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and result from the arguments he uses; for what would be the merit of the orator, if they were to appear affecting (c) without the assistance of his eloquence.

Poetics. Aristotle. ed. Henry James Pye. London. 1792.

Current edition Experimental

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.

Editions (4)

Περὶ ποιητικῆς (OCR draft) (Aristotle, Poetics. Immanuel Bekker, editor, Aristotelis Opera, volume 2. Oxford: Oxford University Press, 1837.) — 19 focus

Περὶ μὲν οὖν τῶν ἄλλων ἤδη εἴρηται, λοιπὸν δὲ περὶ λέξεως ἢ διανοίας εἰπεῖν.

Τὰ μὲν οὖν περὶ τὴν διάνοιαν ἐν τοῖς περὶ ῥητορικῆς κείσθω· τοῦτο γὰρ ἴδιον μᾶλλον ἐκείνης τῆς μεθόδου.

Ἔστι δὲ κατὰ τὴν διάνοιαν ταῦτα, ὅσα ὑπὸ τοῦ λόγου δεῖ παρασκευασθῆναι.

Μέρη δὲ τούτων τό τε ἀποδεικνύναι καὶ τὸ λύειν καὶ τὸ πάθη παρασκευάζειν, οἷον ἔλεον ἢ φόβον ἢ ὀργὴν καὶ ὅσα τοιαῦτα, καὶ ἔτι μέγεθος καὶ μικρότητα.

Δῆλον δὲ ὅτι καὶ ἐν τοῖς πράγμασιν ἀπὸ τῶν αὐτῶν ἰδεῶν δεῖ χρῆσθαι, ὅταν ἢ ἐλεεινὰ ἢ δεινὰ ἢ μέγαλα ἢ εἰκότα δέῃ παρασκευάζειν.

Πλὴν τοσοῦτον διαφέρει, ὅτι τὰ μὲν δεῖ φαίνεσθαι ἄνευ διδασκαλίας, τὰ δὲ ἐν τῷ λόγῳ ὑπὸ τοῦ λέγοντος παρασκευάζεσθαι καὶ παρὰ τὸν λόγον γίγνεσθαι. Τί γὰρ ἂν εἴη τοῦ λέγοντος ἔργον, εἰ φανοῖτο ἡδέα καὶ μὴ διὰ τὸν λόγον;

Τῶν δὲ περὶ τὴν λέξιν ἓν μέν ἐστιν εἶδος θεωρίας τὰ σχήματα τῆς λέξεως, ἅ ἐστιν εἰδέναι τῆς ὑποκριτικῆς καὶ τοῦ τὴν τοιαύτην ἔχοντος ἀρχιτεκτονικήν, οἷον τί ἐντολὴ καὶ τί εὐχὴ καὶ διήγησις καὶ ἀπειλὴ καὶ ἐρώτησις καὶ ἀπόκρισις, καὶ εἴ τι ἄλλο τοιοῦτον.

Παρὰ γὰρ τὴν τούτων γνῶσιν ἢ ἄγνοιαν οὐδὲν εἰς τὴν ποιητικὴν ἐπιτίμημα φέρεται, ὅ τι καὶ ἄξιον σπουδῆς. Τί γὰρ ἄν τις ὑπολάβοι ἡμαρτῆσθαι ἃ Πρωταγόρας ἐπιτιμᾷ, Ὅτι εὔχεσθαι οἰόμενος ἐπιτάττει εἰπὼν

Μῆνιν ἄειδε θεά;

Τὸ γὰρ κελεῦσαι, φησί, ποιεῖν τι ἢ μὴ ἐπίταξίς ἐστιν.

Διὸ παρείσθω ὡς ἄλλης καὶ οὐ τῆς ποιητικῆς ὂν θεώρημα.

Περὶ ποιητικῆς (OCR draft) Perseus (Aristotle, De arte poetica liber. Rudolf Kassel, editor. Oxford: Clarendon Press, 1965. Reference edition for passage alignment.) — 19 focus

περὶ μὲν οὖν τῶν ἄλλων εἰδῶν εἴρηται, λοιπὸν δὲ περὶ λέξεως καὶ διανοίας εἰπεῖν.

τὰ μὲν οὖν περὶ τὴν διάνοιαν ἐν 35 τοῖς περὶ ῥητορικῆς κείσθω· τοῦτο γὰρ ἴδιον μᾶλλον ἐκείνης τῆς μεθόδου.

ἔστι δὲ κατὰ τὴν διάνοιαν ταῦτα, ὅσα ὑπὸ τοῦ λόγου δεῖ παρασκευασθῆναι.

μέρη δὲ τούτων τό τε ἀποδεικνύναι καὶ τὸ λύειν καὶ τὸ πάθη παρασκευάζειν (οἷον 1456b 1 ἔλεον ἢ φόβον ἢ ὀργὴν καὶ ὅσα τοιαῦτα) καὶ ἔτι μέγεθος καὶ μικρότητας.

δῆλον δὲ ὅτι καὶ ἐν τοῖς πράγμασιν ἀπὸ τῶν αὐτῶν ἰδεῶν δεῖ χρῆσθαι ὅταν ἢ ἐλεεινὰ ἢ δεινὰ ἢ μεγάλα ἢ εἰκότα δέῃ παρασκευάζειν·

πλὴν τοσοῦτον 5 διαφέρει, ὅτι τὰ μὲν δεῖ φαίνεσθαι ἄνευ διδασκαλίας, τὰ δὲ ἐν τῷ λόγῳ ὑπὸ τοῦ λέγοντος παρασκευάζεσθαι καὶ παρὰ τὸν λόγον γίγνεσθαι. τί γὰρ ἂν εἴη τοῦ λέγοντος ἔργον, εἰ φαίνοιτο ᾗ δέοι καὶ μὴ διὰ τὸν λόγον;

τῶν δὲ περὶ τὴν λέξιν ἓν μέν ἐστιν εἶδος θεωρίας τὰ σχήματα τῆς λέξεως, 10 ἅ ἐστιν εἰδέναι τῆς ὑποκριτικῆς καὶ τοῦ τὴν τοιαύτην ἔχοντος ἀρχιτεκτονικήν, οἷον τί ἐντολὴ καὶ τί εὐχὴ καὶ διήγησις καὶ ἀπειλὴ καὶ ἐρώτησις καὶ ἀπόκρισις καὶ εἴ τι ἄλλο τοιοῦτον.

