Search the Perseus Catalog for:

View: By Part

← Previous Next →

which last is also divided into the PARODE, and the STASIMON. These are common to all Tragedies.

Poetics. Aristotle. Thomas Twining (Translator). London, UK. 1789.

Sponsored by Perseus Project, Tufts University.

Current edition Experimental

Poetics (Thomas Twining, 1789) (OCR draft) (English) (Thomas Twining's English translation of Aristotle's Poetics, published in 1789 and aligned to the Kassel reference passage sequence.)

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.) — 12 focus

Μέρη δὲ τραγῳδίας, οἷς μὲν ὡς εἴδεσι δεῖ χρῆσθαι, πρότερον εἴπομεν· κατὰ δὲ τὸ ποσόν, καὶ εἰς ἃ διαιρεῖται κεχωρισμένα, τάδε ἐστί, πρόλογος ἐπεισόδιον ἔξοδος χορικόν,

καὶ τοῦτου τὸ μὲν πάροδος τὸ δὲ στάσιμον, κοινὰ μὲν ἁπάντων ταῦτα,

ἴδια δὲ τὰ ἀπὸ τῆς σκηνῆς καὶ κόμμοι.

Ἔστι δὲ πρόλογος μὲν μέρος ὅλον τραγῳδίας τὸ πρὸ χοροῦ παρόδου,

ἐπεισόδιον δὲ μέρος ὅλον τραγῳδίας τὸ μεταξὺ ὅλων χορικῶν μελῶν,

ἔξοδος δὲ μέρος ὅλον τραγῳδίας μεθ᾿ ὃ οὐκ ἔστι χοροῦ μέλος,

χορικοῦ δὲ πάροδος μὲν ἡ πρώτη λέξις ὅλου χοροῦ,

στάσιμον δὲ μέλος χοροῦ τὸ ἄνευ ἀναπαίστου καὶ τροχαίου,

κόμμος δὲ θρῆνος κοινὸς χοροῦ καὶ ἀπὸ σκηνῆς.

Μέρη δὲ τραγῳδίας, οἷς μὲν δεῖ χρῆσθαι, πρότερον εἴπαμεν, κατὰ δὲ τὸ ποσὸν καὶ εἰς ἃ διαιρεῖται κεχωρισμένα, ταῦτ᾿ ἐστίν.

Περὶ ποιητικῆς (OCR draft) Perseus (Aristotle, De arte poetica liber. Rudolf Kassel, editor. Oxford: Clarendon Press, 1965. Reference edition for passage alignment.) — 12 focus

μέρη δὲ τραγῳδίας οἷς μὲν ὡς εἴδεσι δεῖ χρῆσθαι 15 πρότερον εἴπομεν, κατὰ δὲ τὸ ποσὸν καὶ εἰς ἃ διαιρεῖται κεχωρισμένα τάδε ἐστίν, πρόλογος ἐπεισόδιον ἔξοδος χορικόν,

καὶ τούτου τὸ μὲν πάροδος τὸ δὲ στάσιμον,

κοινὰ μὲν ἁπάντων ταῦτα, ἴδια δὲ τὰ ἀπὸ τῆς σκηνῆς καὶ κομμοί.

ἔστιν δὲ πρόλογος μὲν μέρος ὅλον τραγῳδίας τὸ πρὸ χοροῦ 20 παρόδου,

ἐπεισόδιον δὲ μέρος ὅλον τραγῳδίας τὸ μεταξὺ ὅλων χορικῶν μελῶν,

ἔξοδος δὲ μέρος ὅλον τραγῳδίας μεθ’ ὃ οὐκ ἔστι χοροῦ μέλος·

χορικοῦ δὲ πάροδος μὲν ἡ πρώτη λέξις ὅλη χοροῦ,

στάσιμον δὲ μέλος χοροῦ τὸ ἄνευ ἀναπαίστου καὶ τροχαίου,

κομμὸς δὲ θρῆνος κοινὸς χοροῦ καὶ ἀπὸ 25 σκηνῆς.

