In every tragedy there is a complication and a denouement. ¹ The incidents outside the plot and some of those in it usually form the complication, the rest is the denouement.

I mean this, that the complication is the part from the beginning up to the point which immediately precedes the occurrence of a change from bad to good fortune or from good fortune to bad; the denouement is from the beginning of the change down to the end.

For instance, in the Lynceus of Theodectes the complication is the preceding events, and the seizure of the boy, and then their own seizure; and the denouement is from the capital charge to the end. ²

Tragedies should properly be classed as the same or different mainly in virtue of the plot, that is to say those that have the same entanglement and denouement. Many who entangle well are bad at the denouement. Both should always be mastered.

There are four varieties of tragedy—the same as the number given for the elements ³ —

first the complex kind, which all turns on reversal and discovery;

the calamity play like the stories of Ajax and Ixion;

the character play like the Phthian Women ⁴ and the Peleus ⁵ .

1456a 1 The fourth element is spectacle, like the Phorcides ⁶ and Prometheus, and all scenes laid in Hades.

One should ideally try to include all these elements or, failing that, the most important and as many as possible, especially since it is the modern fashion to carp at poets, and, because there have been good poets in each style, to demand that a single author should surpass the peculiar merits of each.

One must remember, as we have often said, not to make a tragedy an epic structure:

by epic I mean made up of many stories—suppose, for instance, one were to dramatize the IIiad as a whole.

The length of the IIiad allows to the parts their proper size, but in plays the result is full of disappointment.

And the proof is that all who have dramatized the Sack of Troy as a whole, and not, like Euripides, piecemeal, or the Niobe story as a whole and not like Aeschylus, either fail or fare badly in competition. Indeed even Agathon failed in this point alone.

In reversals, however, and in simple stories ⁷ too, 20 they admirably achieve their end, which is a tragic effect that also satisfies your feelings.

This is achieved when the wise man, who is, however, unscrupulous, is deceived—like Sisyphus—and the man who is brave but wicked is worsted.

And this, as Agathon says, is a likely result, since it is likely that many quite unlikely things should happen.

The chorus too must be regarded as one of the actors. It must be part of the whole and share in the action, not as in Euripides but as in Sophocles.

In the others the choral odes have no more to do with the plot than with any other tragedy. And so they sing interludes, a practice begun by Agathon. And yet to sing interludes is quite as bad as transferring a whole speech or scene from one play to another.

Every tragedy falls into two parts, Complication
and Unravelling or Dénouement.

Incidents extraneous
to the action are frequently combined with a portion of
the action proper, to form the Complication; the rest is
the Unravelling. By the Complication I mean all that
extends from the beginning of the action to the part
which marks the turning-point to good or bad fortune.
The Unravelling is that which extends from the
beginning of the change to the end.

Thus, in the
Lynceus of Theodectes, the Complication consists of the
incidents presupposed in the drama, the seizure of the
child, and then again * * extends
from the accusation of murder to the end.

There are four kinds of Tragedy,

the Complex, depend-
ing entirely on Reversal of the Situation and Recognition;

the Pathetic (where the motive is passion), such as the
tragedies on Ajax and Ixion;

the Ethical (where the
motives are ethical), such as the Phthiotides and the
Peleus.

The fourth kind is the Simple.
exclude the purely spectacular element>, exemplified by
the Phorcides, the Prometheus, and scenes laid in Hades.

The poet should endeavour, if possible, to combine all
poetic elements; or failing that, the greatest number and
those the most important; the more so, in face of the
cavilling criticism of the day. For whereas there have
hitherto been good poets, each in his own branch, the
critics now expect one man to surpass all others in their
several lines of excellence.

In speaking of a tragedy as the same or different, the
best test to take is the plot. Identity exists where the
Complication and Unravelling are the same.

Many poets tie the knot well, but unravel it ill.

Both arts, however, should always be mastered.

Again, the poet should remember what has been often
said, and not make an Epic structure into a Tragedy—
by an Epic structure I mean one with a multiplicity of
plots—as if, for instance, you were to make a tragedy
out of the entire story of the Iliad.

In the Epic poem,
owing to its length, each part assumes its proper
magnitude. In the drama the result is far from
answering to the poet's expectation.

The proof is that
the poets who have dramatised the whole story of the
Fall of Troy, instead of selecting portions, like Euripides;
or who have taken the whole tale of Niobe, and not a
part of her story, like Aeschylus, either fail utterly or
meet with poor success on the stage. Even Agathon

has been known to fail from this one defect. In his
Reversals of the Situation, however, he shows a marvellous
skill in the effort to hit the popular taste, —to produce a
tragic effect that satisfies the moral sense.

