Poetics. Aristotle. ed. Henry James Pye. London. 1792.
The Poetic of Aristotle (Henry James Pye, revised 1792) (OCR draft) (English) (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.)
Provisional text from uncorrected OCR; expect errors.
1.
mvp-aristotle-comment-386
1452a22
διαφέρει γὰρ πολὺ τὸ γίγνεσθαι τάδε διὰ τάδε ἢ μετὰ τάδε.
Aristotle's construction after
διαφέρει is not always quite the same as that in the present passage. (1) The disjunctive is sometimes doubled:
Rhet.1. 15, 1375 b 20
οὐδὲν διαφέρει ἢ μὴ κεῖσθαι ἢ μὴ χρῆσθαι [
comp.
Poet. 9, 1451 b 1; 18, 1456 a 30
]. (2) It may be replaced by a
καί:
An. post.1. 11, 77 a 13
τὸ δὲ μέσον οὐδὲν διαφέρει εἶναι καὶ μὴ εἶναι λαβεῖν—or by
τε καί:
Soph. el.18, 177 a 6
διαφέρει δὲ πλεῖστον ἐρωτώμενόν τε καὶ μὴ λύειν λόγον. (3) A clause also with
εἰ may take the place of one with the infinitive:
De interpr.9, 18 a 36
οὐδὲ τοῦτο διαφέρει εἴ τινες εἶπον τὴν ἀντίφασιν ἢ μὴ εἶπον.—
Soph. el.17, 176 a 6
οὐδὲν γὰρ τοῦτο διαφέρει ἢ εἰ ἤρετο κτέ. [
comp.
Poet. 18, 1456 a 30
].
1.
mvp-aristotle-comment-387
περιπέτεια,
as a stage-term, seems to mean a complete change or reversal of situation within the limits of a single scene or act [
v.
Festschrift Theodor Gomperz dargebracht p. 168]. Apart from the stage it has the sense of a sudden change of fortune in
Rhet.1. 11, 1371 b 10,
καὶ αἱ περιπέτειαι [
repentinae mutationes,
Goulston]
καὶ τὸ παρὰ μικρὸν σῴζεσθαι ἐκ τῶν κινδύνων [
scil. ἡδύ].
πάντα γὰρ θαυμαστά ταῦτα; and that of a reversal of the natural order of things in
H. A.8. 2, 590 b 13
.
This same idea of an unforeseen reversal of fortune is implied also in the
adj.
περιπετής in
Herod.
8. 20
περιπετέα τε ἐποιήσαντο σφίσι αὐτοῖσι τὰ πρήγματα, and in
Eurip.
Andr.982
περιπετεῖς ἔχεις τύχας, καὶ ξυμφορὰν τήνδ᾽ ἐσπεσοῦσ᾽ ἀμηχανεῖς.
Every tragedy, according to
Aristotle (
7, 1451 a 13
), describes a transition from happiness to misery or
vice versa; but in the 'complex story' the change, however gradual it may be, seems to the hero to come upon him all at once, by a sudden reversal of the state of things; he thinks himself a happy man (let us say) at the beginning of an act, and a miserable man at the end of it.
It has been argued, however, by
Vahlen (
Beitr. ii p. 6), and more recently by
Dr. Lock (
Class. Rev. 9, 251), that a
περιπέτεια in
Aristotle's sense of the term is something different from this—that it is conceived as arising when a man's actions (
τῶν πραττομένων) are found to have consequences the direct opposite of what the agent meant or expected.
The language in
a 22-25
(
v. ad loc.) hardly justifies such a very artificial interpretation of a word like
περιπέτεια, which must be presumed to have been already an established and well-understood term of dramatic technique (see on
6, 1450 a 34
and
comp.