μέρη δὲ τραγῳδίας οἷς μὲν ὡς εἴδεσι δεῖ χρῆσθαι πρότερον εἴπαμεν, κατὰ δὲ τὸ ποσὸν καὶ εἰς ἃ διαιρεῖται κεχωρισμένα ταῦτ’ ἐστίν.

Poetics, Greek text (Ingram Bywater, 1909) (OCR draft) Experimental (Ingram Bywater's Greek text of Aristotle's Poetics, published in 1909.) — 12 focus

Μέρη δὲ τραγῳδίας οἷς μὲν ὡς εἴδεσι δεῖ χρῆσθαι
πρότερον εἴπομεν, κατὰ δὲ τὸ ποσὸν καὶ εἰς ἃ διαιρεῖται
κεχωρισμένα τάδε ἐστίν, πρόλογος ἐπεισόδιον ἔξοδος χορικόν,

καὶ τούτου τὸ μὲν πάροδος τὸ δὲ στάσιμον,

κοινὰ μὲν
ἁπάντων ταῦτα, ἴδια δὲ τὰ ἀπὸ τῆς σκηνῆς καὶ κόμμοι.

ἔστιν δὲ πρόλογος μὲν μέρος ὅλον τραγῳδίας τὸ πρὸ χοροῦ
παρόδου,

ἐπεισόδιον δὲ μέρος ὅλον τραγῳδίας τὸ μεταξὺ
ὅλων χορικῶν μελῶν,

ἔξοδος δὲ μέρος ὅλον τραγῳδίας
μεθ᾽ ὃ οὐκ ἔστι χοροῦ μέλος·

χορικοῦ δὲ πάροδος μὲν ἡ
πρώτη λέξις ὅλη χοροῦ,

στάσιμον δὲ μέλος χοροῦ τὸ ἄνευ
ἀναπαίστου καὶ τροχαίου,

κόμμος δὲ θρῆνος κοινὸς χοροῦ καὶ ἀπὸ
σκηνῆς.

μέρη δὲ τραγῳδίας οἷς μὲν ὡς εἴδεσι δεῖ χρῆσθαι
πρότερον εἴπαμεν, κατὰ δὲ τὸ ποσὸν καὶ εἰς ἃ διαιρεῖται
κεχωρισμένα ταῦτ᾽ ἐστίν.

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.) — 12 focus

Μέρη δὲ τραγῳδίας, οἷς μὲν ὡς εἴδεσι δεῖ χρῆσθαι, πρότερον εἴπομεν· κατὰ δὲ τὸ ποσὸν καὶ εἰς ἃ διαιρεῖται κεχωρισμένα, τάδε ἐστί, πρόλογος ἐπεισόδιον ἔξοδος χορικόν,

καὶ τούτου τὸ μὲν πάροδος τὸ δὲ στάσιμον,

κοινὰ μὲν ἁπάν των ταῦτα, ἴδια δὲ τὰ ἀπὸ τῆς σκηνῆς καὶ κόμμοι.

ἔστι δὲ πρόλογος μὲν μέρος ὅλον τραγῳδίας τὸ πρὸ χοροῦ παρόδου,

ἐπεισόδιον δὲ μέρος ὅλον τραγῳδίας τὸ μεταξὺ ὅλων χορικῶν μελῶν,

ἔξοδος δὲ μέρος ὅλον τραγῳδίας μεθ' ὃ οὐκ ἔστι χοροῦ μέλος,

χορικοῦ δὲ πάροδος μὲν ἡ πρώτη λέξις ὅλου χοροῦ,

στάσιμον δὲ μέλος χοροῦ τὸ ἄνευ ἀναπαίστου καὶ τροχαίου,

κόμμος δὲ θρῆνος κοινὸς χοροῦ καὶ ἀπὸ σκηνῆς.

μέρη δὲ τραγῳδίας, οἷς μὲν δεῖ χρῆσθαι, πρότερον εἴπομεν, κατὰ δὲ τὸ ποσὸν καὶ εἰς ἃ διαιρεῖται κεχωρισμένα, ταῦτ᾽ ἐστίν.]

