Aristotle Rhetoric 1.11

John Henry Freese (Translator)

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Rhetoric. Aristotle. John Henry Freese (Translator). London. 1926.

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Funding provided by The Annenberg CPB/Project.

Current edition Perseus

The "Art" of Rhetoric (English) (Aristotle. The "Art" of Rhetoric. Freese, John Henry, translator. London: William Heinemann, Ltd.; Cambridge, MA, Harvard University Press, 1926 (printing).)

Editions (1)
Ῥητορική Perseus (Aristotle. Aristotelis Ars Rhetorica. Ross, William David, editor. Oxford: Clarendon Press,1959 (printing).) — 1.11 focus
Translations (1)
Aristotle's Treatise on Rhetoric (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 of the same printing.) — 1 focus

Notes on the current edition

Rhetoric

1. The true nature of the normal state was lost during the period of disturbance and unsettlement.
2. From Evenus of Paros (Frag. 8, P.L.G. 2.): see Introd.
3. Or rest (bodily).
4. There is no consideration or definite theory (Jebb, Welldon) of the results that may follow. The desires arise without anything of the kind; they simply come.
5. The passage ἐπεὶ δ’ ἐστὶ . . . αἴσθησις has been punctuated in two ways. (1) With a full stop at ἐλπίζει (Roemer, Jebb). The conclusion then drawn is that memory and hope are accompanied by imagination of what is remembered or hoped. To this it is objected that what Aristotle really wants to prove is that memory and hope are a cause of pleasure. (2) With a comma at ἐλπίζει (Cope, Victorius). The steps in the argument will then be: if pleasure is the sensation of a certain emotion; if imagination is a weakened (faded) sensation; if one who remembers or hopes is attended by an imagination of what he remembers or hopes; then, this being so, pleasure will attend one who remembers or hopes, since there is sensation, and pleasure is sensation and a kind of movement (sect. 1). φαντασία, the faculty of forming mental images (variously translated imagination, mental impression, fantasy) is defined by Aristotle ( Aristot. De Anima 3.3.11 ) as a kind of movement, which cannot arise apart from sensation, and the movement produced must resemble the sensation which produced it. But φαντασία is more than this; it is not merely a faculty of sense, but occupies a place midway between sense and intellect; while imagination has need of the senses, the intellect has need of imagination. If φαντασία is referred to an earlier perception of which the sense image is a copy, this is memory. Imagination carries the sense images ( φαντάσματα) to the seat of memory. They are then transformed into memory (of something past) or hope (of something future) and are handed on to the intellect. (See Cope here, and R. D. Hicks in his edition of the De Anima.)
6. Euripides, Andromeda (Frag. 133, T.G.F.).
7. Hom. Od. 15.400-401 , but misquoted in the second line, which runs: ὅς τις δὴ μάλα πολλὰ πάθῃ καὶ πόλλ’ ἐπαληθῇ.
8. Hom. Il. 18.109 .
9. Or doing something that has to do with the beloved.
10. Hom. Il. 23.108 , on the occasion of the mourning for Patroclus; Hom. Od. 4.183 , referring to the mourning for the absence of Odysseus.
11. Controversiae or school rhetorical exercises, as well as arguing in the law courts; unless ἐριστικάς means simply in which there is rivalry.
12. For the meaning of φιλία, φιλεῖν cf. Book 2.4.
13. Eur. Orest. 234 .
14. True knowledge or philosophy, which is the result of learning, is the highest condition of the intellect, its normal or settled state. Consequently, a return to this is pleasure, which is defined (11.1) as a settling down of the soul into its natural state after a period of disturbance.
15. Or, larger means than the person benefited.
16. Hom. Od. 17.218 ὡς αἰεὶ τὸν ὁμοῖον ἄγει θεὸς ὡς τὸν ὁμοῖον.
17. Literally, ever jackdaw to jackdaw.
18. Of likeness and kinship.
19. 11.22.
20. Both practically and speculatively or philosophically.
21. Antiope (Frag. 183, T.G.F.).
22. Only the definition appears in the existing text; The ridiculous is an error, painless and non-destructive ugliness ( Aristot. Poet. 5 ).