The question may be raised whether the epic or the tragic form of representation is the better.

If the better is the less vulgar and the less vulgar is always that which appeals to the better audience, then obviously the art which makes its appeal to everybody is eminently vulgar. ¹

And indeed actors think the audience do not understand unless they put in something of their own, and so they strike all sorts of attitudes, as you see bad flute-players whirling about if they have to do the Discus, or mauling the leader of the chorus when they are playing the Scylla. ²

So tragedy is something like what the older school of actors thought of their successors, for Mynniscus used to call Callippides the monkey, because he overacted, and the same was said of Pindarus. ³

1462a 1 The whole tragic art, then, is to epic poetry what these later actors were compared to their predecessors, since according to this view epic appeals to a cultivated audience which has no need of actor’s poses, while tragedy appeals to a lower class. If then it is vulgar, it must obviously be inferior.

First of all, this is not a criticism of poetry but of acting: even in reciting a minstrel can overdo his gestures, as Sosistratus did, or in a singing competition, like Mnasitheus of Opus. ⁴

Besides it is not all attitudinizing that ought to be barred any more than all dancing, but only the attitudes of inferior people. That was the objection to Callippides; and modern actors are similarly criticized for representing women who are not ladies.

Moreover, tragedy fulfils its function even without acting, just as much as epic, and its quality can be gauged by reading aloud. So, if it is in other respects superior, this disadvantage is not necessarily inherent.

Secondly, tragedy has all the elements of the epic

—it can even use the hexameter—and in addition a considerable element of its own in the spectacle and the music, which make the pleasure all the more vivid;

and this vividness can be felt whether it is read or acted.

1462b 1 Another point is that it attains its end with greater economy of length. What is concentrated is always more effective than what is spread over a long period; suppose, for example, Sophocles’ Oedipus were to be turned into as many lines as there are in the Iliad.

Again, the art of the epic has less unity, as is shown by the fact that any one epic makes several tragedies. The result is that, if the epic poet takes a single plot, either it is set forth so briefly as to seem curtailed, or if it conforms to the limit of length ⁵ it seems thin and diluted.

In saying that epic has less unity I mean an epic made up of several separate actions.

The Iliad has many such parts and so has the Odyssey, and each by itself has a certain magnitude. And yet the composition of these poems is as perfect as can be and each of them is—as far as an epic may be—a representation of a single action.

If then tragedy is superior in these respects and also in fulfilling its artistic function—for tragedies and epics should produce not any form of pleasure but the pleasure we have described ⁶ —then obviously, since it attains its object better than the epic, the better of the two is tragedy.

This must suffice for our treatment of tragedy and epic, their characteristics, their species, their constituent parts, and their number and attributes; for the causes of success and failure; and for critical problems and their solutions. . . .

The question may be raised whether the Epic or
Tragic mode of imitation is the higher.

If the more refined art is the higher, and the more refined in every
case is that which appeals to the better sort of audience,
it is quite clear that the art which is all-mimetic is low.

For as if the audience were not quick enough to apprehend without
something being added, the actors perform many movements, like bad
flute-players who roll about if they have to represent the throwing of a quoit,
or pull at the leader of the chorus if they are playing the 'Scylla.'

Now Tragedy is just such an art.
It is what the older actors thought of their successors.
Mynniscus used to call Callippides 'the ape,' because he
thought he overacted his parts; and a similar reputation attached to Pindarus.
As these actors stand to their predecessors, so the whole art of Tragedy
stands, we are told, to the Epic.

The one art, they say, appeals to a refined audience
who do not need gestures; the other, to a lower class.
If, then, it is low, it is evidently the inferior.

Now, in the first place, this censure attaches
not to the poetic but to the actor's art; for it
is possible for a rhapsodist to exaggerate his gestures, as did
Sosistratus, and a singer also, as did Mnasitheus the
Opuntian.

Again, not all movement is to be condemned, any more than
all dancing, but only the movement of low people, which is the criticism
passed on Callippides and in the present day on others, that their women are not like gentlewomen.

Moreover, Tragedy does its work even without help from
the action, just as much as Epic poetry;
for by the mere reading of a play its quality may be seen.
If, then, in all other respects it is higher, this fault, we say, is not
essential to it.

Secondly, Tragedy has all that the Epic has,

and it may even use the Epic metre;
and, besides, it has as no small part music
and spectacle, through which the pleasures are most vividly felt.

Moreover, it has vividness of impression in reading as well as in
representation.

Then, again, Tragedy has the advantage in that the imitation is completed
within narrower limits; for the concentrated effect is more
pleasurable than one which is spread over a long time and so diluted.
What, for example, would be the effect of the Oedipus of Sophocles if it were cast into a form as long as the Iliad?

Once more, the Epic imitation has less unity;
as is shown by this, that any Epic poem will furnish subjects for
several tragedies. Thus if the Epic poet takes a single plot,
either it is set forth so briefly as to appear curtailed, or, if it follows the
custom of the metre, it seems thin and waterish.
I mean when the poem is made up of several actions,

as is the Iliad and Odyssey, which have
many such parts, each of them having a certain magnitude of its own.
Yet these poems are as perfect as possible in structure; each is, in
the highest degree attainable, an imitation of a single action.

If, then, Tragedy is superior to Epic poetry in all these respects,
and, moreover, fulfils its specific function—for it should produce not
any and every kind of pleasure, but the pleasure which has been mentioned—it
is clearly the higher art, as it attains its end more perfectly than the Epic.

This may suffice for our discussion of Tragedy and Epic poetry,
their respective kinds and parts, their number and their differences;
for the causes that make them good or bad; and for the objections of
critics and the answers to them.

The question may be raised whether the epic or the tragic
is the higher form of imitation.

It may be argued that, if
the less vulgar is the higher, and the less vulgar is always
that which addresses the better public, an art addressing
any and every one is of a very vulgar order.