παρὰ γὰρ τὴν τούτων γνῶσιν ἢ ἄγνοιαν οὐδὲν εἰς τὴν ποιητικὴν ἐπιτίμημα φέρεται ὅ τι καὶ ἄξιον 15 σπουδῆς. τί γὰρ ἄν τις ὑπολάβοι ἡμαρτῆσθαι ἃ Πρωταγόρας ἐπιτιμᾷ, ὅτι εὔχεσθαι οἰόμενος ἐπιτάττει εἰπὼν

μῆνιν ἄειδε θεά;

τὸ γὰρ κελεῦσαι, φησίν, ποιεῖν τι ἢ μὴ ἐπίταξίς ἐστιν.

διὸ παρείσθω ὡς ἄλλης καὶ οὐ τῆς ποιητικῆς ὂν θεώρημα.

Poetics, Greek text (Ingram Bywater, 1909) (OCR draft) Experimental (Ingram Bywater's Greek text of Aristotle's Poetics, published in 1909.) — 19 focus

Περὶ μὲν οὖν τῶν ἄλλων ἤδη εἴρηται, λοιπὸν δὲ περὶ
λέξεως καὶ διανοίας εἰπεῖν.

τὰ μὲν οὖν περὶ τὴν διάνοιαν ἐν
τοῖς περὶ ῥητορικῆς κείσθω· τοῦτο γὰρ ἴδιον μᾶλλον ἐκείνης
τῆς μεθόδου.

ἔστι δὲ κατὰ τὴν διάνοιαν ταῦτα, ὅσα ὑπὸ
τοῦ λόγου δεῖ παρασκευασθῆναι.

μέρη δὲ τούτων τό τε ἀποδεικνύναι
καὶ τὸ λύειν καὶ τὸ πάθη παρασκευάζειν (οἷον
ἔλεον ἢ φόβον ἢ ὀργὴν καὶ ὅσα τοιαῦτα) καὶ ἔτι μέγεθος
καὶ μικρότητα.

δῆλον δὲ ὅτι καὶ ἐν τοῖς πράγμασιν ἀπὸ
τῶν αὐτῶν ἰδεῶν δεῖ χρῆσθαι ὅταν ἢ ἐλεεινὰ ἢ δεινὰ ἢ
μεγάλα ἢ εἰκότα δέῃ παρασκευάζειν·

πλὴν τοσοῦτον διαφέρει,
ὅτι τὰ μὲν δεῖ φαίνεσθαι ἄνευ διδασκαλίας, τὰ δὲ
ἐν τῷ λόγῳ ὑπὸ τοῦ λέγοντος παρασκευάζεσθαι καὶ παρὰ
τὸν λόγον γίγνεσθαι. τί γὰρ ἂν εἴη τοῦ λέγοντος ἔργον, εἰ
φαίνοιτο ᾗ δέοι καὶ μὴ διὰ τὸν λόγον;

τῶν δὲ περὶ τὴν λέξιν
ἓν μέν ἐστιν εἶδος θεωρίας τὰ σχήματα τῆς λέξεως,
ἅ ἐστιν εἰδέναι τῆς ὑποκριτικῆς καὶ τοῦ τὴν τοιαύτην ἔχοντος
ἀρχιτεκτονικήν, οἷον τί ἐντολὴ καὶ τί εὐχὴ καὶ διήγησις
καὶ ἀπειλὴ καὶ ἐρώτησις καὶ ἀπόκρισις καὶ εἴ τι
ἄλλο τοιοῦτον.

παρὰ γὰρ τὴν τούτων γνῶσιν ἢ ἄγνοιαν οὐδὲν
εἰς τὴν ποιητικὴν ἐπιτίμημα φέρεται ὅ τι καὶ ἄξιον σπουδῆς.
τί γὰρ ἂν τις ὑπολάβοι ἡμαρτῆσθαι ἃ Πρωταγόρας
ἐπιτιμᾷ, ὅτι εὔχεσθαι οἰόμενος ἐπιτάττει εἰπὼν “μῆνιν ἄειδε
θεά”; τὸ γὰρ κελεῦσαι, φησίν, ποιεῖν τι ἢ μὴ ἐπίταξίς
ἐστιν.

διὸ παρείσθω ὡς ἄλλης καὶ οὐ τῆς ποιητικῆς ὂν
θεώρημα.

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.) — 19 focus

Περὶ μὲν οὖν τῶν ἄλλων ἤδη εἴρηται, λοιπὸν δὲ περὶ λέξεως ἢ διανοίας εἰπεῖν.

τὰ μὲν οὖν περὶ τὴν διάνοιαν ἐν τοῖς περὶ ῥητορικῆς κείσθω· τοῦτο γὰρ ἴδιον μᾶλλον ἐκείνης τῆς μεθόδου.

ἔστι δὲ κατὰ τὴν διάνοιαν ταῦτα, ὅσα ὑπὸ τοῦ λόγου δεῖ παρασκευασθῆναι.

μέρη δὲ τούτων τό τε ἀποδεικνύναι καὶ τὸ λύειν καὶ τὸ πάθη παρασκευάζειν, οἷον ἔλεον ἢ φόβον ἢ ὀργὴν καὶ ὅσα τοιαῦτα, καὶ ἔτι μέγεθος καὶ μικρότητα.