This effect is
produced when the clever rogue, like Sisyphus, is out-
witted, or the brave villain defeated.

Such an event is
probable in Agathon's sense of the word: 'it is probable,'
he says, 'that many things should happen contrary to
probability.'

The Chorus too should be regarded as one of the
actors; it should be an integral part of the whole, and
share in the action, in the manner not of Euripides but
of Sophocles.

As for the later poets, their choral songs
pertain as little to the subject of the piece as to that of
any other tragedy. They are, therefore, sung as mere
interludes, a practice first begun by Agathon. Yet
what difference is there between introducing such choral
interludes, and transferring a speech, or even a whole act,
from one play to another?

(4) There is a further point
to be borne in mind. Every tragedy is in part Complication
and in part Dénouement; the incidents before the opening
scene, and often certain also of those within the play,
forming the Complication; and the rest the Dénouement.

By Complication I mean all from the beginning of the story
to the point just before the change in the hero's fortunes;
by Dénouement, all from the beginning of the change to
the end.

In the Lynceus of Theodectes, for instance, the
Complication includes, together with the presupposed inci-
dents, the seizure of the child and that in turn of the parents;
and the Dénouement all from the indictment for the murder
to the end.

(5) There are
four distinct species of Tragedy-that being the number of
the constituents also that have been mentioned:

first, the
complex Tragedy, which is all Peripety and Discovery;

second, the Tragedy of suffering, e. g. the Ajaxes and Ixions;

third, the Tragedy of character, e.g. The Phthiotides and
Peleus.

The fourth constituent is that of 'Spectacle,' ex-
emplified in The Phorcides, in Prometheus, and in all plays
with the scene laid in the nether world.

The poet's aim,
then, should be to combine every element of interest, if
possible, or else the more important and the major part
of them. This is now especially necessary owing to the
unfair criticism to which the poet is subjected in these days.
Just because there have been poets before him strong in
the several species of tragedy, the critics now expect
the one man to surpass that which was the strong point
of each one of his predecessors.

Now it is right, when one speaks of a tragedy
as the same or not the same as another, to do so on the
ground before all else of their Plot, i. e. as having the same
or not the same Complication and Dénouement.

Yet there
are many dramatists who, after a good Complication, fail in
the Dénouement.

But it is necessary for both points of
construction to be always duly mastered.

(6) One should also re-
member what has been said more than once, and not write
a tragedy on an epic body of incident (i.e. one with a plurality
of stories in it), by attempting to dramatize, for instance,
the entire story of the Iliad.

In the epic owing to its scale
every part is treated at proper length;
with a drama, how-
ever, on the same story the result is very disappointing.

This is shown by the fact that all who have dramatized
the fall of Ilium in its entirety, and not part by part, like
Euripides, or the whole of the Niobe story, instead of a
portion, like Aeschylus, either fail utterly or have but ill
success on the stage;
for that and that alone was enough
to ruin even a play by Agathon.

Yet in their Peripeties, as
also in their simple plots, the poets I mean show wonderful
skill in aiming at the kind of effect they desire-a tragic
situation that arouses the human feeling in one,

like the
clever villain (e. g. Sisyphus) deceived, or the brave wrong-
doer worsted.

This is probable, however, only in Agathon's
sense, when he speaks of the probability of even improbabilities
coming to pass.

(7) The Chorus too should be regarded as
one of the actors; it should be an integral part of the
whole, and take a share in the action-that which it has
in Sophocles rather than in Euripides.

With the later poets,
however, the songs in a play of theirs have no more to do
with the Plot of that than of any other tragedy. Hence
it is that they are now singing intercalary pieces, a practice
first introduced by Agathon. And yet what real difference is
there between singing such intercalary pieces, and attempting
to fit in a speech, or even a whole act, from one play into
another?