It is a belief
that their public cannot see the meaning, unless they add
something themselves, that causes the perpetual movements
of the performers—bad flute-players, for instance, rolling
about, if quoit-throwing is to be represented, and pulling at
the conductor, if Scylla is the subject of the piece.

Tragedy,
then, is said to be an art of this order—to be in fact just
what the later actors were in the eyes of their predecessors;
for Mynniscus used to call Callippides ‘the ape,’ because
he thought he so overacted his parts; and a similar view
was taken of Pindarus also. All Tragedy, however, is said
to stand to the Epic as the newer to the older school of
actors.

The one, accordingly, is said to address a cultivated
audience, which does not need the accompaniment of gesture;
the other, an uncultivated one. If, therefore, Tragedy is
a vulgar art, it must clearly be lower than the Epic.

The answer to this is twofold. In the first place, one
may urge (1) that the censure does not touch the art of the
dramatic poet, but only that of his interpreter; for it is
quite possible to overdo the gesturing even in an epic
recital, as did Sosistratus, and in a singing contest, as did
Mnasitheus of Opus.

(2) That one should not condemn
all movement, unless one means to condemn even the dance,
but only that of ignoble people—which is the point of
the criticism passed on Callippides and in the present day
on others, that their women are not like gentlewomen.

(3)
That Tragedy may produce its effect even without movement
or action in just the same way as Epic poetry; for from
the mere reading of a play its quality may be seen. So
that, if it be superior in all other respects, this element of
inferiority is no necessary part of it.

In the second place, one must remember (1) that Tragedy
has everything that the Epic has

(even the epic metre being
admissible), together with a not inconsiderable addition in
the shape of the Music (a very real factor in the pleasure
of the drama) and the Spectacle.

(2) That its reality of
presentation is felt in the play as read, as well as in the
play as acted.

(3) That the tragic imitation requires less
space for the attainment of its end; (the more concentrated
effect is more pleasurable than one with a large admixture
of time to dilute it—consider the Oedipus of Sophocles, for
instance, and the effect of expanding it into the number of
lines of the Iliad);

(4) That there is less unity in the
imitation of the epic poets, as is proved by the fact that
any one work of theirs supplies matter for several tragedies;
the result being that, if they take what is really a single
story, it seems curt when briefly told, and thin and waterish
when on the scale of length usual with their verse. In saying
that there is less unity in an epic, I mean an epic made
up of a plurality of actions,

in the same way as the Iliad
and Odyssey have many such parts, each one of them in
itself of some magnitude; yet the structure of the two
Homeric poems is as perfect as can be, and the action in
them is as nearly as possible one action.

If, then, Tragedy is superior in these respects, and also
besides these, in its poetic effect (since the two forms of
poetry should give us, not any or every pleasure, but the
very special kind we have mentioned), it is clear that, as
attaining the poetic effect better than the Epic, it will be
the higher form of art.

So much for Tragedy and Epic poetry—for these two
arts in general and their species; the number and nature of
their constituent parts; the causes of success and failure in
them; the Objections of the critics, and the Solutions in
answer to them.

[1] ¹ 26.1 ONE may, however, question whether epic or tragic imitation is the more excellent. For if that imitation is the better which is less troublesome to the spectator, 26.2 and such an imitation pertains to better spectators, that which imitates every thing is evidently attended with molestation. For, as if the spectators will not perceive what is acted without the addition of much movement1, they make great ^{2 3 4 5 6} gesticulations; 26.3 just as bad players on the flute turn themselves round, when it is requisite to imitate the action of the discus; or when they sing of Scylla, draw to themselves the coryphaeus, or leader of the band. ⁷ Such, then, is tragedy, 26.4 as the modern actors are in the estimation of their predecessors3. Hence, Myniscus called Callipides an ape, in consequence of carrying his imitation to a great excess. And there was also a similar opinion respecting Pindar [the player]. But as these latter actors are to the former, so is the whole art of tragedy to the epopee. 26.5 They say, therefore, that the epopee is calculated for hearers of the better sort, on which account it does not require scenery; but that tragedy is calculated for the vulgar. Hence, tragic imitation, which is troublesome to the spectator, will evidently be inferior to epic imitation.

⁸ 26.6 In the first place, however, this accusation does not pertain to the poet, but the actor; since it is possible in reciting epic poetry to overdo action, as Sosistratus did, and singing likewise, as Mnastheus of Opus did. In the next place, neither is all motion to be despised, since neither is every kind of dancing, ^{9 10} but only that which is bad; 26.7 and hence Callipedes was blamed, as others now are for imitating light women4. 26.8 Further still, tragedy, in the same manner as the epopee, may fulfil its purpose without gesture ; for by reading, it is manifest what kind of thing it is. If, therefore, it is in other respects better, it is not necessary that it should be accompanied [by motion and gesture]. ¹¹ 26.9 In the next place, tragedy has every thing which the epopee possesses. For it may use metre, 26.10 and it has also music and scenery, as no small parts, through which the pleasure it produces is most apparent. To which may be added, that it possesses perspicuity, both when it is read, 26.11 and when it is acted. ¹² 26.12 The end, too, of its imitation is confined in less extended limits. For being crowded into a narrower compass, it becomes more pleasing than if it were diffused through a long period of time. Thus, for instance, if one were to put the Oedipus of Sophocles into as many verses as the Iliad, Fit would be less pleasing]. ¹³ Again, the imitation of the epopee has less unity [than tragic imitation]; of which this is an indication, that from any kind of [epic] imitation many tragedies may be produced. 26.13 Hence, if he who writes an epic poem should choose a fable perfectly one, the poem would necessarily either appear short, as if curtailed, or if it should be accompanied with length of metre, it would seem to be languid5. But if he should compose one fable from many fables, I mean, if the poem should consist of many actions, it would not possess unity. 26.14 Thus, the Iliad and Odyssey contain many such parts, which of themselves possess magnitude, though these poems are composed, as much as possible, in the most excellent ^{14 15} manner, and are most eminently the imitation of one action. 26.15 If, therefore, tragedy excels in all these ¹⁶ particulars, and besides this, in the work of art, (for neither tragic nor epic imitation ought to produce a casual pleasure, but that which has been stated,) it is evident that it will be more excellent than the epopee, in consequence of attaining its end in a greater degree. And thus much concerning tragedy, ¹⁷ and the epopee, 26.16 as to themselves, their species, and their parts, their number, and their difference, what the causes are of their being good or bad, and also concerning the objections which may be made to them, and the solutions of the objections.