Translations (13)

Poetics (W. H. Fyfe) (OCR draft) Perseus (William Hamilton Fyfe's English translation of Aristotle's Poetics, Loeb Classical Library, 1939 printing.) — 12 focus

We have already¹ spoken of the constituent parts to be used as ingredients of tragedy. The separable members into which it is quantitatively divided are these: Prologue, Episode, Exode, Choral Song,

the last being divided into Parode and Stasimon.

These are common to all tragedies; songs sung by actors on the stage and commoi are peculiar to certain plays.

A prologue is the whole of that part of a tragedy which precedes the entrance of the chorus.

20 An episode is the whole of that part of a tragedy which falls between whole choral songs.

An exode is the whole of that part of a tragedy which is not followed by a song of the chorus.

A parode is the whole of the first utterance of the chorus.

A stasimon is a choral song without anapaests or trochaics.²

A commos is a song of lament shared by the chorus and the actors on the stage.

The constituent parts to be used as ingredients of tragedy have been described above; these are the separable members into which it is quantitatively divided.³

Arabic Poetics (Badawī edition, 1953) (OCR draft) (The ancient Arabic translation of Aristotle's Poetics in ʿAbd al-Raḥmān Badawī's 1953 edition.) — 12 focus

〈أقسام المأساة بحسب الكمية〉

وأما أجزاء صناعة المديح فينبغى أن يستعمل بعضها فكما يستعمل الأنواع؛ وأما كيف ذلك فقد خبرنا فيما تقدم؛ وأما بحسب الكمية فأى الأشياء تنقسم فنحن مخبرون الآن، وهذه الأجزاء هى: تقدمة الخطب، والمدخل، ومخرج الرقص الذى للصفوف، ولهذا نفسه هو مجاز وعبور، وأيضاً المقام؛ وهذه كلها هى عامية للمديح، فالتى من المسكن وأصناف ومجاز الصفوف.

والمدخل أيضاً هو جزء كلى من صناعة المديح، وهو وسط نغمة صوت جميع الصف. والمخرج أيضاً هو جزء كلى من أجزاء صناعة المديح، وهو الذى لا يكون للصف بعده صوت. وأما مجاز الصف فهو المقولة الأولى الذى لجميع الصف. وأما الوقفة فهى الجزء من الصف الذى هو بلا وزن الذى لأنافاسطس وطروخاس؛ وأما القينة فهى الانتحاب العام للصف الذى من المسكن.

فأما أجزاء صناعة المديح التى ينبغى أن تستعمل فقد خبرنا بها فيما تقدم؛ وأما التى بحسب المقدار وأنه إلى كم جزء يجب أن ينقسم التلخيص — فهى هذه، وهى التى نظن فى بعضها ظناً، وبعضها التى نحترس بها عند تركيب الخرافات.

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.) — 12 focus

[The parts of Tragedy which must be treated as elements
of the whole have been already mentioned.
We now come to the quantitative parts—the separate parts
into which Tragedy is divided namely, Prologue, Episode,
Exode, Choric song;

this last being divided into Parode and Stasimon.

These are common to all plays: peculiar to some are the
songs of actors from the stage and the Commoi.

The Prologue is that entire part of a tragedy which
precedes the Parode of the Chorus.

The Episode is that entire part of a tragedy which is
between complete choric songs.

The Exode is that entire part of a tragedy which has no
choric song after it.

Of the Choric part the Parode is the first undivided
utterance of the Chorus:

the Stasimon is a Choric ode without anapaests or
trochaic tetrameters:

the Commos is a joint lamentation of Chorus and actors.

The parts of Tragedy which must be treated as elements
of the whole have been already mentioned. The quantitative
parts—the separate parts into which it is divided are here
enumerated.]

Aristotle on the Art of Poetry (Ingram Bywater, 1909) (OCR draft) Experimental (Ingram Bywater's English translation of Aristotle's Poetics, published in 1909.) — 12 focus

The parts of Tragedy to be treated as formative elements in
the whole were mentioned in a previous Chapter.
From the
point of view, however, of its quantity, i. e. the separate
sections into which it is divided, a tragedy has the following
parts: Prologue, Episode, Exode,

and a choral portion, dis-
tinguished into Parode and Stasimon;

these two are common
to all tragedies, whereas songs from the stage and Commoe
are only found in some.