[1] ¹ [IN every tragedy, however, there is a complication and development 1. And external circumstances indeed, 18.1 and some of those that are internal, frequently form the complication; 18.2 but the rest the development. I call, however, the complication, the whole of that which extends from the beginning to the last part, from which there is a transition to good fortune; but I call the development that part which extends from the beginning of the transition to the end. 18.3 Thus in the Lynceus of Theodectes, the past transactions, and the capture of the son, are the complication ; but the part which extends from the charge of murder to the end, is the development. ² 18.4 But of tragedy there are four species; 18.5 for so many parts of it have also been enumerated. And one species is the complicated, of which the whole is revolution and discovery; 18.6 another, the pathetic, such as the tragedies of Ajax and Ixion; 18.7 another, the morale such as the Phthiotides and the Peleus; but the ^{3 4} fourth is another such as the " Phorcides " and the "Prometheus," and the tragedies which represent what passes in Hades. ⁵ It is especially necessary, therefore, that the poet should endeavour to have all these species; or at least that he should have the greatest and most of them, especially since men of the present age calumniate the poets. For as there have been good poets in each part of tragedy, they now expect one poet to excel in all the parts. But it is right to call tragedy different and the same, though not perhaps with any reference to the fable; 18.8 but this [may be the case with those] of which there is the same plot and solution. But many poets complicate well, and develope badly4. But both these should always be applauded 5. But it is necessary to recollect, 18.9 as has been often observed, that we must not make tragedy an epic system. ⁶ Now, I call that tragedy an epic system, which consists of many fables; 18.10 as if some one should compose a tragedy from the whole fable of the Iliad. For in the Iliad, on account of its length, the parts receive an appropriate magnitude. But in dramas, the effect pro- duced would be very contrary to expectation. ⁷ The truth of this is indicated by such as have represented [in one tragedy] the whole destruction of Troy, 18.11 and not some part of it, as the "Niobe" or "Medea" of Euripides, and who have not acted like Aeschylus; for these have either been condemned, ^{8 9 10} 18.12 or contend without success; since Agatho also failed in this alone. But in revolutions, 18.13 and in simple actions, those poets admirably effect their aim. For this is tragical, 18.14 and has a moral tendency. 18.15 This, ¹¹ however, takes place when a wise but a depraved man, such as Sisyphus, is deceived; and a brave but unjust man is vanquished. But this is probable, 18.16 as Agatho says. For it is probable that many things may take place contrary to probability. It is neces- ¹² sary likewise to conceive the chorus to be one of the players and a part of the whole, and that it co-operates with the players, not as in Euripides7, 18.17 but as in Sophocles. But with other tragedians, the choral songs do not more belong to that fable, than to any other tragedy; 18.18 on which account the chorus sing detached pieces, inserted at pleasure8, of which Agatho was the inventor. What difference, however, ^{13 14 15} does it make, to sing inserted pieces, 18.19 or to adapt the diction of one drama to another, 18.20 or the whole episode ?

[Est autem omnis tragoedia partim convinctio partim solutio, externa scilicet et quaedam ex internis saepe convinctio, quod autem relicuum solutio.

dico autem convinctionem esse quae a principio usque ad eam partem quae postrema est, ex qua transitus ad felicitatem,

solutionem autem quae a principio transitus usque ad finem, quemadmodum in Lynceo Theodectis convinctio quae ante acta sunt et pueri captio,

solutio autem quae ab accusatione capitis usque ad finem.] [Tragoediae autem species quattuor sunt: tot enim etiam partes dictae sunt.

alia implicata, cuius totum est peripetia et agnitio;

alia pathetica, ut Aiaces et Ixiones;

alia moralis, ut Phthiotides et Peleus ;

quartum autem, ut Phorcides et Prometheus et quot in Orco.

praecipue igitur enitendum est ut omnia habeas, sin minus, maxima et plurima, praesertim ut nunc calumniantur poetas: nam cum in unaquaque specie boni poetae exstiterint, unumquemque in eo quo ipse excellit ab uno superari postulant.

iustum vero etiam tragoediam aliam et eandem dicere non fortasse ob fabulam : immo hoc, quarum eadem convinctio et solutio.

multi autem convinctione bene facta male solvunt.

decet autem utrumque

semper cum plausu excipi.] Oportet autem, quod saepe dictum est, meminisse nec committere ut tragoedia epica fiat compositio. epicam autem dico quae multis fabulis constet, ut si quis Iliadis totam fabulam tractaret.

illic enim propter longitudinem partes aptam magnitudinem accipiunt, sed in scenicis fabulis multum praeter exspectationem discedunt.

signum autem, quot excidium Ilii totum tractaverunt, et non ex parte [, ut Euripides Niobam, ac non ut Aeschylus], aut non stant aut tur.

male certant, quandoquidem etiam Agatho in hoc uno non stetit, sed peripetiis et simplicibus factis quod volunt mirifice consectantur: tragicum enim hoc est et humanum sensum tangit.

est autem hoc, cum prudens quidem sed pravitate infectus decipitur, sicut Sisyphus, et fortis quidem sed iniustus vincitur.

est autem id verisimile, quemadmodum Agatho dicit: nam verisimile est fieri multa etiam praeter similitudinem yeri.

atque chorum existimare debet unum ex actoribus, et partem esse totius, et una agere non ut apud Euripidem sed ut apud Sophoclem.

apud relicuos autem quae canuntur non magis ad fabulam quam ad aliam tragoediam pertinent; quapropter exodia canunt, posteaquam primus haec fecit Agatho. quamquam quid interest utrum exodia canas an orationem ex alia fabula alii inseras vel episodium totum?