10, 1452 a 15
). If we refrain from putting pressure on isolated points, the general sense and connexion of ideas in
Aristotle's statement is sufficiently clear. He begins by assuming (1) a working definition of
περιπέτεια (
ἡ εἰς τὸ ἐναντίον τῶν πραττομένων μεταβολὴ καθάπερ εἴρηται), with an addition to remind us (2) that even an incident like this (
καὶ τοῦτο δὲ) is in a well-constructed play
κατὰ τὸ εἰκὸς ἢ τὸ ἀναγκαῖον,
i. e. the natural or necessary consequence of antecedents in the story (
10, 1452 a 18-20
), as it is for instance (3) in the
Oedipus Tyrannus (
a 24-26
), and (4) in the
Lynceus (
a 27-29
).
In the
O. T. the sudden fall of
Oedipus is the consequence of the revelation of his parentage (
δηλώσας ὃς ἦν
a 26
), and the revelation of his parentage the consequence of the presence of the messenger from
Corinth
(
ἐλθών
a 25
). Similarly in the
Lynceus the sudden change of situation—the salvation of
Lynceus and death of his enemy (
a 29
) is the consequence of certain incidents in a previous act (
συνέβη ἐκ τῶν πεπραγμένων
a 28
).
This second instance—which seems to be added as a reminder that the
περιπέτεια may be a turn for good (
comp.
τὸν δὲ σωθῆναι
a 29
) as well as a turn for evil—is too clearly described to leave any opening for any subtleties of interpretation.
Aristotle's language puts before us an act or scene, which begins with
Lynceus being led off for execution (
ὡς ἀποθανούμενος
a 27
) and ends with his salvation (
σωθῆναι
a 29
). This was the
περιπέτεια—the
εἰς τὸ ἐναντίον τῶν πραττομένων μεταβολή (
a 22
)—of the
Lynceus; and as it came about according to
Aristotle through incidents in the preceding portion of the play (
συνέβη ἐκ τῶν πεπραγμένων
a 28
), it was in conformity with the great law of construction laid down in the preceding chapter and elsewhere.
1.
mvp-aristotle-comment-388
καθάπερ εἴρηται
may be taken (with
Vahlen) as =
κατὰ τοὺς εἰρημένους τρόπους,
i. e.
εἰς εὐτυχίαν ἢ εἰς δυστυχίαν, as was said in
7, 1451 a 13
, and tacitly assumed in
6, 1450 a 3, 17
. If we accept
Bonitz's correction in
10, 1452 a 20
, the reference will be to that passage.
1.
mvp-aristotle-comment-389
καὶ τοῦτο δὲ κτέ.
By omitting the stop before these words
Vahlen makes them part of the definition of
περιπέτεια. But it is much more natural to take them as an additional clause, like that in
10, 1452 a 18
ταῦτα δὲ δεῖ γίνεσθαι κτέ.—in which case the illustrations from the
O. T. and
Lynceus are given as instances not of
περιπέτεια in general, but of the kind of
περιπέτεια which accords with
Aristotelian principles of construction.
1.
mvp-aristotle-comment-390
ὥσπερ λέγομεν:
'in the way we are saying', what follows being the explanation of this. The reference is to the formula at the end of chap.
10,
ἢ ἐξ ἀνάγκης ἢ κατὰ τὸ εἰκὸς γίγνεσθαι ταῦτα.
1.
mvp-aristotle-comment-267
11.1
A Péripetie est un changement de fortune en une fortune contraire contre ce qu'on avoit attendu.]
1
83.
mvp-aristotle-comment-83
NOTE 83. P. 84.
11.1
A REVOLUTION IS----A CHANGE INTO THE REVERSE OF WHAT IS EXPECTED FROM THE CIRCUMSTANCES OF THE ACTION.