The Prologue is all that precedes
the Parode of the chorus;

an Episode all that comes in
between two whole choral songs;

the Exode all that follows
after the last choral song.

In the choral portion the Parode
is the whole first statement of the chorus;

a Stasimon,
a song of the chorus without anapaests or trochees;

a
Commos, a lamentation sung by chorus and actor in concert.

The parts of Tragedy to be used as formative elements in
the whole we have already mentioned; the above are its
parts from the point of view of its quantity, or the separate
sections into which it is divided.

The Poetic of Aristotle (Henry James Pye, revised 1792) (OCR draft) Experimental (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.) — 12.2 focus

and this last is again divided into the parode and stasimon, which are common to all tragedies

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.) — 12.2 focus

but the other is the stasimon.

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.) — 12 focus

[Partes autem tragoediae, quibus tamquam formis uti convenit, ante diximus: sed a quantitate atque in quas dividitur separatas, hae sunt, prologus episodium exodus choricum,

et huius partim parodus partim stasimum,

communia quidem omnium haec, propria autem quae ex scena et commi.

est autem prologus pars tota tragoediae quae ante chori parodum,

episodium autem pars tota tragoediae quae intra duas integras chori cantiones,

exodus autem pars tota tragoediae post quam non est chori cantio,

chorici autem parodus prima oratio totius chori,

stasimum autem carmen chori quod sine anapaesto et trochaeo, commus autem lamentatio communis chori et ex scena.

partes autem tragoediae,

quibus uti convenit, ante diximus, sed a´quantitate et in quas dividitur separatas, hae sunt].

La poëtique d'Aristote (André Dacier, 1692) (OCR draft) Experimental (André Dacier's French translation of Aristotle's Poetics, published in 1692.) — 12.2 focus

La Tragedie a quatre parties principales, le Prologue, l'Epiſode, l'Exode, le Chœur.

Poetica d'Aristotile (Bernardo Segni, 1549) (OCR draft) Experimental (Bernardo Segni's 1549 Florentine Italian translation, aligned to the Kassel reference passage sequence.) — 12 focus

E T quanto alle parti della Tragedia, che fi debbono vſare come ſue parti ſpecifiche, ſe n'è detto innan zi; & quanto alle fue parti quantitatiue, nelle quali ella fi diuide ſeparatamente, tali ſono Prologo, Epiſodio, Efito, Coricojet queſto ſi diuide in quello, che entra in fcena & in quello, che ſtà fermo.¹

Et queſti ſono parti communi à tutti fimili Poemi.

Et propie fon' quelle, che ap partengono alla Scena, & i Commi. Prologo è vna parte intera della Tragedia innanzi all'entrata del Choro.

Epiſodio è vna parte medefimamente intera, che è po ſta infra i canti interi de' Chori.

Eſito è vna parte fimile,alla quale non conſeguita dietro neffun canto fatto dal Choro.

L'Entrata del Corico è la prima locutione di tutto il Choro. Et la Melodia poſata del Choro è quella, che canta ſenza anapeſto, & fenza trocheo.

Commo è vn' pianto vniuerfale di tutto il Choro, & di tutti quegli, che ſono nella Scena.

Detto adúche s'è innāzi delle parti, che fi debbono vſare nella Tragedia;

& hora s'è detto di quelle, che la diuidono ſeparatamé te per via della quantità.

Confequentemente è da aggiugnere alle coſe dette quello, che debba eſſere ris Iguardato:& quello, che debba effer' sfuggito da cópo fitori d'eſſe Fauole: & onde fi debba cauare il propio uffitio della Tragedia. D

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.) — 12 focus

Iam partes tragoediae, quibus nt ut formis oportet nti uti, prins prius diximus. at secundum quantitatem, et in quas ipsa dividitur separatas, hae sunt, prologus episodium exodus choricum, et huius quidem una pars parodus altera vero stasimum.

atque hae quidem communes omnium,

propriae vero illae a scena et commi. ac prologus est pars integra tragoediae ante chori parodum,

episodium pars integra tragoediae interiecta inter integros choricos cantus,

exodus pars integra tragoediae, post quam non est chori cantus.

chorici autem parodus prima dictio integri chori, stasimum vero cantus chori sine anapaesto et trochaeo.

at commus lamentatio communis chori et a scena.

ac partes quidem tragoediae,

quibus oportet uti, prius dictae: at secundum quantitatem,

et in quas ipsa dividitur separatas, hae sunt.