I.

17.1 IL faut dreſſer tout le plan de ſon ſujet, le mettre par écrit le plus exactement qu'il eſt poſſible, & le faire paſſer tout entier devant ſes yeux, car en voyant ainſi nous-mêmes tres clairement toutes ſes parties, comme ſi nous étions mêlez dans l'action, nous trouverons bien plus ſeurement ce qui ſied, & nous remarquerons juſqu'aux moindres défauts, & juſqu'aux moindres contrarietez, qui pourroient nous être échapées.

2.

17.2 Une marque certaine de l'importance & de la neceſſité de ce précepte, c'eſt le reproche qu'on fait à Carcinus. Ce Poëte dans le plan de ſon ſujet, faiſoit ſortir Amphiaraus du Temple ſans qu'on le vît, & il ne prit pas garde à ce défaut, parce qu'il n'avoit pas fait paſſer le tout devant ſes yeux; mais quand la piece fut portée ſur le Theatre, elle tomba, les ſpectateurs ne pouvant ſouffrir qu'on leur voulût perſuader qu'Amphiaraus étoit ſorti veritablement lorſqu'ils n'en avoient rien vû.

3.

17.3 Il faut encore autant qu'il eſt poſſible, que le Poëte, en compoſant imite les geſtes & l'action de ceux qu'il fait parler, car c'eſt une choſe ſeure que de deux hommes, qui ſeront d'un égal genie, celuy qui ſe mettra dans la paſſion ſera toûjours plus perſuaſif & une preuve de cela eſt que celuy qui eſt veritablement agité, agite de même ceux qui l'écoutent, & celuy qui eſt veritablement en colére ne manque jamais d'exciter les mêmes mouvemens dans le cœur des ſpectateurs; 17.4 voilà pourquoy, pour réüſſir dans la Poëſie il faut avoir un genie excellent, ou être furieux, car les furieux prennent aiſément toutes ſortes de figures & de caractéres, & les genies excellens ſont fertiles & inventifs.

4.

17.5 Soit donc qu'un Poëte travaille ſur un ſujet déja connu, ou qu'il en invente un nouveau, il faut qu'il en dreſſe la fable en general avant qu'il penſe à l'épiſodier, & à l'étendre par ſes circonſtances. 17.6 De cette maniére il met tout ſon ſujet dans un ſeul point de veüe. Par exemple, voicy le ſujet de l'Iphigenie mis comme je l'entends: Une jeune Princeſſe eſt miſe ſur un Autel pour y étre ſacrifiée, elle diſparoît tout d'un coup aux yeux des Sacrificateurs, & eſt portée dans un autre Pays, où la Coûtume eſt de ſacrifier les Etrangers à la Deeſſe qui y préſide. On l'établit Prêtreſſe du Temple. Quelques années aprés le frere de cette Princeſſe arrive dans ce même lieu. Pourquoy y vient-il ? Pour obéir à un Oracle. Pourquoy cet Oracle? Cela eſt hors de la Fable generale & univerſelle. Qu'y vient-il faire ? Cela eſt hors du ſujet. Il n'eſt pas plûtôt arrivé, qu'il eſt pris. Le voilà ſur le point d'être ſacrifié; mais la reconnoiſſance ſe fait dans ce moment, ou de la maniére qu'Euripide l'a imaginée, ou ſelon la vray-ſemblance que Polyides a tres bien gardée, en faiſant dire par ce Prince, ce n'eſt donc pas aſſez que ma sœur ayt été ſacrifiée, il faut que je le ſois auſſi! Et c'eſt ce qui le ſauve.

5.

17.7 Cette fable étant faite on donne les noms aux perſonnages, & l'on épiſodie l'action. 17.8 Mais il faut bien prendre garde que les Epiſodes ſoient propres, comme dans Oreſte la fureur, qui le fait prendre, & ſa délivrance par les expiations.

6.