[Utrum vero melior epica imitatio an tragica, aliquis haesitare possit.

nam si minus molesta melior, talis autem est quae meliorum spectatorum, in aperto est eam quae omnia imitatur molestam esse.

nam quasi non sentiant, nisi ipse adiecerit, multo motu moventur, ut mali tibicines sese volutantes, ubi discum imitari necesse est, et trahentes coryphaeum, cum Scyllam canunt.

iam vero tragoedia talis est, ut etiam priores de actoribus sibi aetate supparibus sentiebant: nam ut nimium excedentem, simium Myniscus Callippidem vocabat. talis autem opinio etiam de Pindaro erat. sed ut hi se habent ad sese, tota ars ad epopoeiam se habet.

hanc igitur pertinere aiunt ad bonos spectatores (nihil indigent figuris), tragicam autem ad pravos. molesta igitur haud dubie peior erit.

primum ea non est poeticae artis accusatio sed histrionalis, quoniam egredi modum in signis potest et rhapsodus, quod faciebat Sosistratus, et is qui canendo certat, quod faciebat Mnasitheus Opuntius.

deinde ne motus quidem omnis despiciendus, si ne saltatio quidem, sed deteriorum, quod etiam Callipidi vitio dabatur et nunc aliis, ut non liberas mulieres imitantibus.

porro tragoedia etiam sine motu facit quae ipsius sunt, ut epopoeia: nam lectione manifesta fit qualis sit. quod si in ceteris praestantior est, hoc saltem ei adesse non opus est.

tum quia omnia habet quae epopoeia:

nam et metro licet uti, et insuper non exiguam partem musicam et spectaculum habet, per quod voluptates exsistunt evidentissime. deinde etiam id quod evidens habet et in agnitione et in factis.

insuper quod intra minorem longitudinem finis imitationis est: nam quod magis confertum dulcius est quam multo diffusum tempore, id dico, ut si quis Oedipum posuerit Sophoclis in tot hexametris quot Ilias.

porro minus una imitatio epicorum.

signum autem: nam ex quavis imitatione plures tragoediae fiunt. itaque si unam fabulam faciant, aut breviter proposita truncata videbitur, aut secuta mensurae longitudinem diluta. si autem plures, dico ut si ex pluribus actionibus constet, non una,

quemadmodum Ilias multas eiusmodi partes habet et Odyssea, quae etiam per sese habent magnitudinem: quamquam haec poemata composita sunt quantum licet optima et quam maxime unius actionis imitatio.

si igitur et his excellit omnibus et insuper artis opere (oportet enim non quamlibet voluptatem ipsas afferre sed quam diximus), manifestum est meliorem esse, ut quae magis finem consequatur quam epopoeia.

de tragoedia igitur et epopoeia, et ipsis et formis partibusque, et quot sint et quid differant, et recti ac non recti quae causae, et de reprehensionibus et solutionibus, haec dicta sunto.]

1.

25.1 SI l'on veut ſçavoir, & le nombre, & la qualité des lieux communs, d'où l'on tire les objections qu'on fait aux Poëtes, & les réponſes qu'on peut faire à ces objections, on n'a qu'à lire ce Chapitre.

2.

25.2 Puiſque le Poëte eſt un imitateur, auſſi bien que le Peintre, & que le Statuaire, il faut neceſſairement qu'il imite une de ces trois choſes, car il repreſente 25.3 un ſujet tel qu'il étoit, ou tel qu'il eſt; tel qu'on le dit, ou qu'il luy paroît; ou tel qu'il doit être, & pour cela il ſe ſert, ou des mots propres, ou des mots étrangers, ou des metaphores, & de tous les autres changemens de la diction, dont les Poëtes ont la liberté de ſe ſervir.

3.

25.4 D'ailleurs il faut bien ſe ſouvenir qu'on ne doit pas juger de l'excellence de la Poëſie, comme de celle de la Politique, ni même, comme de celle de tous les autres Arts.

4.

25.5 Il y a deux défauts dans la Poëſie, l'un qui vient d'elle, & l'autre qui ne vient que par accident. 25.6 Quand elle choiſit des ſujets au deſſus de ſes forces & de ſa portée, voilà celui qui vient d'elle; & quand elle choiſit des ſujets qui ne ſont pas au deſſus de ſes forces, mais qui ſont vicieux, voilà celuy que j'appelle par accident, elle repreſente, par exemple, un Cheval qui remüe en même temps les deux pieds droits. Elle peut pecher de même contre les regles de tous les autres Arts, comme contre la Medecine, la Geographie, &c. ou traiter des choſes impoſſibles; mais tous ces défauts, quels qu'ils ſoient, ne viennent point d'elle.

5.

25.7 Il faut donc tirer de ces lieux là les réponſes qu'on doit oppoſer aux reproches qu'on fait aux Poëtes. 25.8 Premierement ſi le Poëte avance des choſes impoſſibles dans les regles mêmes de ſon Art, il commet une faute ſans contredit. Mais elle ceſſe d'être faute, lorſque par ce moyen il arrive à la fin qu'il ſe ſe propoſée; car il a trouvé ce qu'il cher-choit. Par exemple, ſi par là il rend cet endroit, ou quelqu'autre partie de ſon Poëme, plus étonnant & plus admirable, & tel eſt cet endroit de l'Iliade, où Achille pourſuit Hector.

6.

25.9 Que ſi le Poëte a pû parvenir à la même fin, & faire à peu prés le même effet, ſans violer les regles de ſon Art, alors ſa faute n'eſt plus pardonnable; car il faut ſi il eſt poſſible s'empêcher de tomber dans aucun défaut.