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.) — 12 focus

Partes autem tragodie quibus quidem ut speciebus oportet uti, prius diximus, secundum quantum autem et in que dividitur separata hec sunt, prologus, episodion, exitus, khoricon ;

et huius hoc quidem parodus, hoc autem stasimon.

Communia quidem omnium hec, propria autem que a skene et kommoi.

Est autem prologus quidem pars tota tragodie que ante khori parodum,

episodion autem pars tota tragodie que intermedia totarum khoricarum melodiarum,

exodus autem (idest exitus) pars tota tragodie post quam non est khori melodia.

Khorici autem parodus quidem prima locutio totius khori,

stasimon autem melodia khori que sine anapesto et trocheo;

kommos autem lamentatio nova khori et a scene (idest scemate fabulari).

Partes autem tragodie quibus quidem oportet uti prius diximus, secundum quantum et in quas dividitur separatas hee sunt.

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.) — 12 focus

‏واما اجزا صناعة المديح فينبغى ان يستعمل بعضها فكما يستعمل الانواع واما كيف ذلك فقد خبرنا فيما تقدم واما بحسب الكمية فاى الاشيا ينقسم فنحن مخبرون الان وهذه الاجزا هى ٮقدمة الخطب والمدخل ومخرج الرقص الذى للصفوف

‏ولهذا نفسه هو مجاز وعبور وايضا المقام

‏وهذه كلها هى عامية المديح فالتى من المسكن واصناف

‏ومجاز الصفوف والمدخل ايضا هو جزو كلى من صناعة المديح

‏وهو وسط نغمة صوت جميع الصف

‏والمخرج ايضا هو جزو كلى من اجزا صناعة المديح وهو الذى لا يكون للصف بعده صوتا

‏واما مجاز الصف فهو المقولة الاولى الذى بجميع الصف

‏واما الوفقة فهى الجزو من الٮصڡ الذى هو بلا وزن الذى لانافاسطس وطروخاس

‏واما القينة فهى الانتحاب العام للصف الذى من المسكن

‏فاما اجزا صناعة المديح التى ينبغى ان تستعمل فقد خبرنا بها فيما تقدم واما التى بحسب المقدار وانه الى كم جزو يجب ان ينقسم الٮلحيص فهى هذه

Arabic Poetics (Abū Bishr Mattā; Tkatsch edition, unaligned) (OCR draft) Experimental (Tkatsch's edition of the medieval Arabic translation in its original, unaligned segmentation.) — 12 focus

‏ومجاز الصفوف والمدخل ايضا هو جزو كلى من صناعة المديح وهو وسط نغمة صوت جميع الصف والمخرج ايضا هو جزو كلى من اجزا صناعة المديح وهو الذى لا يكون للصف بعده صوتا واما مجاز الصف فهو المقولة الاولى الذى بجميع الصف واما الوفقة فهى الجزو من الٮصڡ الذى هو بلا وزن الذى لانافاسطس وطروخاس واما القينة فهى الانتحاب العام للصف الذى من المسكن

‏فاما اجزا صناعة المديح التى ينبغى ان تستعمل فقد خبرنا بها فيما تقدم واما التى بحسب المقدار وانه الى كم جزو يجب ان ينقسم الٮلحيص فهى هذه وهى التى *طں فى بعضها طٮا وبعضها التى يحترس بها عند تركيب الخرافات

Commentary

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

2. mvp-aristotle-comment-432

πάροδος. For the definitions of it in the grammarians see J. Aschauer, Ueber die Parodos und Epiparodos in der griechischen Tragödie p. 5 . As the negative part of the definition of στάσιμον,

