a 10 ).

ὥστ᾿ οὐ πάντως ἂν εἴη ζητητέον Spengel suggested that the εἶναι of the MS. should be bracketed. In these negative statements of result with ὥστε οὐ, which are so common in Aristotle, the verb is usually either in the indicative, (1) expressed or (2) understood, or (3) in the potential optative, as the following passages from the Organon may suffice to show: (1) An. pr. 1. 36, 48 a 36

ὥστε οὐκ ἔσται μέσον τοῦ ΑΒ

. — Top. 8. 11, 151 b 30

ὥστε οὐ τῷ ταῦτ᾿ εἶναι γίνεται ὁ συλλογισμός

(comp. Poet. 22, 1458 a 5 ). (2) An. pr. 1. 32, 47 a 35

ὥστ᾿ οὐκ εἴ τι συμβαίνει τεθέντων τινῶν, πειρατέον ἀνάγειν εὐθύς

. — Top. 6. 5, 142 a 4

ὥστ᾿ οὐδὲ πρὸς τὸν αὐτὸν ἀεὶ ὁ αὐτὸς ὁρισμὸς ἀποδοτέος

(comp. Metaph. Z 12, 1038 a 12 ). (3) An. post. 1. 12, 77 b 12

ὥστ᾿ οὐκ ἂν εἴη ἐν ἀγεωμετρήτοις περὶ γεωμετρίας διαλεκτέον

. — An. pr. 1. 16, 36 a 14

ὥστε οὐδενὶ ἢ οὐ παντὶ τῷ Γ τὸ Β ἐνδέχοιτ᾿ ἂν ὑπάρχειν

. — Top. 6. 12, 149 b 2

ὥστ᾿ οὐκ ἂν εἴη χρῶμα πυρὶ μεμιγμένον

. — Soph. el. 6, 168 b 4

ὥστ᾿ εἰ ὁ ἔλεγχος συλλογισμός τις, οὐκ ἂν εἴη ὁ κατὰ συμβεβηκὸς ἔλεγχος

. Two instances of εἶναι for ἂν εἴη are to be found in MSS. of great antiquity and value, one in Par. A of Plato ( Tim. 17 B ), and the other in Kb of the Nicomachean Ethics ( 8. 2, 1155 b 20 ). The error may have arisen either from the omission of an, a word very apt to be lost in MSS., or through ὥστ᾿ οὐ being misread and turned into ὡς τοῦ (as it has been in fact in Ac).

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

12. mvp-aristotle-comment-243

9.7 Il arrive neanmoins fort ſouvent que dans les Tragedies, on se contente d'un ou de deux noms connus, & que tous les autres font inventez.¹

13. mvp-aristotle-comment-244

9.7 Il y a mème des pieces, où pas un nom n'est connu.²

14. mvp-aristotle-comment-245

9.7 Car dans la Tragedie d'Agathon, qu'il a appellée, la fleur.³

15. mvp-aristotle-comment-246

9.7 Dans cette piece tous les noms font feints, comme les chofes.⁴

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

7. mvp-aristotle-comment-69

Ritter, cap. 9 § 7

οἷον ἐν τῷ ᾿Αγάθωνος ῎Ανθει: Agathonis aetatem definivit Ritschelius in Commentationis de Agathonis vita, arte et tragoediarum reliquiis particula, edita Halis anno 1829. Aristoteles saepius eius meminit. vid. c. 15, 8. 18, 6-7. Rhetor. II, 19. p. 1392b 7. II, 24. p. 1402 a 9.

Aristote Poetics 9.8

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Ritter, cap. 9 § 7

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