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But if there were any need to consider which of the two, that which moves itself or that which is moved by something else, is the cause and principle of motion, every one would decide the former: for that which is itself independently a cause is always prior as a cause to that which is so only in virtue of being itself... |
We must therefore make a fresh start and consider the question; if a thing moves itself, in what sense and in what manner does it do so? Now everything that is in motion must be infinitely divisible, for it has been shown already in our general course on Physics, that everything that is essentially in motion is continu... |
If a thing is moved by a series of movents, that which is earlier in the series is more the cause of its being moved than that which comes next, and will be more truly the movent: for we found that there are two kinds of movent, that which is itself moved by something else and that which derives its motion from itself:... |
Therefore in the whole of the thing we may distinguish that which imparts motion without itself being moved and that which is moved: for only in this way is it possible for a thing to be self-moved. Further, if the whole moves itself we may distinguish in it that which imparts the motion and that which is moved: so whi... |
If, then, that which imparts motion is a continuous substance-that which is moved must of course be so-it is clear that it is not through some part of the whole being of such a nature as to be capable of moving itself that the whole moves itself: it moves itself as a whole, both being moved and imparting motion through... |
Here a difficulty arises: if something is taken away from A (supposing that that which imparts motion but is unmoved is a continuous substance), or from B the part that is moved, will the remainder of A continue to impart motion or the remainder of B continue to be moved? If so, it will not be AB primarily that is move... |
From what has been said, then, it is evident that that which primarily imparts motion is unmoved: for, whether the series is closed at once by that which is in motion but moved by something else deriving its motion directly from the first unmoved, or whether the motion is derived from what is in motion but moves itself... |
Part 6 Since there must always be motion without intermission, there must necessarily be something, one thing or it may be a plurality, that first imparts motion, and this first movent must be unmoved. Now the question whether each of the things that are unmoved but impart motion is eternal is irrelevant to our present... |
The eternity and continuity of the process cannot be caused either by any one of them singly or by the sum of them, because this causal relation must be eternal and necessary, whereas the sum of these movents is infinite and they do not all exist together. It is clear, then, that though there may be countless instances... |
The following argument also makes it evident that the first movent must be something that is one and eternal. We have shown that there must always be motion. That being so, motion must also be continuous, because what is always is continuous, whereas what is merely in succession is not continuous. But further, if motio... |
Moreover a conviction that there is a first unmoved something may be reached not only from the foregoing arguments, but also by considering again the principles operative in movents. Now it is evident that among existing things there are some that are sometimes in motion and sometimes at rest. This fact has served abov... |
The cause of it is not derived from the animal itself: it is connected with other natural motions in animals, which they do not experience through their own instrumentality, e.g. increase, decrease, and respiration: these are experienced by every animal while it is at rest and not in motion in respect of the motion set... |
(We must distinguish, however, between accidental motion of a thing by itself and such motion by something else, the former being confined to perishable things, whereas the latter belongs also to certain first principles of heavenly bodies, of all those, that is to say, that experience more than one locomotion.) |
And further, if there is always something of this nature, a movent that is itself unmoved and eternal, then that which is first moved by it must be eternal. Indeed this is clear also from the consideration that there would otherwise be no becoming and perishing and no change of any kind in other things, which require s... |
The foregoing argument, then, has served to clear up the point about which we raised a difficulty at the outset-why is it that instead of all things being either in motion or at rest, or some things being always in motion and the remainder always at rest, there are things that are sometimes in motion and sometimes not?... |
Part 7 This matter will be made clearer, however, if we start afresh from another point. We must consider whether it is or is not possible that there should be a continuous motion, and, if it is possible, which this motion is, and which is the primary motion: for it is plain that if there must always be motion, and a p... |
Now of the three kinds of motion that there are-motion in respect of magnitude, motion in respect of affection, and motion in respect of place-it is this last, which we call locomotion, that must be primary. This may be shown as follows. It is impossible that there should be increase without the previous occurrence of ... |
Again, there is another point of view from which it will be clearly seen that locomotion is primary. As in the case of other things so too in the case of motion the word 'primary' may be used in several senses. A thing is said to be prior to other things when, if it does not exist, the others will not exist, whereas it... |
