Aristotle Poetics 6.27

ed. Henry James Pye

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Of the remaining parts, the music holds the fifth place

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.) — 6 focus
Περὶ ποιητικῆς (OCR draft) Perseus (Aristotle, De arte poetica liber. Rudolf Kassel, editor. Oxford: Clarendon Press, 1965. Reference edition for passage alignment.) — 6 focus
Poetics, Greek text (Ingram Bywater, 1909) (OCR draft) Experimental (Ingram Bywater's Greek text of Aristotle's Poetics, published in 1909.) — 6 focus
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.) — 6 focus
Translations (13)
Poetics (W. H. Fyfe) (OCR draft) Perseus (William Hamilton Fyfe's English translation of Aristotle's Poetics, Loeb Classical Library, 1939 printing.) — 6 focus
Arabic Poetics (Badawī edition, 1953) (OCR draft) (The ancient Arabic translation of Aristotle's Poetics in ʿAbd al-Raḥmān Badawī's 1953 edition.) — 6 focus
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.) — 6 focus
Aristotle on the Art of Poetry (Ingram Bywater, 1909) (OCR draft) Experimental (Ingram Bywater's English translation of Aristotle's Poetics, published in 1909.) — 6 focus
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.) — 6.27 focus
Of the remaining two parts, the MUSIC stands next; of all the pleasurable accompaniments and embellishments of Tragedy, the most delightful.
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.) — 6.27 focus
But of the remaining five, the melopoeia is the greatest of the embellishments. But the scenic decoration is alluring indeed; yet it is most inartificial, and is in the smallest degree akin to poetry. For the power of tragedy remains, even when unaccompanied with scenic apparatus and players.
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.) — 6 focus
La poëtique d'Aristote (André Dacier, 1692) (OCR draft) Experimental (André Dacier's French translation of Aristotle's Poetics, published in 1692.) — 6.27 focus
Aprés la diction vient la muſique, qui eſt le plus grand de tous les agremens que la Tragedie puiſſe employer.
Poetica d'Aristotile (Bernardo Segni, 1549) (OCR draft) Experimental (Bernardo Segni's 1549 Florentine Italian translation, aligned to the Kassel reference passage sequence.) — 6 focus
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.) — 6 focus
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.) — 6 focus
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.) — 6 focus
Arabic Poetics (Abū Bishr Mattā; Tkatsch edition, unaligned) (OCR draft) Experimental (Tkatsch's edition of the medieval Arabic translation in its original, unaligned segmentation.) — 6 focus

Commentary

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

27. mvp-aristotle-comment-283

1450b16 πέντε Similar instances of an intrusive numeral will be found in Rhet. 1. 2, 1356 21 , and 1. 13, 1373 b3 ( v. Roemer ad loc.). Vahlen accepts the correction πέμπτον, in the sense of quinto loco: 'reliquarum autem partium (h. e. quae post illas quattuor iam reliquae sunt duae) quinto loco μελοποιία gravissimum est condimentum, ὄψις autem ad poeticam artem omnino non pertinet'.
1450b16_2

27. mvp-aristotle-comment-284

μέγιστον τῶν ἡδυσμάτων: see on 6, 1449 b 25 ( ἡδυσμένῳ). For the pleasure given by music comp. Pol. 8. 5, 1339 b 20
τὴν δὲ μουσικὴν πάντες εἶναί φαμεν τῶν ἡδίστων.
 — 1340 a 2
δεῖ μὴ μόνον τῆς κοινῆς ἡδονῆς μετέχειν ἀπ᾿ αὐτῆς, ἧς ἔχουσι πάντες αἴσθησιν· ἔχει γὰρ ἡ μουσικὴ τὴν ἡδονὴν φυσικήν, διὸ πάσαις ἡλικίαις καὶ πᾶσιν ἤθεσιν ἡ χρῆσις αὐτῆς ἐστι προσφιλής.
 —
οἱ μὲν γὰρ νέοι διὰ τὴν ἡλικίαν ἀνήδυντον οὐδὲν ὑπομένουσιν ἑκόντες, ἡ δὲ μουσικὴ φύσει τῶν ἡδυσμένων [ἡδυσμάτων] ἐστίν.
Bernays ( Zwei Abhandl. p. 157) supposed that a further statement on the subject of music, like that in the Anonymus De Comedy ( Kaibel, CGF. 1 p. 52 ),
μέλος τῆς μουσικῆς ἐστιν ἴδιον, ὅθεν ἀπ᾿ ἐκείνης τὰς αὐτοτελεῖς ἀφορμὰς δεήσει λαμβάνειν
, may have dropped out after ἡδυσμάτων.
1450b17