δῆλον δὲ ὅτι καὶ ἐν τοῖς πράγμασιν ἀπὸ τῶν αὐτῶν ἰδεῶν δεῖ χρῆσθαι, ὅταν ἢ ἐλεεινὰ ἢ δεινὰ ἢ μεγάλα ἢ εἰκότα ιοδέῃ παρασκευάζειν.

πλὴν τοσοῦτον διαφέρει, ὅτι τὰ μὲν δεῖ φαίνεσθαι ἄνευ διδασκαλίας, τὰ δὲ ἐν τῷ λόγῳ ὑπὸ τοῦ λέγοντος παρασκευάζεσθαι καὶ παρὰ τὸν λόγον γίγνεσθαι. τί γὰρ ἂν εἴη τοῦ λέγοντος ἔργον, εἰ φανοῖτο ἡδέα καὶ μὴ διὰ τὸν λόγον;

τῶν δὲ περὶ τὴν λέξιν ἓν μέν ἐστιν εἶδος θεωρίας τὰ σχήματα τῆς λέξεως, ἃ ἐστιν εἰδέναι τῆς ὑποκριτικῆς καὶ¹ τοῦ τὴν τοιαύτην ἔχοντος ἀρχιτεκτονικήν, οἷον τί ἐντολὴ καὶ τί εὐχὴ καὶ διήγησις καὶ ἀπειλὴ καὶ ἐρώτησις καὶ ἀπόκρισις, καὶ εἴ τι ἄλλο τοιοῦτον.

παρὰ γὰρ τὴν τούτων γνῶσιν ἢ ἄγνοιαν οὐδὲν εἰς τὴν ποιητικὴν ἐπιτίμημα φέρεται, ὅ τι καὶ ἄξιον σπουδῆς. τί γὰρ ἄν τις ὑπολάβοι ἡμαρτῆσθαι ἃ Πρωταγόρας ἐπιτιμᾷ, ὅτι εὔχεσθαι οἰόμενος ἐπιτάττει εἰπὼν “μῆνιν ἄειδε θεά;” τὸ γὰρ κελεῦσαι, φησί, ποιεῖν τι ἢ μὴ ἐπίταξίς ἐστιν.

διὸ παρείσθω ὡς ἄλλης καὶ οὐ τῆς ποιητικῆς ὂν θεώρημα.

Translations (13)

Poetics (W. H. Fyfe) (OCR draft) Perseus (William Hamilton Fyfe's English translation of Aristotle's Poetics, Loeb Classical Library, 1939 printing.) — 19 focus

The other factors have been already discussed. It remains to speak of Diction and Thought.

All that concerns Thought may be left to the treatise on Rhetoric, for the subject is more proper to that inquiry.¹

Under the head of Thought come all the effects to be produced by the language.

Some of these are proof and refutation, 1456b 1 the arousing of feelings like pity, fear, anger, and so on, and then again exaggeration and depreciation.²

It is clear that in the case of the incidents, too, one should work on the same principles, when effects of pity or terror or exaggeration or probability have to be produced.

There is just this difference, that some effects must be clear without explanation,³ whereas others are produced in the speeches by the speaker and are due to the speeches. For what would be the use of a speaker, if the required effect were likely to be felt without the aid of the speeches?

Under the head of Diction one subject of inquiry is the various modes of speech, the knowledge of which is proper to elocution or to the man who knows the master art⁴—I mean for instance, what is a command, a prayer, a statement, a threat, question, answer, and so on.

The knowledge or ignorance of such matters brings upon the poet no censure worth serious consideration. For who could suppose that there is any fault in the passage which Protagoras censures, because Homer, intending to utter a prayer, gives a command when he says, Sing, goddess, the wrath? To order something to be done or not is, he points out, a command.

So we may leave this topic as one that belongs not to poetry but to another art.

Arabic Poetics (Badawī edition, 1953) (OCR draft) (The ancient Arabic translation of Aristotle's Poetics in ʿAbd al-Raḥmān Badawī's 1953 edition.) — 19 focus

〈الفكرة والمقولة〉

أما فى الأنواع الأخر فقد قلنا. فينبغى الآن أن نتكلم فى المقولة وفى الضمير والذهن.

وقد وضعت الأشياء التى هى نحو الذهن والضمير فى كتاب «البلاغة» وذلك أن هذا هو من شأن تلك الصناعة ومما يخصها. والأشياء التى فى الذهن قد يجب أن ترتب وتعد تحت القول. وأجزاء هذه هى أن يبين، 〈وأن يفند〉 وأن يستثير الألم بمنزلة الحزن أو الخوف أوالحرد أو أشباه هذه، وأيضاً الكبر والصغر.

وظاهر أن فى الأمور أيضاً من هذه الصور والخلق ينبغى أن يستعمل متى كان إما الأمران وإما الصفات وإما العظائم، ويستعد التى هى حقائق. غير أن مقدار الفرق فى هذا هو أن منها 〈ما〉 يرى دائماً بلا تعظيم ومنها ما يعدها الذى يتكلم والقائل، وهى خارج عن القول. وإلا فما فعل ذلك الذى إما أن يقول، وإما أن يبين فيه اللذات؟

وليس سبب القول ونوع النظر للى هى نحو المقولة هو نوعاً واحداً، مثلا أشكال المقولة، وهذه ترى الأخذ بالوجوه والذى له مثل أعنى النبأ وصناعة القيام عليه، بمنزلة ما الأمر وما الصلاة أو حديث أو جزم أو سؤال أو جواب، وإن كان شىء آخر مما هو نظير لهذه. وذلك أنه لا شىء آخر خارج عن علم هذه، ولا علم مما هو تهجين يؤتى به فى صناعة الشعر يستحق الحرص والعناية. وإلا فماذا للإنسان أن يتوهم أنه وقع فى الزلل فى التى كان فروطاغورس يهجن بها من أنه كان يأمر [يظن] غير ما كان يظن أن يصلى ويقول: «خبرى أيتها الإلهة على السخطة والحرد...»؛ وذلك أنه زعم أن معنى أنه أمر بأن يفعل شىء أو لا يفعل هو: أمر، ولذلك يتخلى ذلك لصناعة 〈أخرى〉 لا على أنه من شأن صناعة الشعراء، ويترك.