17.9 Dans le Poëme dramatique les Epiſodes ſont courts, mais l'Epopée eſt étenduë & amplifiée par les ſiens. 17.10 En effet le ſujet de l'Odyſſée, par exemple, eſt fort long: Un homme eſt abſent de ſon Pays depuis pluſieurs années; Neptune le perſecute, & fait périr de ſorte qu'il reſte ſeul. D'un autre côté tout eſt en deſordre dans ſa famille; les amans de ſa femme diſſipent tout ſon bien, & dreſſent des embuches à ſon fils. Enfin aprés avoir eſſuyé pluſieurs tempêtes, il arrive chez luy, reconnoît quelques-uns des ſiens, trompe les autres, rétablit ſes affaires & tuë ſes ennemis. 17.11 Voilà ce qui eſt propre, le reſte ſont des Epiſodes.

Vttala Tragedia conſiſte in due parti. Vna è, che fichiama Nodo. Et l'altra fi chiama. Scioglimen to. ¹

Le coſe, che ſono fuori d'eſſa Tragedia, & parte di quelle, che le fono dentroj, moltevolte ſono cotenute ſotto la parte del nodo ; & tutto il reſto viene ſotto la parte dello ſcioglimento.

Io chiamo Nodo effer' quel la parte, che da principio dura infino à quel punto, doue fi fa il trapaſſamento nella felicità, o nella miferia.

Scioglimento dico eſſer quell'altra, che dura dal principio di queſto trapaſſamento infino alla fine;come ap parifce nel Linceo di Teodette, doue le coſe ſeguiteui, & la preſa del figliuolo vanno ſotto il Nodo:& l'ac cufa della morte infino all'ultimo della Fauola vanno ſotto lo Scioglimento.

SS Vattro fono le le forti della Tragedia, che tante anchora ſono ſtate chiamate le fue parti; ²

delle quali quella ſi chiama intrecciata, doue Pimportanza d'eſſa e la Peripetia, & la Ricognitione.

L'altra è ſtata chiamata Affettuofa, come è la Tragedia detta gli Aiaci, & la detta gli Ifsioni.

Laterza ela morale, com'è la Tiotide, & come è Peleo.La quarta, come le Forcide, & come Prometheo; & tutte le altre, che fono appreſſo agli inferi.

Di tutte queſte forti fi debbono sforzare i Poeti d'eſſete abbodanti, & fenon di tutte, almeno delle principali, & delle piu che ſi puo;&& maſsimamente ne' tempi noftri, che gli huomini ſon pronti à taſſare i Poeti come queglische hauen do conoſciuto gli antichi Poeti buoni in tutte queſte parti, paia loro ragioneuole, che in ciascuna d'effe diſperse i Poeti debbino effere hoggi eccellenti.

Ma pafſando ad unaltra coſa, forſe non è ragioneuole, che dal la Fauola ſia chiamata la Tragedia una medefima, ô di uerfa;

ma queſta differenza debbe pigliarſi dal nodo, & dallo ſcioglimento d'efla:che nel vero alcuni Poeti, fono, che fanno il nodo bene, & fciolgonlo male.

Ma e fi debbe dall'una, & dall'altra parte eſcitarſi fauo re;& guardarſi maſsimamente, che il ſuggetto del Poe ma Heroico noi non lo mettiamo in ſuggetto Tragicolo chiamo fuggetto da Poema Heroicoquello, che cofitiene affar Fatole, com come ſe vn metteſſe tutto quel 1o della Iliade in una Tragedia;

perché quiui per la lun ghezza d'eſſo Poema v'hanno le parti grandezza conueniente:& nelle Fauole elle vi riuſcirebbono più lun ghe, che non richiede quella impreſa.

Segno e dició, che tutti quegli, che hanno finto in vna Fauola tutto l'eccidio di Troia, & non qualche parte e'ello (& ciò fu offeruato da Euripide nella Niobe, & nella Medea;

& non da Eſchilo) queſti tali, dico, ô e' fono deriſi nel Ior Poema;ò eſsi gareggiano infelicemente. Che inue ro Agatone per queſta ſola coſa caſcò, auuenga che fimili Poeti fi nella Peripetie, ſi nelle Fauole ſcempie conſeguiſchino il fine, che e' ſi ſono propoſti, marauiglioſamente:

concioſia, che egli appariſca il ſuggetto loro & Tragico,& molto humano.

Et queſto interuie ne, quando vn'huomo ſaggio, ma cattiuo (come fù Sififo) reſta ingannato; & quando vn' huomo forte, ma ingiusto, reſta abbattuto:

perchè tal caſo ha del verifimile, nel modo che dice Agatone, cioè, che egli è ve rifimile molte cofe accadere, che non fieno verifimili.