7.

25.10 Il faut encore bien examiner ſi la faute, dont il eſt queſtion, eſt faite contre l'art du Poëte, ou ſi c'eſt une faute par quelqu'autre accident que ce ſoit. Car la derniere eſt bien plus legere, & on excuſera bien plus volontiers un Poëte qui aura ignoré que les biches n'ont point de cornes, que celuy qui aura fait une méchante imitation.

8.

25.11 De plus on reproche ſouvent aux Poëtes qu'ils ne ſuivent pas la verité dans les caractéres qu'ils forment; mais on fait voir, qu'ils les forment comme ils devroient être, ou comme ils ſont. Et c'eſt ainſi que Sophocle & Euripide répondirent à leurs Cenſeurs; Sophocle en diſant, qu'il faiſoit ſes heros comme ils devoient être; & Euripide, qu'il les faiſoit comme ils étoient. Et c'eſt ainſi qu'on doit répondre à ces fortes d'objections.

9.

25.12 Que ſi on ne peut ſe ſervir d'aucune de ces deux maniéres pour les réfuter, il faut avoir recours à la renommée, & faire voir qu'on l'a dit ainſi. C'eſt par-là qu'on ſauve ce qu'Homere a dit des Dieux; 25.13 car il peut bien être que ce qu'il en dit n'eſt, ny vray, ny meilleur de cette maniére; mais il a ſuivi ce qu'on en a publié, & d'ailleurs, comme Xenophanes l'a fort bien dit, qui eſt aſſuré de connoître ſur cela la verité?

10.

25.14 Il arrive quelquefois que la choſe n'eſt pas mieux, comme le Poëte la dit; mais il la raporte, comme elle eſt, & c'eſt ainſi qu'on répond à la Critique qu'on fait à Homere ſur cet endroit, où il dit que les Troupes de Diomede dormoient prés de leurs piques toutes droites, qu'ils avoient fichées en terre; car c'étoit alors la coûtume de ces peuples, comme cela paroît encore par ce que font aujourd'huy les Illyriens.

11.

25.15 Pour bien connoître ſi une choſe eſt bien ou mal dite, ou bien, ou mal faite, il ne faut pas ſe contenter d'examiner la choſe même, & de voir ſi elle eſt bonne ou mauvaiſe, il faut encore avoir égard à celuy qui parle, ou qui agit, & à celuy à qui il s'adreſſe, & bien peſer le temps, le moyen, & la fin; car certaines choſes, qui paroiſſent mauvaiſes, peuvent être faites pour procurer un plus grand bien, ou pour éviter un plus grand mal.

12.

25.16 On peut encore rendre beaucoup de Critiques inutiles par le moyen de l'expreſſion, en faiſant voir, par exemple, que ce, qu'on prend pour un mot propre, peut être un mot étranger qui a une ſignification toute differente. Ainſi quand on reproche à Homere d'avoir dit mal à propos, que la peſte s'atta-cha premierement aux mulets, on peut répondre que dans ce paſſage le mot qu'on explique mulets, ſignifie des gardes, des ſentinelles, & qu'Homere a pû le prendre dans ce ſens-là. Quand il a dit de Dolon, qu'il étoit mal fait, il a voulu parler du viſage, & non pas du corps, car les Candiots, pour dire un homme qui eſt beau de viſage, ſe ſervent d'un mot qui eſt compoſé de celuy, dont Homere ſe ſert. Quand on accuſe le mème Poëte d'avoir fait donner du vin pur aux Ambaſſadeurs qu'Agamemnon envoyoit à Achille, on le juſtifie en faiſant voir que le mot Grec ne ſignifie pas du vin pur, comme on en donne aux yvrognes, mais qu'il ſignifie promptement.

13.

25.17 On les juſtifie encore tres ſouvent, en faiſant voir, qu'ils parlent par metaphore, & c'eſt ainſi qu'on ſauve tous ces endroits d'Homere, quand il dit, que tous les Dieux & tous les hommes dormoient hors Jupiter, il met tous pour la plupart, pour beaucoup. Quand il dit d'Agamemnon enfermé dans ſa tente, au milieu de ſon camp, qu'il jettoit les yeux ſur le camp des Troyens, jetter les yeux, eſt un terme metaphorique, qui ne ſignifie là, que penser, repaſſer dans ſon esprit. Quand il dit dans le mème endroit, la voix des flutes & des chalumeaux, la voix eſt là pour le ſon. Enfin quand il dit, en parlant de l'Ourſe, qu'elle eſt la ſeule conſtellation qui ne ſe baigne pas dans l'Ocean, la ſeule, c'est-à-dire, la principale, la plus connuë, car ce qui eſt le plus connu, eſt toûjours ſeul.

14.

25.18 Il arrive auſſi quelquefois, qu'on répond ſolidement aux Cenſures des Critiques, par un ſeul changement de ton ou d'accent, & c'eſt ainſi qu'Hippias de Thaſos a ſauvé Homere ſur cet endroit, où Jupiter envoye un Songe à Agamemnon, car on l'accuſoit d'avoir fait dire un menſonge par Jupiter, & cette accuſation ſeroit tres bien fondée s'il étoit vray que Jupiter dît, nous luy accordons une grande gloire; mais en changeant l'accent on trouve qu'il commande ſeulement au Songe de luy promettre cette gloire, & cela eſt bien different.

15.

25.19 Le mème Hippias défend auſſi par ce moyen ce Poëte dans ce paſſage, où aprés avoir parlé d'un bois bien ſec, on l'accuſe de dire enſuite, qu'une partie de ce bois eſt corrompüe par la pluye; car il fait voir, que ce qu'on a pris pour un pronom eſt une particule negative, & qu'Homere dit, que la pluye ne corrompt jamais ce bois.

16.