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.) — 19 focus

It remains to speak of Diction and Thought, the
other parts of Tragedy having been already discussed.

Concerning Thought, we may assume what is said in
the Rhetoric, to which inquiry the subject more strictly
belongs.

Under Thought is included every effect which
has to be produced by speech,

the subdivisions being,—
proof and refutation;
the excitation of the feelings, such as pity, fear, anger, and the like;
the suggestion of importance or its opposite.

Now, it is evident that
the dramatic incidents must be treated from the same
points of view as the dramatic speeches, when the object
is to evoke the sense of pity, fear, importance, or probability.

The only difference is, that the incidents
should speak for themselves without verbal exposition;
while the effects aimed at in speech should be produced by the speaker, and as a result of the speech.
For what were the business of a speaker, if the Thought were revealed quite apart from what he says?

Next, as regards Diction. One branch of the inquiry
treats of the Modes of Utterance.
But this province of knowledge belongs to the art of Delivery and to
the masters of that science.
It includes, for instance, —what is a command, a prayer, a statement,
a threat, a question, an answer, and so forth.

To know or not to know these things involves no serious
censure upon the poet's art.
For who can admit the fault imputed
to Homer by Protagoras,—that in the words, 'Sing,
goddess, of the wrath,' he gives a command under the
idea that he utters a prayer? For to tell some one to do a thing or not to do it is, he says, a command.

We may, therefore, pass this over as an inquiry that belongs
to another art, not to poetry.

Aristotle on the Art of Poetry (Ingram Bywater, 1909) (OCR draft) Experimental (Ingram Bywater's English translation of Aristotle's Poetics, published in 1909.) — 19 focus

The Plot and Characters having been discussed, it remains
to consider the Diction and Thought.

As for the Thought,
we may assume what is said of it in our Art of Rhetoric,
as it belongs more properly to that department of inquiry.

The Thought of the personages is shown in everything to
be effected by their language-

in every effort to prove or
disprove, to arouse emotion (pity, fear, anger, and the like),
or to maximize or minimize things.

It is clear, also, that
their mental procedure must be on the same lines in their
actions likewise, whenever they wish them to arouse pity
or horror, or have a look of importance or probability.

The
only difference is that with the act the impression has to
be made without explanation; whereas with the spoken word
it has to be produced by the speaker, and result from his
language. What, indeed would be the good of the speaker,
if things appeared in the required light even apart from
anything he says?

As regards the Diction, one subject for inquiry under
this head is the turns given to the language when spoken;
e. g. the difference between command and prayer, simple
statement and threat, question and answer, and so forth.

The theory of such matters, however, belongs to Elocution
and the professors of that art. Whether the poet knows
these things or not, his art as a poet is never seriously criti-
cized on that account. What fault can one see in Homer's
'Sing of the wrath, Goddess'?-which Protagoras has criti-
cized as being a command where a prayer was meant, since
to bid one do or not do, he tells us, is a command.

Let us
pass over this, then, as appertaining to another art, and
not to that of poetry.

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.) — 19.6 focus

with this difference only, that, in the drama, these things must appear to be such, without being shewn to be such¹; whereas, in oratory, they must be made to appear so by the speaker, and in consequence of what he says: otherwise, what need of an orator, if they already appear so, in themselves, and not through his eloquence?.

XXIII.

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.) — 19.6 focus

and not through the speech ? ¹ But of things pertaining to diction, there is one species of theory respecting the forms of speech 1, which it is the pro- ² vince of the actor to know, and of him who is a master artist in this profession. Thus, or instance, [it is requisite he should know,] what a mandate is, what a prayer, narration, threats, interrogation and answer are,

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.) — 19 focus

De ceteris iam expositum est, restat autem ut de dictione vel sententia dicamus.

sed quae ad sententiam pertinent in libris de arte dicendi exprompta sunto: hoc enim proprium est magis illius disputationis.

pertinent autem ad sententiam haec, quaecumque oratione parari debent.

partes eorum sunt demonstrare et solvere et perturbationes facere, veluti miserationem vel timorem vel iram et quae sunt ciusdem generis, ac praeterea exaggerationem et extenuationem.

patet vero etiam in factis hauriendum esse ex isdem locis, cum sive miseranda sive timenda sive exaggerata sive verisimilia afferenda sunt.

nisi quod hoc intercedit discrimen, quod alia prodire debent sine expositione, alia per orationem a dicente parari et secundum orationem fieri. nam quid dicente opus esset, si iucunda comparerent etiam sine oratione?

ex iis autem quae ad dictionem pertinent unum est genus contemplationis quod figuras dictionis complectitur, quas cognitas habere est artis histrionalis et eius qui talem architecturam profitetur, veluti quid sit mandatum et quid precatio et enarratio et comminatio et interrogatio et responsio, et si quid aliud eiusdem generis.

nam ex horum intellectu aut ignoratione nulla in poeticam vituperatio manat, quae quidem operae pretium sit. quid enim est quod quis existimet peccatum esse in iis quae reprehendit Protagoras, quod precari se opinatus imperet dicens "iram cane dea?” iubere enim, inquit, facere aliquid aut non praeceptio est.

quare mittatur haec ratio, ut quae ad aliam artem et non ad poeticam pertineat.