ἄνευ ἀναπαίστου καὶ τροχαίου

, must be supposed to differentiate it from the parodus, it seems clear that in the view of the writer of this chapter anapaestic and trochaic passages were not out of place in the parodus. In the existing Greek tragedies, however, trochaic passages are all but unknown in the parodi, though they are common enough in Comedy: there is no instance of them in Sophocles or Euripides, and apparently only one in Aeschylus ( Persae 155) . All this points to the conclusion ( comp. Westphal l. c. p. 64 ) that it is a later form of Tragedy that Aristotle is thinking of, and that the practice of the tragedians in this matter had changed since the time of Euripides. For the actual use of trochaics in the tragic parodi there is some faint evidence in Schol. Aristoph. Ach. 204

γέγραπται δὲ τὸ μέτρον τροχαϊκὸν πρόσφορον τῇ τῶν διωκόντων σπουδῇ. ταῦτα δὲ ποιεῖν εἰώθασιν οἱ τῶν δραμάτων ποιηταὶ κωμικοὶ καὶ τραγικοί, ἐπειδὰν δρομαίως εἰσάγωσι τοὺς χορούς, ἵνα ὁ λόγος συντρέχῃ τῷ δράματι

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-283

12.2 La Tragedie a quatre parties principales, le Prologue, l'Epiſode, l'Exode, & le Chœur.]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