25.20 On ſauve auſſi beaucoup d'endroits par une differente ponctuation, & c'eſt ce qui a juſtifié Empedocle, qu'on avoit accuſé de s'être contredit dans les vers, où il expliquoit les principes des choſes.

17.

25.21 Quelquefois on a recours à l'ambiguïté, comme dans ce paſſage, où Homere dit, que la nuit eſt plus des deux tiers paſſée, & qu'il en reſte encore le tiers; car on ſauve cette contradiction apparen-te, en expliquant le mot plus, qui eſt ambigu dans l'original.

18.

25.22 Pour défendre les Poëtes, on employe ſouvent auſſi l'autorité de l'uſage, qui fait, par exemple, qu'on appelle du vin, un vin qui eſt mêlé d'eau. Et c'eſt ainſi qu'on excuſe ces expreſſions d'Homere qui dit des botines d'eſtain, quoyqu'elles fuſſent de fer, & qu'il n'y eût qu'un peu d'eſtain dans la ſoudure; qui appelle Ouvriers en airain, les forgerons qui travaillent le fer, & qui dit, en parlant de Ganymede, qu'il verſe du vin aux Dieux, quoyque les Dieux ne boivent pas de vin. Mais toutes ces expreſſions peuvent être ſauvées auſſi par la metaphore.

19.

25.23 Toutes les fois qu'un mot ſemble ſignifier quelque choſe de contraire au deſſein du Poëte, il faut examiner toutes les differentes ſignifications, que ce mot peut avoir dans le paſſage en queſtion. Par exemple, dans l'endroit où Homere décrit le combat d'Enée & d'Achille, il dit que la lance du Troyen perça les deux premieres lames du bouclier de ſon ennemi, & s'arrêta à la troiſiéme; ce mot s'arrêta, qui ſemble ſignifier, qu'elle y demeurera fichée, ſignifie qu'elle ne pût paſſer plus avant, & qu'elle fût repouſſée. Et le plus court moyen de ſe tirer de ces endroits, c'eſt de prendre le mot dans un ſens tout contraire à celuy qu'on luy donne ordinairement.

20.

25.24 Il arrive tres ſouvent comme Glaucon l'a fort bien dit, que les Critiques ſe preocupent, & s'entêtent ſans raiſon de certaines choſes avant que de lire les Poëtes, & perſuadez que leur ſentiment eſt le ſeul raiſonnable, ils condamnent ſans autre examen tout ce qui ſe trouve contraire à leur opinion. 25.25 C'eſt de ce faux préjugé qu'eſt née la Critique qu'on a faite à Homere ſur le ſujet d'Icarius pere de Penelope; car ſes Cenſeurs, prévenus que cet Icarius étoit Lacedemonien, ont fort blâmé ce Poëte de ce que Telemaque arrivant à Lacedemone, va loger ailleurs que chez ſon grand pere. Mais qu'ils faſſent taire auparavant les Cephaleniens, qui ſoûtiennent qu'Ulyſſe ſe maria dans leur païs, & que ſon beau-pere s'appelloit Icadius, & non pas Icarius. Juſques-là, ce qu'ils prennent pour une Critique fort juſte, ne ſera tout au plus qu'une queſtion.

21.

25.26 En general, quand on accuſe les Poëtes d'avoir dit quelque choſe d'impoſſible, il faut examiner cette impoſſibilité, par raport à la Poeſie, ou par raport à ce qui eſt mieux, ou par raport à la renommée. 25.27 Par raport à la Poëſie, car on montre que l'impoſſible vray-ſemblable, doit être preferé au poſſible, qui n'a aucune vray-ſemblance, & qui ne ſeroit pas crû, & c'eſt ainſi que Zeuxis faiſoit ſes tableaux. 25.28 Par raport à ce qui eſt mieux, car on fait voir que la choſe eſt plus excellente & plus merveilleuſe de cette maniere, & que les originaux doivent toûjours avoir le deſſus. Enfin par raport à la renommée, car on prouve que le Poëte n'a fait que ſuivre l'opinion commune. 25.29 Tout ce qui paroît abſurde ſe peut juſtifier auſſi par ces trois moyens, ou par cette maxime qu'on a déja raportée, qu'il eſt vray-ſemblable, qu'il arrive beaucoup de choſes contre la vray-ſemblance.

22.

25.30 Pour les choſes qui ſemblent contraires à ce que l'on a déja dit, il faut les examiner, comme on examine les objections dans la dialectique. C'eſt-à-dire, qu'il faut voir ſi c'eſt la même choſe, ſi elle va à la même fin, & ſi elle eſt dite de la même maniére. Il eſt encore fort bon de conſiderer ſi celuy qui parle, parle de ſon chef, ou ſi il ne parle que ſur le rapport de quelque homme prudent & ſage.

23.

25.31 Les Critiques juſtes, & auxqueles on ne peut répondre, ſont celles, où l'on fait voir qu'un endroit eſt déraiſonnable & abſurde, & qu'un autre eſt méchant; un Poëte tombe dans le premier vice, lorſque ſans aucune neceſſité, il a recours à une choſe qui eſt ſans raiſon, & telle eſt la faute d'Euripide dans ſon Egée. Et il tombe dans le ſecond, quand il introduit, par exemple, un méchant caractére ſans neceſſité, & tel eſt le caractére de Menelas dans l'Oreſte du même Poëte.

24.

25.32 Les objections qu'on fait aux Poëtes ſe reduiſent donc à cinq Chefs; car on leur reproche, qu'ils diſent des choſes qui ſont, ou impoſſibles, ou abſurdes, ou méchantes, ou qui ſe contrediſent ou qui ſont contre les regles de l'Art. Et les réponſes qu'on y peut faire ſe tirent des lieux que nous avons marquez, & qui ſont douze en tout.

A e' fi potrebbe qui dubitare quale imitatione fuſſe più eccellente, ò quella del Poema Heroico, ò quella del Tragico: ¹

& fe quella e' più eccellente che ha manco del vile(& tale è certamente quella, che fifa agli ſpettatori che ſono più nobili) manifeſto ſia però che più vile imitatione ſarà limitante tutte le cofe come quella, che ſenza gran moto fatto imprima non poſſa eccitar coloro, che appena coſi ſi riſentino.