Debbeſi ſtimare, che il Choro fia vno degli Iſtrioni, & che e' ſia vna particella del tutto, & debbe fare le fue at tioni non come vſa Euripide, ma come vſa Sofocle:& agli altri ſieno piutoſto concedute le coſe, che s'appartengono à quella Fauola, che à vnaltra Tragedia.Onde è vſato, che è cantino coſe anneſſe alla materia.

Il principio della qual coſa dette Agatone. Che egli è inuero qualche differenza à cantare coſe congiunte alla Fauola, ò paſſare d'una in altra materia conuenentemente;ò dire l'intero Epiſodio. Quanto alle altre parti adunche ſe n'è detto à baſtanza. Reſtaci à dire hora del la Locutione, & del Diſcorſo. LA BOETICA

Est autem omnis tragoediae una quidem pars nexus, altera vero solutio.

ea quidem quae sunt extra, et aliqua eorum quae intra, saepenumero sunt nexus, reliquum vero est solutio.

dico antem autem nexum esse eum qui a principio est usque ad eam partem quae postrema est, ex qua transit in prosperam fortunam vel adversam,

solutionem vero, quae est a principio transitus usque ad finem, ut in Lynceo Theodectis nexus sunt ea quae gesta sunt et pueri sum- ptio sumptio, at solutio, quae est ab obiectione mortis usque ad finem.

tragoediae species sunt quattuor: tot enim etiam partes dictae sunt.

una quidem implexa, cuius totum est peripetia et agnitio;

altera vero affecta, ut Aiaces et Ixiones;

tertia morata, ut Phthiotides et Peleus; quarta, ut Phorcides et Prometheus, et quaecunque apud inferos.

ac omnia quidem maximopere conandum est ut habeantur: sin autem, maxima et plurima, praesertim ut nunc criminationem obiiciunt poetis. cum enim bonì fuerint secundum unamquanque partem poetae, unum superare singulos in proprio bono dignum existimant.

iustum autem est et tragoediam aliam et eandem dicere nihil fortasse ob fabulam.

hoc vero intelligitur in iis quarum eadem plicatio et solutio est. multi qui bene plicarunt, solvunt male.

ac ambo semper cum plausu excipi oportet. et oportet, quod dictum est, saepe in memoriam revocare, et non efficere ut tragoedia sit epopoeica constitutio. dico epopoeicam, quae multas fabulas continet, ut si quis totam fabulam Iliadis conficiat.

ibi enim propter longitudinem partes assumunt convenientem magnitudinem. in dramatibus vero multum praeter existimationem accidit.

signum vero est, quod quicunque expugnationem Ilii totam fecerunt et non secundum partem, ut Euripides Hecubam et non ut Aeschylus,

vel labuntur vel male certant, siquidem Agathon in hoc solo lapsus est. in peripetiis autem et in simplicibus rebus assequuntur quod volunt,

per admirabile: tragicum enim hoc et gratum hominibus.

est autem hoc, quando sapiens quidem sed cum improbitate deceptus fuerit, ut Sisyphus, et fortis quidem sed iniustus superatus sit.

atque hoc verisimile est, ut Agathon dicit: verisimile enim est multa fieri etiam praeter verisimile.

et existimandum est chorum esse unum de histrionibus et partem totius, ac simul contendere, non ut apud Euripidem, sed ut apud Sophoclem. quae vero conceduntur aliis, magis sunt fabulae et tragoediae alterius.

quamobrem embolima canunt, cum primus Agathon rem talem inceperit. atqui quid interest, si quis embolima canat, vel dictionem ex alio in aliud accommodet?

Est autem omnis tragodie hoc quidem colligatio hoc autem solutio, que quidem extrinsecus quedam eorum que intrinsecus sepe colligatio, quod autem reliquum solutio.

Dico autem colligationem quidem esse eam que a principio usque ad partem que extrema est ex qua transit in eufortunium, solutionem autem esse eam que a principio transitionis usque ad finem ;

sicut in Lykei Theodecti; colligatio anteacta et pueri sumptio et iterum que ipsorum utique ab accusatione mortis usque ad finem. —

Tragodie autem species sunt quatuor, tot enim et partes dicte sunt,

hec quidem complexa, cuius totum est peripeteia et anagnorisis,

hec autem passionalis, velut que Aiaces et Ixyones,

hec vero moralis, velut que Fthiotides et Pileus;

quarta autem , velut que Forkides et Prometheus et quecumque in Aido. —

Maxime quidem igitur omnes oportet temptare habere, si autem non, maximas et plurimas, aliterque et ut nunc calumpniantur poetas ; factis enim secundum unamquamque partem bonis poetis, unumquemque in proprio bono volunt unum superexcedere.