La poëtique d'Aristote (André Dacier, 1692) (OCR draft) Experimental (André Dacier's French translation of Aristotle's Poetics, published in 1692.) — 19.6 focus

Il y a pourtant cette difference entre toutes les choſes dont on traite, que les unes ſans le ſecours de l'art ſont naturellement telles qu'on veut les faire paroître, & que les autres ſont renduës telles par l'adreſſe de celuy qui parle, & qui par ſes paroles leur donne la forme qu'elles nous paroiſſent avoir. Car que reſteroit-il à faire pour luy, ſi toutes les choſes étoient touchantes par elles-mêmes, ſans l'aide de ſes diſcours?

4.

Poetica d'Aristotile (Bernardo Segni, 1549) (OCR draft) Experimental (Bernardo Segni's 1549 Florentine Italian translation, aligned to the Kassel reference passage sequence.) — 19 focus

Tquanto alle coſe, che fon'nel Diſcorſo, nella Rettotica ſen'è parlato.¹

Che inuero tal ragionamento è più propio di quella inſtitutione. Nel Difcorſo fi dicono eſſere tutte quelle coſe, che col parlare ſi debbono andare preparando;

delle quali parte ne conſiſte in dimostrare, & in foluere, & in eccitare gli affetti;

come è la Mifericordia, ò il Timore, ò l'Ira, ò altre fimili perturbationi:& parte d'eſſe ne conſiſte circa alla Amplificatione, & alla Diminutione.

Et è manifeſto, che nelle ſopradette parti e' biſogni vſare; l'Ampli fication' dico, & la Diminutione dalle medeſime fpetre cioè quando e' s'habbia à preparar coſe compaſsio neuoli,ò terribili, ò grandi,ò verifimili.

Doue nondimanco è da vſare queſta diſtintione, che certe coſe è di neceſsità, che appariſchino ſenza aiuto alcuno di dottrina; & certe altre le debbe, chi dice, preparare co parlare:anzi debbe fare, che elle interuenghino per for za d'effo.

Imperoche qual farebbe l'uffitio di chi dice, ſe le coſe appariſsino piaceuoli; ma non per via del parlare? Vanto alla Locutione, vna parte di lei ſta in cofiderare le figure d'effa, lequali s'appartengono à ſapere all'arte Iſtriouica; ò à chi ſia prepo fto à tale arte:che cofa, dico, fia il Commandamento, che il Prego, che la Narratione, che il Minacciò, che l'Interrogatione, che la Riſpoſta, ò qualunche altra cofa, che à queſte ſia ſimigliante.

Concioſia che' per ſapere,ò non ſaper queſte coſe, la Poetica non ne ſia incari cata per tal cagione di carico, che meriti il pregio. Imperoche chi farebbe mai, che ſtimaſſe eſſere errore in quelle coſe, che Protagora mette per errore?cioè quan do vno penſando di pregare inquel cambio comandi in queſto modo. L'ira contami, o Dea. Perchè il dire, che vn faccia, ò non faccia-vna coſa, dice egli, e' vn comandamento.²

Laſsiſi pertanto queſta confideratione, come ſe ella fuſſe d'altra faculta, & non propia diqueſta.

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.) — 19 focus

Ac de aliis quidem iam dictum est.

reliquum vero est de elocutione vel sententia dicere. ac quae pertinent quidem ad sententiam, in libris de rhetorica posita sunt: hoc enim methodi illius magis est proprium. sunt autem secundum sententiam ea quaecunque ab oratione paranda sunt.

et eorum partes sunt tum demon¿ strare et solvere,

tum perturbationes parare, ut misericordiam vel metum vel iram et quaecunque talia, tum praeterea amplificare et diminuere.

manifestum autem est et in actionibus utendum esse iisdem formis, cum miserabilia aut terribilia aut magna aut verisimilia parare oportuerit;

nisi quod ea sola differentia est, quod haec quidem apparere sine doctrina oportet, quae vero in oratione posita sunt, a dicente parari et per orationem fieri.

quod enim esset dicentis munus, si apparerent iucunda et non per orationem? eorum vero quae pertinent ad elocutionem una species est contemplationis, quae considerat figuras elocutionis, quas scire est histrionicae, et eius qui talem habeat architectonicam, ut quid sit mandatum et quid precatio et narratio et mina et interrogatio et responsio, et si quid aliud huiusmodi.

ab horum enim cognitione vel ignorantia nulla reprehensio in poeticam affertur, quae curanda sit. qui enim fieri potest ut aliquis existimet errorem commissum esse in iis quae Protagoras reprehendit, quod putans precari praecipit, dicens 'iram diya cane?" nam iubere, inquit, ut aliquid faciat aut non faciat praeceptio est.

quamobrem omittatur, ut quae alterius et non poeticae sit contemplatio.

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.) — 19 focus

De aliis quidem igitur iam dictum est. Reliquum autem de locutione aut ratiocinatione dicere.

Que quidem igitur circa dianoiam (idest ratiocinationem) in hiis que de rethorica supponantur; hoc enim proprium magis illius methodi.

Sunt autem secundum dianoiam hec, quecumque a ratione oportet preparari

Partes autem horum demonstrareque et solvere et passiones preparare, puta miserationem aut terrorem aut iram et quecumque talia, et adhuc magnitudinem et parvitatem.

Palam autem quod et in rebus ab eisdem speciebus oportet uti, quando aut miserabilia aut dira aut magna aut verisimilia oportet exhibere;

preter quam tantum differt, quod hec quidem oportet apparere sine doctrina, hec autem in sermone a dicente preparari et preter rationem fieri. Quid enim utique sit dicentis opus, apparebit idea et non propter sermonem. —

Eorum autem que circa locutionem una quidem est species theorie scemata locutionis, que scire est ypocritice et habentis talem architectonicam, puta quid mandatum et quid oratio et narratio et comminatio et interrogatio et responsio et si quid aliud tale.