Nel quale effempio ci ſono i cattiui fonatori di piffero, d'altra fimil forte di ſuono;i quali douendo imitare col fuono il giuoco del disco, loro ſteſsi girano intorno & mentre che ſonado e voglion rappreſentare Scilla e' fi tirano dietro il principe del Choro.

La Tragedia adun che è vna a imitatione di tal forte riſpetto al Poema Heroico, ſicome erano gli Iſſrioni eccelléti in compa ratione dei più vili, perchè Miniſco chiamaua Challipede vna Bertuccia:perchè ne' geſti egli era troppo intento.

Et una ſimile oppinione fu hauuta di Pindaro. La medefima proportione adunche, che hanno queſti Histrioni con quegli, coſi ha tutte l'arte Tragica col Poema Heroico:il quale dipiù quanto egli è affermato più conueniente à ſpettatori, che ſieno nobili, & che non habbino biſogno d'arte Hiftrionica: parimente il Poema Tragico è affermato conuenirſi à ſpettatori the fieno vili. Onde per eſſere tal Poema più vile, però venir maggiormente ad effer più reo.

Ma e' ſi riſponde à queſto, che tale accuſa nó è della poetica. Maê dell'ar te Hiſtrionica;perchè e'ſi può medefimamente nelle re citationi de' Poemi Heroici vſare l'artificio de' geſti, il chè vſaua di fare Soſiſtrato; & nel cantargli, il che vſaua di fare Mnaſsiteo da Opuntio.

Puoſsi anchora dire che ogni moto non debbe effer riprouato, come nè ancho ra ra tutti i ſalti; ma quelli che inettamente ſon fatti, di che fu biafimato Callipede in quel tempo & hora ne fono biafimati altri come quelli che imitino incio le donne che ſien' poco honeſte:

oltre adiqueſto la Tragedia ſtef ſa ſi puo códur ſenza moto, ſi bene che il poema heroico per poteruiſi manifeſtare la ſua forza, quale ella ſi ſia mediante illeggerla ſolamente.

Se addunche ella è ne glialtri conti piu eccelléte, l'attione et il modo dico che non gli è neceſſario anzi conchiudo di piu ch'ella auan za il poema Heroico:perchè la cõtiene in ſe tutte quel le coſe che in eſſo poema ſono contenute

hauendo il verſo ſi come il poema Heroico, & piu di lui hauendo la muſica & l'apparato

le quai due parti non ſono piccole, mediante le quali ſi prende manifeſtamente piace re.

Oltradiqueſto ella è efficacifsima, & per le recognitioni & per tutte quante l'altre attioni,& in minor circuito di tempo conſegue il fine della ſua imitatione impero che quello è nel piacere piu ferrato che riſtrigne in ſe le coſe di piu lungo tempo: Io dico ponendo in eſempio come farebbe ſe vno metteſſe l'Edippo di Sofocle intanti verſi in quanti è contenuta l'Iliade.

Oltre à diqueſto L'imitatione Heroica qualunque ella fi ſia è manco vna che non è l'imitatione tragica:fia dicio ſegno che diqualſi voglia imitatione heroica fene caua no affai tragedie:

Onde ſe i Poeti Heroici vorranno nel lor poema comporre vna fola fauola, fia di neceſsita, ò che ella ſia troppo corta & che l'appariſca inguiſa d'una coda d'un topo, ò ſe e la vorranno allungare infino alla miſura che ſia ragioneuole, che l'appariſca come vn vino che ſia pretto acqua & ſe e ne vorranno fa re piu io dico verbigratia ſe di piu attioni miſte inſieme e' vorranno comporre vna fauola: certamente ella non fia vna ſola ſi come interuiene nella Iliade, & nella Odiſſea doue nelluna & nell'altra ſono piu parti che hanno per loro ſteſſe grandezza,

ancora che tai poemi ſieno ſtati ordinati bene quato ſipuo & ancora che gli imitino vna attione ſola il piu che ſi puo, ſe adunche la Tragedia auanza tutti gli altri poemi non ſolamente per tutte le coſe dette ma ancora per l'artifitio, concioſia che ella non debba porgere qual fi voglia piacere ma quello che è ſtato detto da noi, E' manifeſto però che tal poema è migliore & ch'e coſeguiſce il ſuo fine molto piu perfettamente che non fa l'heroico.

Del poema Tragico adunche, & dello heroico,& delle ſpetie loro, & delle lor parti, & quante elle fieno, & in che coſa elle fieno differéti, et delle cagioni, che gli faccino buoni et cattiui; & delle obbiettioni, & delle ſolutioni, che alla Poetica s'appartēgono ſieſene detto inſin qui à baſtaza.

Iam vero ntrum utrum sit melior epopoeica imitatio an tragica, dubitare aliquis posset.

nam si quae minus onerosa est, melior est, et talis pertinet ad spectatores meliores, manifestum est, quae omnia imitatur,

onerosam esse: quasi enim non sentientibus nisi ipse poeta multam adiunxerit motionem moventur, ut mali tibicines vol. ventes se, si discum oporteat imitari, et trahentes coryphaeum, si Scyllam cecinerint.

ac tragoedia quidem talis est, quemadmodum etiam qui prius fuerunt, existimabant posteriores histriones: nam Mynniscus Callipedem vocabat tanquam nimis exsuperantem simiam.

ac talis quoque opinio de Pindaro erat. ut autem isti se habeant in vicem, sic tota ars ad epopoeiam se habet. atque hanc quidem circa spectatores probos aiunt esse; quamobrem nihil egeat figuris. tragicam vero ad improbos. igitur onerosa peior profecto erit.

ac primum quidem accusatio non est artis poeticae sed histrionicae, quoniam potest uti signis etiam qui recitat epopoeiam, id quod faciebat Sosistratus, et qui canit, id quod faciebat Mnasitheus Opuntius.