Iustum autem et tragodiam aliam et eandem dicere nichil minus fabula, hoc autem, quorum eadem complicatio et solutio.

Multi autem complectentes bene solvunt prave ;

oportet autem ambo semper coadiuvare. —

Oportet autem, ut dictum est sepe, memorari et non facere epopoiicam consistentiam tragodiam. Epopoiicam autem dico quod multarum fabularum, velut si quis eam que Iliadis totam facit fabulam.

Ibi quidem enim propter longitudinem sumunt partes decentem magnitudinem, in drama- tibus autem multum preter existimationem evenit.

Signum autem; quicumque quidem Sinili totam poetizaverunt et non secundum partem, sicut Euripedes Niobem, et non sicut Eschylus; aut excidunt aut prave agonizant; quoniam et Agathon decidit in hoc solo. —

In peripetiis autem et in simplicibus rebus coniecturant que volunt mirabiliter.

Tragicum enim hoc et philanthropon ; est autem hoc, quando sapiens quidem cum nequitia seductus fuerit, sicut Sisyfus, et Andreius quidem, iniustus autem victus est.

Est autem hoc verisimile sicut Agathon dicit; verisimile enim fieri multa et preter verisimilitudinem. —

Et chorum autem unum oportet suscipere ypocritas et partem esse totius et coagonizari, non sicut Euripidi, sed sicut Sophocleo.

Reliquis autem data magis fabule quam alterius tragodie sunt ; propter quod embolima ducunt ante incipientem Agathonem huius. Et quidem quid differt aut embolima canere aut sl seriem ex alio in aliud coaptet aut episodium totum ?

‏وكل مديح فشى منها حل وشى ما رباط اما اشيا التى من خارج والافراد من داخل فى بعض الاوقات فالرباطات التى من الابتدا الى هذا الجزو

‏وهى تلك التى هى اقليه ومنها يكون العبور اما النجاح والفلاح واما الى لا نجاح ولا فلاح واما الانحلال فهو كان من اول العبور الى اخره

‏كحال رباط ثاوداقطس فى اوعى اما الارتباط فالتى تقدمت فكتبت واخذ الطفل وايضا فالتى علٮها واما الانحلال فذاك الذى هو من اوعى الى الموت والى الانقضى

‏وانواع المدايح اربعة انواع وهذا كله قيل انه احرايضا

‏فاحها مقترن مولف والاحر الاداره والتقليب الذى فى الكل والاستدلال

‏والاخر هى انفعالية بمنزلة

‏افثوطيدس وفيلوس ايضا

‏والرابع فامور فوقيداس وافروميثوس وما قيل لهما وهو ان التى فى الجحيم

‏هى ممتحنة مجربة فى كل شى وان لم يكن هكذى فهى لا محالة فى اشيا عظام وكٮيرة وانهم يتهمون وٮٯسمون الشعرا على جهة اخرى كما الان وذلك انه لما كان فى كل جزو وحيد شعرا جياد حداق هم يوهلون كل انسان لخيره الخاص

‏وقد ينبغى الا يكون هم يوهلون كل انسان للخير الخاص به وقد كان يجب الا يكون لا مديح اخر ولا هذا ان يقال للخرافة وهذا اذا كان موجودا ڡٮالٮڡيه وحله هما باعيانهما

‏وكثيرين عند ما الفوا واقرنوا يحلون حلا حسنا

‏واما على جهة ردية ان امسكا كليهما ٮالتسديد

‏وقد يجب ان نتذكر مما قد قيل مرات كثيرة ولا تفعل ٮركٮں المديح المسمى افوفيوايقون واعنى بايفوفيايقون الوزن الكثير الخرافات مثل ان يعمل انسان الخرافة التى من ايليادا كلها

‏وذلك ان الاجزاء هنالك تاخذ بسبب الطول العظم اللايق والاولى واما فى القٮاٮ فيكون الٮظير خارج عن الشى كثيرا

‏والدليل هو هذا وهو ان بمبلغ الزياده التى لايليون عملوها بجملتها لا بالاجزا كما عمل اوريفيدس ٮيارى وليس كما عمل اسكٮوٮوس من انهم اما ان يقعون واما ان يجاهدون جهادا رديا

‏من قبل ان هذا من الخيرات وقع فى الارادات وفى الامور البسيطة يستدلون ويتعرفون حقيقة هذه التى يريدون ويحبون على طريق الزمز من قبل ان هذا هو مديحى ومن شان محبة الانسان