Preter enim horum cognitionem aut ignorantiam nulla in poeticam increpatio fertur, que sit digna studio. Quid enim utique quis existimet peccasse que Protagoras increpat, quod orare putans precipit dicens «insaniam vide dea» ? Nam iubere, inquit, facere aliquid aut non preceptio est.

Propter quod pretermittatur tamquam alterius et non poetice ens theorema. —

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.) — 19 focus

‏اما فى الانواع الاخر فقد قلنا فينبغى الان ان نتكلم فى المقولة وفى الضمير والذهن

‏وقد وصعت الاشيا التى هى نحو الذهن والضمير فى كتاب البلاغة وذلك ان هذا هو من شان تلك الصناعة ومما يخصها

‏والاشيا التى فى الذهن قد يجب ان ترتب وتعد تحت القول

‏واجزا هذه هى ان يبين وان يستقر للالم بمنزلة الحزن او الخوف او الحرد او اشباه هذه وايضا الكبر والصغر

‏وظاهر ان فى الامور ايضا من هذه الصور والخلق ينبغى ان يستعمل متى كان اما الاحزان واما الصفات واما العظايم ويستعد التى هى حقايق

‏غير [ال] ان مقدار الفرق فى هذا هو ان منها يرى دايما بلا تعطيم ومنها ما يعدها الذى يتكلم والقايل وهى خارج عن القول والا فما فعل ذلك الذى اما ان يقول واما ان يبين فيه اللذات وليس سٮٮ القول

‏ونوع النظر للتى هى نحو المقولة هو نوعا واحدا مٮلا اشكال المقولة وهذه ترى للاخر بالوجوه والذى له مثل اعنى البنا وصناعة القيام عليه بمنزلة ما الامر وما الصلاة او حديث او حرض او سوال او جواب وان كان شى اخر مما هو نظير لهذه

‏وذلك انه لا شى اخر خارج عن علم هذه ولا علم من ما هو تهجين يوتا به فى صناعة الشعر يستحق الحرص والعناية والا فماذا للانسان ان يتوهم انه وقع الزلل فى التى كان فروطاغورس يهجن بها من انه كان يامر [ٮطں] عـٮر ما كاں يطں ان يصلى ويقول خبرى انه الاله على السخطة والحرد وذلك انه زعم ان معنى انه امر بان يفعل شى او لا يفعل هو امر

‏ولذلك لٮحلا ذلك الصناعة لا على انه من شان صناعة الشعرا

Arabic Poetics (Abū Bishr Mattā; Tkatsch edition, unaligned) (OCR draft) Experimental (Tkatsch's edition of the medieval Arabic translation in its original, unaligned segmentation.) — 19 focus

‏اما فى الانواع الاخر فقد قلنا فينبغى الان ان نتكلم فى المقولة وفى الضمير والذهن

‏وقد وصعت الاشيا التى هى نحو الذهن والضمير فى كتاب البلاغة وذلك ان هذا هو من شان تلك الصناعة ومما يخصها

‏والاشيا التى فى الذهن قد يجب ان ترتب وتعد تحت القول

‏واجزا هذه هى ان يبين وان يستقر للالم بمنزلة الحزن او الخوف او الحرد او اشباه هذه وايضا الكبر والصغر

‏غير [ال] ان مقدار الفرق فى هذا هو ان منها يرى دايما بلا تعطيم ومنها ما يعدها الذى يتكلم والقايل وهى خارج عن القول

‏والا فما فعل ذلك الذى اما ان يقول واما ان يبين فيه اللذات وليس سٮٮ القول

‏وذلك انه لا شى اخر خارج عن علم هذه ولا علم من ما هو تهجين يوتا به فى صناعة الشعر يستحق الحرص والعناية

‏والا فماذا للانسان ان يتوهم انه وقع الزلل فى التى كان فروطاغورس يهجن بها من انه كان يامر [ٮطں] عـٮر ما كاں يطں ان يصلى ويقول خبرى انه الاله على السخطة والحرد

‏وذلك انه زعم ان معنى انه امر بان يفعل شى او لا يفعل هو امر

‏ولذلك لٮحلا ذلك الصناعة لا على انه من شان صناعة الشعرا

Commentary

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

6. mvp-aristotle-comment-695

ἄνευ διδασκαλίας = ἄνευ λόγου,.

‘sine docentis opera’

Tyrwhitt) it is explained by what follows,

τί γὰρ ἂν εἴη τοῦ λέγοντος ἔργον ;

The party instructed or informed here is one of the dramatis personae, who learns the mind of another either through some act of his, or through some statement by him in words.

6. mvp-aristotle-comment-696

τὰ δὲ ἐν τῷ λόγῳ, scil. ἐλεεινά, δεινά, μεγάλα κτέ.

6. mvp-aristotle-comment-697

παρὰ τὸν λόγον. For the preposition comp. b13 and 15, 1454 b 15 .

6. mvp-aristotle-comment-698

εἰ φαίνοιτο ᾗ δέοι. The traditional εἰ φανοῖτο (which would have to be taken as equivalent to εἰ μέλλοι φαίνεσθαι) is against the rule laid down by Mvig, Gr. Synt. p. 119 Eng. tr. There is not much to choose between Vahlen's ἢ δέοι and Castelvetro's ἤδη. ἢ δέοι, however, is somewhat nearer the manuscript reading ἡδέα, and much more probable than either Tyrwhitt's δεῖ or Spengel's διάνοια. It means

‘in the required light’

, i.e. as ἐλεεινά, or δεινά, etc. If things appear of themselves in this light, without the aid of the rhetorical art of the speaker, the speaker is not wanted. The present remark may be compared with that in 6, 1450 b8

ἐν οἷς οὐκ ἔστι δῆλον κτέ.