Ἔστι δε περιπετεια μεν, ἡ εις το ἐναντιον των πραττομενων μεταβολη, καθαπερ εἴρηται. The sense of these words has not, I think, been exactly given in any translation I have yet seen, except that of the accurate and judicious Piccolomini:
"La Peripetia intendo io essere una mutation di fortuna, che (fatta nel modo che si é detto,) accaschi al contrario di quello che dalle cose ordite aspettar si potesse." In literal English "When the things that are doing (
τα πραττομενα) have an effect the very reverse of what is expected from them." That this is the meaning, appears plainly from the instance immediately subjoined:
ὥσπερ ἐν τῷ Οιδιπόδι, ἐλθων ΩΣ ΕΥΦΡΑΝΩΝ τον Οιδίπουν, και ἀπαλλάξων του προς την μητερα φοβου, δηλωσας ὃστις ἦν ΤΟΥΝΑΝΤΙΟΝ ΕΠΟΙΗΣΕ. As the words—
ἡ εις το ἐναντιον των πρατ. μετ. are rendered by Dacier, and others "changement de fortune en une fortune contraire" — they express nothing but what is common to Tragedy in general; and
περιπετεια is confounded with
μεταβασις. [See last NOTE.] But, it is well observed by Piccolomini,
"Non s'hà, parimente, da intendere, quando diciamo la peripetia esser mutation di fortuna, ogni forte di mutatione da una conditione et stato di fortuna ad un' altro; non potendo esser Tragedia alcuna in cui qualche così fatta mutatione non si ritrovi."
[p. 167.]
In the usual way of translating the passage, a circumstance essential to the
περιπετεια is entirely omitted in the definition; its being surprising, and contrary to expectation. This, it is true,
1
Dacier has expressed in his version, by the words, "contre ce qu'on avoit attendu." But this is, professedly, his own supplement of Aristotle's text. And indeed I once thought the text defective, and that Aristotle had probably written it—
μεταβολη, ΠΑΡΑ ΤΗΝ ΔΟΞΑΝ, καθαπερ εἴρηται: alluding to the latter part of cap. ix. But, as I now understand the passage, this idea is sufficiently implied. The words,
καθαπερ εἴρηται, have puzzled and divided the commentators, by their obscurity of reference. Upon the whole I am inclined to think, they point to what he had said cap. ix. [Transl. Part II. Sect. 7.] which, as I before observed, [NOTE 80,] seems manifestly to be a preparation for this chapter; and in which the words,
παρα την δοξαν δ' ἀλληλα—"events that are unexpected consequences of each other"—answer to the definition of
περιπετεια, as here explained.
That this is the meaning of Aristotle's words, I have no doubt. But, perhaps, even the words themselves have been inaccurately rendered, and
πραττομενων should be constructed, not with
μεταβολη, but with
ἐναντιον:
εις το ἐναντιον των πραττομενων: i. e.
in contrarium eorum quæ aguntur. This was suggested to me by the literal version which the accurate Mr. Harris has given of the words in his
Philol. Inq. p. 148.
—
"A REVOLUTION is, as has been already said, a change into the reverse of what is doing." The definition, I think, though its sense be the same in either way, would thus be more clear, and would answer more exactly to what follows .
11.1.
mvp-aristotle-comment-30
11.1
PERIPETI΄Α.
THE peripetía, according to the definition of Ariftotle, does not only mean a fudden and violent revolution of fortune, but a revolution brought about by means, apparently likely to produce a contrary effect. Of this revolution, from happiness to mifery, the Edipus, produced here as an example by Ariftotle, is the most perfect instance of any I know, ancient or modern; the expected means of his vindication affording the cleareft proof of his guilt. As for the contrary example, though we have the out-line of the story, the tragedy being loft, we are ignorant with what art the incidents were arranged, to produce the peripetía as described by the critic. On the modern theatre, the tragedy which ends unhappily, has seldom, if ever, a peripetía; for the tragedies of the present day begin with tears : the change of fortune which interests us in the course of the action, arifes from tranfient gleams of hope scattered through the piece, which deepen the succeeding distress that attends their disappointment, as in Venice Preferved, Douglas, and Tancred and Sigifmunda. In this last tragedy, Thomson, in compliance with custom introduces Sigifmunda deeply afflicted with prophetic, or if you will, imaginary horror, though she has the certain profpect of the possession of a throne with the man she loves, at the conclufion
POETIC OF ARISTOTLE. i i conclufion of the first act. Indeed, if inftead of deriving the catastrophe from manners and paffion, and cutting the gordian knot at last by the fword of the dying Ofmond; the distress had turned entirely on the forgery of Tancred's confent to fulfil the king's will, and that circumftance had been the hinge on which the catastrophe had turned, instead of a fubordinate circumftance in the second act: the tragedy of Tancred and Sigifmunda would have furnished a complete instance of this species of peripetía. Another reason for the want of peripetía in our tragedies that end with distress, is affigned in the last note. Probability is not violated by the most extraordinary revolution of events, but a fudden change of paffions and manners is utterly improbable. Of the unexpected reverse of fortune, from evil to good, we have innumerable instances: the most striking I recollect, is in the fourth act of the Merchant of Venice. The deliverance of Antonio arifes from Portia, just in the moment he is expected to fuffer from her confirmation of the claim of Shylock.