‏وهذا موجود متى انخدع حكيم بمنزلة سيوسيفوس مع الرذيلة وغلب الشجاع من الحاير

‏وهذه هى بالحقيقة ايضا كما يقول فى الخير ايضا بالحقيقة وقد يكون كثيرة خارجة عن الحق

‏وللصف الذى فى الجحيم من هولا المنافقين ويكون جزو للقول وان يجاهده مع لا على انه مع اوريفيدس لكن كما محادن مع سوفقلس

‏وكثير من التى ٮٮڡٮا ليس فيها شى اخر اكثر من الخرافة او من المدح ولذلك انما ٮٮڡا الدخيلة واول من بدا بذلك اغاثن الشاعر على لا فرق بين ان ٮٮفيا بالدخيلات وبين ان يولف قول من اخرى الى اخرى

‏وكل مديح فشى منها حل وشى ما رباط اما اشيا التى من خارج والافراد من داخل فى بعض الاوقات فالرباطات التى من الابتدا الى هذا الجزو

‏وهى تلك التى هى اقليه ومنها يكون العبور اما النجاح والفلاح واما الى لا نجاح ولا فلاح واما الانحلال فهو كان من اول العبور الى اخره كحال رباط ثاوداقطس فى اوعى اما الارتباط فالتى تقدمت فكتبت واخذ الطفل وايضا فالتى علٮها واما الانحلال فذاك الذى هو من اوعى الى الموت والى الانقضى

‏وانواع المدايح اربعة انواع وهذا كله قيل انه احرايضا

‏فاحها مقترن مولف والاحر الاداره والتقليب الذى فى الكل والاستدلال والاخر هى انفعالية بمنزلة افثوطيدس وفيلوس ايضا والرابع فامور فوقيداس وافروميثوس وما قيل لهما وهو ان التى فى الجحيم

‏هى ممتحنة مجربة فى كل شى وان لم يكن هكذى فهى لا محالة فى اشيا عظام وكٮيرة وانهم يتهمون وٮٯسمون الشعرا على جهة اخرى كما الان وذلك انه لما كان فى كل جزو وحيد شعرا جياد حداق هم يوهلون كل انسان لخيره الخاص

‏وقد ينبغى الا يكون هم يوهلون كل انسان للخير الخاص به وقد كان يجب الا يكون لا مديح اخر ولا هذا ان يقال للخرافة

‏وهذا اذا كان موجودا ڡٮالٮڡيه وحله هما باعيانهما

‏وكثيرين عند ما الفوا واقرنوا يحلون حلا حسنا واما على جهة ردية ان امسكا كليهما ٮالتسديد

‏وقد يجب ان نتذكر مما قد قيل مرات كثيرة ولا تفعل ٮركٮں المديح المسمى افوفيوايقون

‏واعنى بايفوفيايقون الوزن الكثير الخرافات مثل ان يعمل انسان الخرافة التى من ايليادا كلها

‏وذلك ان الاجزاء هنالك تاخذ بسبب الطول العظم اللايق والاولى واما فى القٮاٮ فيكون الٮظير خارج عن الشى كثيرا

‏والدليل هو هذا وهو ان بمبلغ الزياده التى لايليون عملوها بجملتها لا بالاجزا كما عمل اوريفيدس ٮيارى وليس كما عمل اسكٮوٮوس من انهم اما ان يقعون واما ان يجاهدون جهادا رديا

‏من قبل ان هذا من الخيرات وقع فى الارادات وفى الامور البسيطة يستدلون ويتعرفون حقيقة هذه التى يريدون ويحبون على طريق الزمز من قبل ان هذا هو مديحى ومن شان محبة الانسان

‏وهذا موجود متى انخدع حكيم بمنزلة سيوسيفوس مع الرذيلة وغلب الشجاع من الحاير

‏وهذه هى بالحقيقة ايضا كما يقول فى الخير ايضا بالحقيقة وقد يكون كثيرة خارجة عن الحق

‏وللصف الذى فى الجحيم من هولا المنافقين ويكون جزو للقول وان يجاهده مع لا على انه مع اوريفيدس لكن كما محادن مع سوفقلس

‏وكثير من التى ٮٮڡٮا ليس فيها شى اخر اكثر من الخرافة او من المدح ولذلك انما ٮٮڡا الدخيلة واول من بدا بذلك اغاثن الشاعر

‏على لا فرق بين ان ٮٮفيا بالدخيلات وبين ان يولف قول من اخرى الى اخرى