1. mvp-aristotle-comment-84

Ritter, cap. 12 § 1

Tragoediae quantitatis ratione inita quattuor partes inveniuntur, prologus episodium exodus choricum. chorici partes sunt parodus et stasimum; accedunt ex scena cantica et commi. Bene sane factum est quod quae iam sequuntur, quamvis et loco alieno collocata et verbis mirum in modum expressa, ad nostram notitiam pervenerunt: inde enim et melius et plenius quam aliunde discimus, in quas partes antiqui grammatici tragoediam discreverint, discretas quibus nominibus appellaverint. nihilo minus haec, quibus pretium suum derogare nolo, Aristoteli abiudicanda esse censeo. tria sunt quae ut sic statuam mihi suadent. primum egregia illa fabulae ( τοῦ μύθου) explicatio hisce interiectis absurde interpellatur, neque ullus toto libro locus inveniri potest, ubi haec apte sedem sibi vindicent. scilicet de fabula exposuit Aristoteles inde a capite 7. usque ad c. 11, 5., reditque ad eandem c. 13., et ita redit ut in disputatione continuo sequente partes illae c. 12. enumeratae omnino negligantur 1). itaque haec partium tragoediae enumeratio ineptissimo loco posita est. secundum quo interpolator se prodit signum hoc est, quod nonnisi nuda nomina exhibentur, quorum descriptio non ex fine tragoediae proposito, non ex interna eius forma et constitutione, id quod deceret philosophum, sed ex habitu illius externo petitur. ulna utitur qui haec scripsit, ulna et norma unice gaudet, id quod alienum est a disputandi ratione Aristoteli probata et a genuinis huiusce operis reliquiis. quo igitur consilio haec doceantur dici nequit, vel potius inane scribenti consilium hoc fuit, edito doctrinae suae specimine curare ut lectores quorundam nominum ad tragoediam pertinentium significationem addiscerent. tertium vero indicium ad detegendum interpolatorem omnium est manifestissimum quippe homo iste, auctorem suum quantum potuit imitaturus, in enarrationis suae aridissimae initio ponit formulam, cui similes sane multae ad transitum faciendum admissae in libris Aristotelis reperiuntur: μέρη δὲ τραγῳδίας, οἷς μὲν ὡς εἴδεσι δεῖ χρῆσθαι, πρότερον εἴπομεν· κατὰ δὲ τὸ ποσὸν καὶ εἰς ἃ διαιρεῖται κεχωρισμένα, τάδε ἐστι. haec non male, sed cum idem ille propter ingenii sterilitatem nonnisi de externa tragoediae forma perpauca proferre potuisset, statim, scilicet ne parum videretur attulisse, explicationem 1) Contra aliquis moneat respici quae hoc capite exponantur infra c. 18, 2. τραγῳδίας δὲ εἴδη εἰσὶ τέσσαρα· τοσαῦτα γὰρ καὶ τὰ μέρη ἐλέχθη. sed haec ipsa non esse Aristotelis suo loco ostendetur.suam ita conclusam exhibuit: μέρη δὲ τραγωδίας, οἷς μὲν δεῖ χρῆσθαι, πρότερον εἴπομεν, κατὰ δὲ τὸ ποσὸν καὶ εἰς ἃ διαιρεῖται κεχωρισμένα, ταῦτ᾽ ἐστίν. nimirum hac formula a se laboriose ac feliciter inventa ita iste gaudebat, ut quo minus brevissimo intervallo bis ea uteretur sibi temperare non posset. ad singula iam accedamus. μέρη δὲ τραγῳδίας, οἷς μὲν ὡς εἴδεσι δεῖ χρῆσθαι, πρότερον εἴπομεν: partes tragoediae prius enumeratas intelligit illas, quae a vero Aristotele c. 6, 7. μέρη, καθ' ἃ ποιά τις ἐστὶν ἡ τραγῳδία, designantur, μῦθος ἤθη λέξις διάνοια ὄψις μελοποιία. Hermannus et qui hunc sequitur Graefenhanius πρότερον εἴπομεν ad proxime praegressa (c. 11, 6), h. e. ad περιπέτειαν et ἀναγνώρισιν et πάθος spectare opinantur. illic vero non tragoediae partes sed fabulae ( τοῦ μύθου), neque cuiusvis fabulae partes sed unius implexae a personato auctore enumeratae sunt. ipsum πρότερον huic explicationi repugnat. κοινὰ μὲν ἁπάντων ταῦτα, ἴδια δὲ τὰ ἀπὸ τῆς σκηνῆς καὶ κόμμοι. nomen ἁπάντων quo referatur quaerunt ambiguntque interpretes, et iure quidem dum ambigunt, nonnulli δραμάτων supplent, alii omnes poetas intelligunt, alii omnes chori personas, neque ulla ex his interpretationibus non obnoxia est gravi dubitationi, sed ea culpa non est interpretum sed auctoris obscure vitioseque scribentis. nam obscure ille locutus est, quia vocem tam incertam ( ἁπάντων) dedit, qua multa et varia consignari possunt, vitiose, quia omnibus non opposuit nonnullos ( ἐνίους s. ἔνια) vel aliud pronomen quod omnibus apte responderet. mihi verisimile videtur interpolatorem per ἁπάντων omnia dramata intelligi voluisse, eisque opposita cogitasse cantica ex scena et planctus quae non in omnibus reperirentur, sed ne certi quidquam decerni de hac re possit, prohibet obscura negligenter scribentis elocutio. τὰ ἀπὸ τῆς σκηνῆς ab actore quodam ex scena, non a choreutis ex orchestra, decantantur. haec cantica, si chorus non respondet, μονῳδίαι vocantur, quibus Euripidem prae ceteris studuisse constat. vid. Aristophan. Ran. v. 849. 014. 1330. conf. Thesmophor. v. 1077. Pacis v. 1012. Photius in lexico: μονῳδία, ἡ ἀπὸ σκηνῆς ᾠδὴ ἐν τοῖς δράμασι, καὶ μονῳδεῖν τὸ θρηνεῖν· ἐπιεικῶς γὰρ πᾶσαι αἱ ἀπὸ σκηνῆς ᾠδαὶ ἐν τῇ τραγῳδίᾳ θρῆνοί εἰσι. idem: μονῳδία λέγεται, ὅταν εἶς μόνος λέγῃ τὴν ᾠδὴν, καὶ οὐχ ὁμοῦ ὁ χορός. eadem hace paulo aliter disposita Suidas habet s. v. μονῳδεῖν et μονῳδία. conf. Hesychius s. v. μονῳδεῖ et lex. a Bachmanno editum p. 303. de commis paulo post dicemus.

Aristotle Poetics 12.2

Thomas Twining (Translator)

Search the Perseus Catalog for:

Current edition Experimental

Commentary

Ritter, cap. 12 § 1

Stable identifiers