1.
mvp-aristotle-comment-78
Ritter, cap. 11 § 1
Quid sit
περιπέτεια et quid
ἀναγνώρισις definitur, ac simul quaedam agnitionis species enumerantur.
καθάπερ εἴρηται: haec verba non ita intelligenda sunt, quasi haec peripetiae definitio iam ante prolata sit, sed pertinent ad sola
ἡ εἰς τὸ ἐναντίον τῶν πραττομένων μεταβολή. nam rerum in tragoedia agendarum duplicem esse posse conversionem significatum erat capite 7 extr. -
καὶ τοῦτο δέ,
ὥσπερ λέγομεν,
κατὰ τὸ εἰκὸς ἢ
ἀναγκαῖον: repetit quae (c. 10, 3) et de peripetia et de agnitione monuerat. itaque verba
καθάπερ εἴρηται ad remotiorem locum,
ὥσπερ λέγομεν ad proximum provocant.
ὥσπερ ἐν τῷ Οἰδίποδι - τουναντίον ἐποίησεν: respicit Sophoclis Oedipum regem v. 924-1185. quod omisit poetae nomen et hic et §. 2., sane mirum videatur, cum et Aeschylus et Euripides et alii eo nomine tragoedias conscripserint. ponit Sophoclis nomen c. 15, 7., ubi eandem fabulam commemorat. mira dominatur per totum hoc caput consuetudo, ut cum quater tragoedia quaedam memoretur, ne semel quidem eius auctor nominetur. pugnat hoc utique contra rationem quam Aristoteles in commemorandis poetarum operibus cum in ceteris suis disputationibus tum in Rhetoricis secutus est. itaque haec explicatio aut ab epitomatore quodam insigniter contracta est et decurtata aut exempla ab aliena manu h. 1. adscripta sunt. certe exemplis istis lectores Graeci Aristotelis aetate haud aegre caruerint. equidem de operis particula huic capiti (§.1-5) assignata sic statuo: is qui toti libro miram illam formam partim resecando partim interpolando concinnavit, pleniorem Aristotelis de
περιπετείᾳ et
ἀναγνωρίσει disputationem ita in compendium redegit, ut ex generali explicatione nonnisi summa eius fastigia retineret et pro ceteris exempla quaedam reponeret.
καὶ ἐν τῷ Λυγκεῖ ὁ μὲν ἀγόμενος ὡς ἀποθανούμενος,
ὁ δὲ Δαναὸς ἀκολουθῶν ὡς ἀποκτενῶν: Lynceus infra c. 18, 1. Theodectis fabula appellatur a personato Aristotele. quae de tragoediae huius argumento utroque loco afferuntur, inde nihil certi elici potest, quo ipso auctor horum exemplorum suspectus fit. id quidem dubitationi haud obnoxium videtur, verba
ὁ μὲν ἀγόμενος ὡς ἀποθανούμενος de ipso Lynceo accipienda esse, non de Aegypto eius patre vel alio quo. nam hoc si ita se haberet, statim nomen
Δαναὺς omittendum et post
ὁ μὲν nihil nisi
ὁ δὲ ponendum erat. quis sit puer, cuius captio c. 18, 1. commemoratur, non constat. quae Tyrwhittus de fabulae argumento coniecit, ea admodum incerta sunt ¹).
ἐκ τῶν πεπραγμένων est ex iis quae in iudicio acta sunt.