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

3. mvp-aristotle-comment-459

19.6 3. Il y a pourtant cette difference entre les choses dont ils traitent , que les unes ſans le ſecours de l'art font naturellement telles qu'on veut les faire paroître, & que les autres font rendues telles par l'adreſſe de celuy qui parle.]¹

4. mvp-aristotle-comment-460

19.6 4. Car que reſteroit-il à faire pour luy, fi toutes les chofes étoient touchantes par elles-mêmes ſans l'aide de ſes discours.]²

Commentary on the Poetics (Thomas Twining, 1789) (OCR draft) (Thomas Twining's notes on Aristotle's Poetics, aligned to the Kassel reference edition.) focus

161. mvp-aristotle-comment-161

NOTE 161. P. 103.

19.6 WITHOUT BEING SHEWN TO BE SUCH.—

Ανευ διδασκαλίας

"Senza che si dica e che s'insegni che fian tali."

— Piccolomini :—I believe, very exactly. The reader may compare Rhet. I. 2. p. 514, B. —and III. 1. p. 584, B. and, (

διδασκαλικη

,) I. 2. p. 515, A.

The truth of what the philosopher here observes, may appear from this single consideration. Suppose two Tragedies written by two Poets on the same subject, and of which the plot and princi- pal incidents are the same: and suppose two pleadings of the same cause, by two speakers. It seems very plain, that the difference of the effect upon an audience in the former case, would bear much less proportion to the difference between the Poets, than it would, in the other case, to the difference between the Speakers. ¹

162. mvp-aristotle-comment-162

NOTE 162. P. 104.

19.6 IF THEY ALREADY APPEAR SO IN THEMSELVES.

Ει φαινοιτο ήδεα

.—That

ήδεα

is wrong, I have no doubt. For if we admit it, we must take it, as Victorius does, for a single instance; as if Aristotle had said,

"aut jucundæ, aut tristes, aut atroces, &c,---: quamvis enim nunc unum horum ponat, i. e. jucunda, reliqua tamen audienda sunt."

—But how improbable it is, that he should not chuse his single instance, if he meant to give one, out of those which had just been mentioned? that he should not rather have said,

ἐι φαινοιτο ἐλεεινα, δεινα

, than

ήδεα

jucunda

; which, besides, is evidently not at all to his purpose.

I cannot, therefore, help thinking it something more than probable, that Aristotle wrote this,

φαινοιτο ΗΔΗ

τοιαυτα

—that is,

ἐλεεινα, δεινα

, &c.) "If they appear already so;—in themselves." The elliptic brevity of the expression will hardly be objected to, in a writer who abounds with instances much more harsh and obscure than this. In the same manner,

τοιαυτα

is understood with

φαινεσθαι

just before:—

τα μεν δει φαινεσθαι

(

τοιαυτα

)

άνευ διδασκαλίας

The same conjecture had, I find, occurred, long ago, to Castelvetro , but, which I think somewhat singular, has not been taken notice of by any of the commentators I have seen. He says—

φαινοιτο ήδεα

"coloro, li quali non riconoscono che qui sia errore, assegnino à queste parole, se possono, senso degno e conveniente ad Aristotele. Adunque io crederei che non fosse male à leggere

ήδη

, in luogo d'

ήδεα

, e'l senso sarebbe convenevole."

[p. 406.] The reader may see a very different explanation of this whole passage in the Abbé Batteux’s notes; but an explanation which cannot, in my opinion, be reconciled to the text. His censure of Dacier and others, that they have rendered this chapter

"à contresens,"

seems to me to recoil upon himself.

Commentary on the Poetics (Henry James Pye, 1792) (OCR draft) (Henry James Pye's 1792 English commentary, aligned to the Kassel reference edition.) focus

19.4. mvp-aristotle-comment-80 19.6

THERE IS ONE PART OF THE THEORY OF ELOCUTION RELAT- ING TO THE MODE OF EXPRESSION, WHICH PRINCIPALLY BE- LONGS TO THE PLAYER AND THE PROFESSED TEACHERS OF THAT ART; SUCH AS TO DISTINGUISH BETWEEN SUPPLICA- TION, COMMAND, NARRATION, QUESTION, ANSWER, AND ANY OTHER CIRCUMSTANCE OF THE SAME KIND.

i Li BOTH this precept, and the example by which it is illustrated, appear to me fufficiently clear. That there is no grammatical diftinction between command and fupplication, and that the distinction depends entirely on the speaker the most sacred part of our liturgy sufficiently evinces. A mark of interrogation added or omitted, will often entirely change the sense of a fentence, for an instance of which the reader is referred to the first chapter of this work [c]. As for the author's instructing the performers how to recite their works, it could only happen in the cafe of new pieces. The player of the tragedies of the three great tragic poets of Greece were as much obliged to tradition or their own ingenuity for giving the proper utterance to their fentiments, at the time Aristotle wrote, as the performers of the [C] See Note [D]. Chap. I. on the tranflation.. plays

POETIC OF ARISTOTLE. plays of Shakespear are at the present hour. I question much even if the modern players would be quite so civil to a living poet in this respect as they are to Bayes in the rehearsal, or as the French players were to Voltaire [D]. I was present at the rehearsal of the Jealous Wife, and every circumstance relating to the elocution and the action of every character was directed by Mr. Garrick without one remonftrance from Mr. Colman who was present; though Mrs. Pritchard made several, but which were all over-ruled by the manager. I do not think Mr. Twining has treated this part of the subject with his usual clearness. That by σχήμαζα λέξεως Ariftotle must mean figures or forms of speech, I most perfectly agree with him. But when he says this belongs to the art of the player, and that no blame worthy of notice can be imputed to the poet on this account; it is clearly implied, that it is not only the duty of the player to understand how the poet uses these figures of speech, but to give them their due effect in the performance, by employing the proper gestures and tones of voice. Yet though Aristotle says the blame incurred by the poet on this occafion is not of a serious essential kind, that very expression implies that some blame is incurred. And this is perfectly just. For certainly the poet ought to take care that these forms should be so marked by the sense as to leave no doubt in the mind of the actor or reader. Of this fault Shakespear has been sometimes guilty. For instance, in the celebrated line of Othello, the proper delivery of which has been fo much controverted.. [D] See Mr. Twining's Note 163. Put