deinde non omnis motio improbanda, si quidem neque saltatio, sed motio improborum. id quod etiam Callipidi vitio dabatur, et nunc aliis, tanquam non ingenuas mulieres imitanti- bus imitantibus.

praeterea tragoedia etiam sine motione facit illud quod habet proprium, ut epopoeia: nam per lectionem manifesta est qualis sit.

si igitur est in aliis melior, hoc certe ut ipsi insit necessarium non est. deinde quoniam habet omnia quae habet epopoeia. etenim metro licet uti,

et quod non parvam partem habet musicam, et apparatum, per quam voluptates constituuntur evidentissime.

deinde et evidens habet et in lectione et in actibus.

accedit quod finis imitationis est in minore longitudine: nam strictius est iucun- d dius iucundius quam id quod multi temporis mixtionem habet. dico autem quemadmodum si quis componeret Oedipodem Sophoclis in quot versibus Ilias est. praeterea minus una est qualiscunque imitatio epicorum:

signum autem est, quod ex qualicunque imitatione plu'DE POETICA. res tragoediae conficiuntur.

quare si unam fabulam faciant, necesse est vel ut breviter ostensa appareat canda muris, vel ut sequens metri longitudinem appareat aqnea. sed si faciant plures, quemadmodum si ex pluribus actionibus fuerit composita, non erit una; ut Ilias habet mnltas multas tales partes, et Odyssea, quae etiam per se habent magnitudinem,

etiam si haec poemata constituta sint, quantum fieri potest, optima, et quam maxime sint imitatio actionis unius. si igitur et propter haec omnia praestat et propter artis etiam opus (oportet enim ipsas non quamlibet efficere voluptatem, sed eam quae dicta est), apparet eam quae magis finem consequitur, meliorem sine dubio esse epopoeia.

ac de tragoedia quidem et epopoeia et ipsis et formis et partibus ipsarum, et quot sint et quid differant, et quae causae sint eius quod bene est et quod bene non est, et de reprehensionibus et solutionibus, tam multa dicta sint.

Utrum autem melior epopoiika imitatio aut tragica dubitabit utique quis.

Si enim que minus honerosa melior, talis autem ad meliores aspectores est , palam quod que omnia imitatur honerosa ;

ut enim non sentientem si non ipse apponat, multum motum moventem, velut qui pravi fystulatores volutati, si discum oporteat imitari, et trahentes verticalem, si Scyllan fystulent.

Tragodia quidem igitur talis est ut et qui prius posteriores ipsorum putabant ypocritas, ut valde enim superexcedentem symiam Myniscus Kallispidem vocabat, talis autem opinio et de Pyndaro erat. Ut autem isti habent ad ipsos, tota ars ad epopoiiam habet.

Hanc quidem igitur ad inspectores epieikees aiunt esse, nichil indigent figuris, tragicam ad pravos; que igitur honerosa, deterior palam quod utique erit.

Primo quidem non poetice accusatio sed ypocritice, quoniam est circumoperari signis etiam rapsodizantem, sicut est Sosistratus, et etiam cantantem quod quidem faciebat Mnesitheus Pontius.

Deinde neque motus omnis reprobandus, si quidem neque saltatio, sed qui pravorum, sicut Kallipidem increpabant et nunc alios, tamquam non liberales mulieres imitantibus. —

Adhuc tragodia sine motu facit quod ipsius, sicut epopoiia ; per relegere enim manifesta qualis quedam est ; si igitur est quantum ad alia melior, hocque non necessarium ipsi existere.

Deinde propterea quod omnia habet quecumque quidem epopoiia ; et enim metro licet uti,

et adhuc non parvam partem musicam et visus per quam delectationes consistunt evidentissime.

Deinde et quod evidens habet et in recognitione et in operibus.

Adhuc per in minori longitudine finem imitationis esse ; quod enim athrooterum (idest magis simul totum) delectatio multo mixto tempore ; dico autem puta si quis Edipum ponat eum qui Sofoclei in versibus quibuscumque aut propriis.

Adhuc minus una imitatio que epopoiorum ; signum autem ex qualicumque enim imitatione plures tragodie fiunt ; quare si quidem unam fabulam faciant, aut breviter ostensam, gratiosum apparet aut, assequentem metri longitudini, insipidum.

Dico autem puta si ex pluribus actionibus sit composita, sicut Ylias habet multas tales partes, et Odysseia et secundum se habet magnitudinem, et talia quedam poemata consistunt ut contingit optime et quam maxime unius actionis imitatio. -—

Si igitur omnibus hiis differt et adhuc artis opere (oportet enim non quamcumque delectationem facere ipsas, sed dictam) manifestum quod melior utique erit magis finem sortiens quam epopoiia. —

De tragodia quidem igitur et epopoiia ipsisque et speciebus et partibus, et in quot et in quo differunt et eius quod bene aut non, que cause, et de increpationibus et solutionibus, dicta sint tanta. PRIMUS ARISTOTILIS DE ARTE POETICA LIBER EXPLICIT TRA NSLATUS 1278o 1o DIE MARTII.