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

59. mvp-aristotle-comment-199

6.27 59. Aprés la diction vient la muſique, qui eſt le plus grand de tous les agrémens que la Tragedie puiſſe employer.] 1

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

19. mvp-aristotle-comment-53

Ritter, cap. 6 § 19

quae a §. 15 usque ad hunc locum tractavi, ea non esse Aristotelis in posterum omnes credituros esse spero : sed quae iam sequuntur fortasse defendi possunt, si quis in fine §. 14. verba δεύτερον δὲ τὰ ἤθη a me Aristoteli relicta etiam interpolatori tribuat, ut finis §. 14. et initium §. 19. in hunc modum connectantur ἀρχὴ μὲν οὖν καὶ οἷον ψυχὴ ὁ μύθος τῆς τραγῳδίας· τῶν δὲ λοιπῶν πέντε ἡ μελοποιία μέγιστον τῶν ἡδυσμάτων. sed haec quoque defensio consistere nequit. nam cum adhuc, ex medio sublatis illis §. 15-18., de duobus (de moribus et fabula) dictum esset, pergere debuit τῶν δὲ λοιπῶν τεττάρων, non πέντε. neque ratio est, cur διάνοιαν et λέξιν silentio transmitti, ὄψιν autem et μελοποιίαν rursus memorari vellet. accedunt alia quae statim afferentur. τῶν δὲ λοιπῶν πέντε: quomodo quinque partes supersunt, cum post quattuor ante commemoratas duae restent, μελοποιία et ὄψις ? dixerit aliquis, postremo disputatum esse de dictione ( λέξει), quam respiciens Aristoteles scripserit τῶν δὲ λοιπῶν πέντε. sed haec vana sunt. sic enim )haec prodit sententia, μελοποιίαν excepta dictione ( λέξει) omnium partium summum esse condimentorum tragoediae, sed quis λέξιν condimentum tragoediae appellaverit? immo tragoediae ne sunt quidem condimenta, sed sunt dictionis ( λέξεως), numeri videlicet et cantus. vid. c. 6, 3. hoc πέντε igitur dormitanti homini tribuendum erit. ἡ δὲ ὄψις-ποιητικῆς: haec per se non falsa videntur, sed vix conciliari poterunt cum illa Aristotelis sententia (§. 4) quae ὄψιν necessariam tragoediae partem constituit. neque id verum omnino videtur, ὄψιν esse ἀτεχνότατον καὶ ἥκιστα οἰκεῖον τῆς ποιητικῆς: immo in excogitandis rerum et casuum formis in scena repraesentandis magna poе- tae solertia versari potest. interpolator de rebus quibusdam externis cogitasse videtur. id apparet ex additis ἡ γὰρ τῆς τραγῳδίας δύναμις καὶ ἄνευ ἀγῶνος καὶ ὑποκριτῶν ἐστίν. est sane, sed tamen sine ὄψει tragoedia consistere non potest: nam si legitur tantum, ὄψις illa suppleri a legentibus vel audientibus debet, ut ne sic quidem deesse possit. - ἔτι δὲ κυριωτέρα- τῶν ποιητῶν ἐστίν: etiam haec argumento sunt, interpolatorem quid ὄψιν Aristoteles intellexerit non satis percepisse. numerum pluralem apud verum Aristotelem in hoc opere non invenio. vid. c. 6, 8., ubi ὄψεις in loco ab aliena manuinserta. numeri insolentiam tenui in Latina interpretatione.