Put out the light and then put out the light.' Which I believe has been finally fettled by Garrick to be thus pronounced, 'Put out the light and then.-Put out the light? • If I quench thee,' &c. There is no doubt of this being the best mode, but much I think of its being the mode intended by Shakespear [E]. The fubject of this note is well illustrated by Leffing. ' It is often,' he says, very necessary in order to comprehend the nice touches of • Terence to have the power of figuring to ourselves the action of the ، ، players, for the ancients never wrote [F] stage directions. Recitation had its peculiar artists; and as to the rest, the poets could depend on the skill and judgement of the actors who studied their employment with the most serious attention. The poets themselves were often among their number; [G] they gave directions how they would have [E] Another passage of Shakespear has been thus spoken, This my hand will rather • The multitudinous sea incarnadine, • Making the green,-ONE red.' I am surprised to see the compliment paid by Mr. Stevens to such a substitution of bombafst, for the fimple diction of Shakespear. The late Mr. Sheridan has pointed out many glaring though almost general errors in the reading of the Liturgy. For more observations on this subject, the reader is referred to Note v. Chap. xxv. [F] See Note II. Chap. XII. [G] That is, they explained their own meaning; depending on the art of the player to express that meaning to the spectators. the

POETIC OF ARISTOTLE. ' the incidents performed; and as their works were not published previoufly to the representation, before the people had an opportunity [H] • both of feeing and hearing them, they had less occafion to interrupt ⚫ the written dialogue by directions in parenthesis, through which the • author in a manner makes himself one of the perfons of the drama. But • if we imagine that the ancient poets to avoid these parentheses marked ' in the dialogue itself, every movement, every gesture, every look, every • modulation of voice that the actor should use, we are mistaken. In Terence alone there are many places in which nothing of all this ' is marked, and where, nevertheless, the true sense can only be dif- • covered by guessing at the proper action which should accompany ⚫ them. In many, even the words may appear to convey a meaning directly contrary to what the actor ought to express by his gestures.' DRAMATURGIE, Part II. page 97. [H] The same is the case now as to the priority of representation; but the printed copies are read by thousands who could not see the drama performed. CHAP.

THOUGH I cannot fee with what propriety Ariftotle begins a direction for the choice of the language of tragedy, by sending us to the spelling-book: yet as I deemed it incumbent on me as a tranflator not to omit any thing that the critic says, I shall avail myself of the opportunity he has given me to introduce some general remarks on grammar, and some that relate more peculiarly to the grammar of our own language.

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

3. mvp-aristotle-comment-132

Ritter, cap. 19 § 3

δῆλον δὲ ὅτι καὶ ἐν τοῖς πράγμασιν - δεῖ χρῆσθαι: etiam hoc rara brevitate positum est, ἐν τοῖς πράγμασιν pro ἐν τῇ συστάσει πραγμάτων τραγῳδίας sive ἐν τῷ μύθῳ τραγῳδίας. in rebus argumento tragico conserendis haurire debet poeta ex isdem eloquendi formis sive locis communibus ( ἀπὸ τῶν αὐτῶν ἰδεῶν δεῖ χρῆσθαι) quos orator in elocutione oratoria adhibet. πλὴν τοσοῦτον διαφέρει – παρὰ τὸν λόγον γίγνεσθαι: haec est artis tragicae ab oratoria, quod ad sententiarum elocutionem attinet, differentia, quod in ipsa alia sine expositione (h. e. sine significatione verbis expressa, ἄνευ διδασκαλίας), alia per orationem a dicente proferri debent et secundum orationem fieri. in tragoedia igitur alia, sive metuenda sive miseranda, ita fiunt ut nulla oratione promantur sed ex rebus quae aguntur sponte consequantur, alia rursus oratione provocantur et secundum orationem accidunt. διδασκαλία h. 1. non est rerum in scenam introductio, nam si esset, ponendum erat διδασκαλίᾳ vel διὰ διδασκαλίας, non ἄνευ διδασκαλίας: immo est expositio verbis enuntiata, ut sibi opponantur ea quae oratione non significantur et quae significantur. παρὰ τὸν λόγον γίγνεσθαι: hoc fit, si res ita peraguntur ut in oratione personarum scenicarum significatum vel iussum vel suasum est. παρὰ τὸν λόγον, iuxta orationem, est igitur sic ut dicentis oratio sive poposcit sive persuasit sive iussit. τί γὰρ ἂν εἴη τοῦ λέγοντος ἔργον - διὰ τὸν λόγον: haec adiiciuntur ad illa παρὰ τὸν λόγον γίγνεσθαι adprobanda. dicentis nullus in tragoediis usus esset, si eaquae dicit nihil valerent ad rerum consecutionem et eventum varie afficiendum. quae tragicam voluptatem afferunt ( τὰ ἡδέα), si ea etiam sine dictione apparerent, dicente non opus esset.

Aristotle Poetics 19.6

ed. Henry James Pye

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XXIII.

4.

Commentary

NOTE 161. P. 103.

NOTE 162. P. 104.

THERE IS ONE PART OF THE THEORY OF ELOCUTION RELAT- ING TO THE MODE OF EXPRESSION, WHICH PRINCIPALLY BE- LONGS TO THE PLAYER AND THE PROFESSED TEACHERS OF THAT ART; SUCH AS TO DISTINGUISH BETWEEN SUPPLICA- TION, COMMAND, NARRATION, QUESTION, ANSWER, AND ANY OTHER CIRCUMSTANCE OF THE SAME KIND.

Ritter, cap. 19 § 3

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