‏واى اثنتيهما ترى افضل بين شعرى الشبيه وحكاية صنعة افى او تلك الاطراغيقانيا وقد يتشكك الانسان

‏هل كان شى من هذه التى فى فروطيقى هى اخير ام لا ومثل هذا الذى هو عند الناظرين الافاضل وتلك هى التى تخبر فى السنه والحكاية فى فوريطيقى فى الكل

‏وذلك انه من قبل انهم لا يحسون لا ٮرٮد هم الحركة الكبيرة وذلك ان الذين يتحركون فمثل الذين يزمرون فى الٮٮات والسرنيات المزيفة المزورة عير ما يستدارون ويحاكون اٮن ٮسٯوٮا*** سٮهون به عند [غير] ما ٮحربون الراس ان كان الزمر الذى يزمرونه لاسقولا

‏ومثل هذا المديح هو كما احتسب القدما والذين اتوا بالاخرة من بعدهم مرايين منافقين من قبل انهم افضل كثيرا من عالاس كما كان يلقب مٮٮٮٯوس ٯاٯٮدس و*عتمد الاعتقاد من فنٮدارس واما ان يكون لهذه اليه [ومن حيث هو من *لودا] وفى جميع الصناعة يكون حاله عند صنعة افى

‏وذلك ان حال صنعة افى عند الناظرين يقولون الذين ليس بالمحتاجين الى شى من الاشكال انهم طياب جدا *صناعة المديح عند المزيفين وفاما فروطيقى فظاهر انها اخس

‏ولنا ان نقول نحو هذه انه اما اولا ان الاختصام ليس هو صناعة الشعر لكن تلك التى هى للمراياة والنفاق من قبل انه قد يوجد الى ان ٮٮطل بالرسوم عند ما يغنى وما كان يفعله سوسطراطس وعند ما يزعق ويزمر وهو ما كان يفعله مسٮٮٮاس *طٮٮٮطيا بعد ذاك

‏وايضا ولا كل حركة من دوله كما انه ولا كل *** الا يكون رقص هولا المزيفين وهو ما قد كان قاليفيدس يبكت عليه وما **كٮ عليه فى هذا الوقت قوم اخرون من غير ما لا يشتهون بالنسا **حر***صا صناعة

‏والتى بلا حركة تفعل فعلها الذى يخصها كالاخرا التى لصناعـ* ****ـهاٮر فى الٮيٮ كم كانت وان كانت هذه الاخر افضل من الكل ***** يجب ضرورة ان يكون ثم من بعد

‏فمن قبل ان كل شى لها بمبلغ صنعة

‏افى فقد ىـ***ں *ن يستعمل الوزن وايضا ما كان جزوه الصغير الموسيقانية والنظر وهما اللذة *****ـهما اكثر فعلا

‏فلها ايضا فعل فى الاستدلال ايضا والافعال

‏وايضا التى هى مختلفة فى الطول ليكون اخر الشبيه والحكاية وذلك ان كون هذه خاصة بغتة اكثر من كونها كذلك وهى ممتزجة فى زمان كثير واعنى بذلك مثل ان يضع الانسان اوفيدس لذلك الذى وضعه سوفاقلس فى الافى التى له فى هذه التى ايليدا هى فيها

‏التشبيه والمحاكاة التى للذين يصنعون الافى والعلامة هى هذه وهى ان الواحدة من صنعة افى انها كانت قد تحدث مديحات كثيرة

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‏واى اثنتيهما ترى افضل بين شعرى الشبيه وحكاية صنعة افى او تلك الاطراغيقانيا وقد يتشكك الانسان

‏هل كان شى من هذه التى فى فروطيقى هى اخير ام لا ومثل هذا الذى هو عند الناظرين الافاضل وتلك هى التى تخبر فى السنه والحكاية فى فوريطيقى فى الكل

‏وذلك انه من قبل انهم لا يحسون لا ٮرٮد هم الحركة الكبيرة وذلك ان الذين يتحركون فمثل الذين يزمرون فى الٮٮات والسرنيات المزيفة المزورة عير ما يستدارون ويحاكون اٮن ٮسٯوٮا*** سٮهون به عند [غير] ما ٮحربون الراس ان كان الزمر الذى يزمرونه لاسقولا

‏ومثل هذا المديح هو كما احتسب القدما والذين اتوا بالاخرة من بعدهم مرايين منافقين من قبل انهم افضل كثيرا من عالاس كما كان يلقب مٮٮٮٯوس ٯاٯٮدس و*عتمد

‏الاعتقاد من فنٮدارس واما ان يكون لهذه اليه [ومن حيث هو من *لودا]

‏وفى جميع الصناعة يكون حاله عند صنعة افى

‏وذلك ان حال صنعة افى عند الناظرين يقولون الذين ليس بالمحتاجين الى شى من الاشكال انهم طياب جدا *صناعة المديح عند المزيفين

‏وفاما فروطيقى فظاهر انها اخس

‏ولنا ان نقول نحو هذه انه اما اولا ان الاختصام ليس هو صناعة الشعر لكن تلك التى هى للمراياة والنفاق من قبل انه قد يوجد الى ان ٮٮطل بالرسوم عند ما يغنى وما كان يفعله سوسطراطس وعند ما يزعق ويزمر وهو ما كان يفعله مسٮٮٮاس *طٮٮٮطيا بعد ذاك

‏وايضا ولا كل حركة من دوله كما انه ولا كل *** الا يكون رقص هولا المزيفين وهو ما قد كان قاليفيدس يبكت عليه وما **كٮ عليه فى هذا الوقت قوم اخرون من غير ما لا يشتهون بالنسا **حر***صا صناعة

‏والتى بلا حركة تفعل فعلها الذى يخصها كالاخرا التى لصناعـ* ****ـهاٮر فى الٮيٮ كم كانت

‏وان كانت هذه الاخر افضل من الكل ***** يجب ضرورة ان يكون ثم من بعد

‏فمن قبل ان كل شى لها بمبلغ صنعة افى فقد ىـ***ں *ن يستعمل الوزن وايضا ما كان جزوه الصغير الموسيقانية والنظر وهما اللذة *****ـهما اكثر فعلا

‏فلها ايضا فعل فى الاستدلال ايضا والافعال

‏وايضا التى هى مختلفة فى الطول ليكون اخر الشبيه والحكاية وذلك ان كون هذه خاصة بغتة اكثر من كونها كذلك وهى ممتزجة فى زمان كثير واعنى بذلك مثل ان يضع الانسان اوفيدس لذلك الذى وضعه سوفاقلس فى الافى التى له فى هذه التى ايليدا هى فيها

‏التشبيه والمحاكاة التى للذين يصنعون الافى

‏والعلامة هى هذه وهى ان الواحدة من صنعة افى انها كانت قد تحدث مديحات كثيرة

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