Secondly, locomotion must be primary in time: for this is the only motion possible for things. It is true indeed that, in the case of any individual thing that has a becoming, locomotion must be the last of its motions: for after its becoming it first experiences alteration and increase, and locomotion is a motion that... |
Thirdly, that which is in process of becoming appears universally as something imperfect and proceeding to a first principle: and so what is posterior in the order of becoming is prior in the order of nature. Now all things that go through the process of becoming acquire locomotion last. It is this that accounts for th... |
It is clear, then, from the foregoing arguments that locomotion is the primary motion. We have now to show which kind of locomotion is primary. The same process of reasoning will also make clear at the same time the truth of the assumption we have made both now and at a previous stage that it is possible that there sho... |
All that matters is the intervention of a time: it is this that prevents the change from being continuous: so, too, in our previous instances the important thing was not the relation of contrariety but the impossibility of the two processes being present to a thing at the same time. And there is no need to be disturbed... |
Part 8 Let us now proceed to maintain that it is possible that there should be an infinite motion that is single and continuous, and that this motion is rotatory motion. The motion of everything that is in process of locomotion is either rotatory or rectilinear or a compound of the two: consequently, if one of the form... |
But what shows most clearly that rectilinear motion cannot be continuous is the fact that turning back necessarily implies coming to a stand, not only when it is a straight line that is traversed, but also in the case of locomotion in a circle (which is not the same thing as rotatory locomotion: for, when a thing merel... |
To maintain that it has come to be and ceased to be there will involve the consequence that A in the course of its locomotion will always be coming to a stand: for it is impossible that A should simultaneously have come to be at B and ceased to be there, so that the two things must have happened at different points of ... |
Therefore we must not hold that there was a moment when A came to be at B and that at the same moment D was in motion from the extremity of Z: for the fact of A's having come to be at B will involve the fact of its also ceasing to be there, and the two events will not be simultaneous, whereas the truth is that A is at ... |
The same method should also be adopted in replying to those who ask, in the terms of Zeno's argument, whether we admit that before any distance can be traversed half the distance must be traversed, that these half-distances are infinite in number, and that it is impossible to traverse distances infinite in number-or so... |
In the act of dividing the continuous distance into two halves one point is treated as two, since we make it a starting-point and a finishing-point: and this same result is also produced by the act of reckoning halves as well as by the act of dividing into halves. But if divisions are made in this way, neither the dist... |
It is true that the point is common to both times, the earlier as well as the later, and that, while numerically one and the same, it is theoretically not so, being the finishing-point of the one and the starting-point of the other: but so far as the thing is concerned it belongs to the later stage of what happens to i... |
On the other hand, those who deny atoms of time (as we do) are not affected by this argument: according to them D has become and so is white at the last point of the actual time in which it was becoming white: and this point has no other point consecutive with or in succession to it, whereas time-atoms are conceived as... |
These and such-like, then, are the arguments for our conclusion that derive cogency from the fact that they have a special bearing on the point at issue. If we look at the question from the point of view of general theory, the same result would also appear to be indicated by the following arguments. Everything whose mo... |
Further, the following argument will serve better to make this point clear universally in respect of every kind of motion. If the motion undergone by that which is in motion is always one of those already enumerated, and the state of rest that it undergoes is one of those that are the opposites of the motions (for we f... |
Our next argument has a more special bearing than the foregoing on the point at issue. We will suppose that there has occurred in something simultaneously a perishing of not-white and a becoming of white. Then if the alteration to white and from white is a continuous process and the white does not remain any time, ther... |
Again, from the continuity of the time in which the motion takes place we cannot infer continuity in the motion, but only successiveness: in fact, how could contraries, e.g. whiteness and blackness, meet in the same extreme point? |
On the other hand, in motion on a circular line we shall find singleness and continuity: for here we are met by no impossible consequence: that which is in motion from A will in virtue of the same direction of energy be simultaneously in motion to A (since it is in motion to the point at which it will finally arrive), ... |
Moreover the progress of rotatory motion is never localized within certain fixed limits, whereas that of rectilinear motion repeatedly is so. Now a motion that is always shifting its ground from moment to moment can be continuous: but a motion that is repeatedly localized within certain fixed limits cannot be so, since... |
This differentiation also provides another means of showing that the other kinds of motion cannot be continuous either: for in all of them we find that there is the same ground to be traversed repeatedly; thus in alteration there are the intermediate stages of the process, and in quantitative change there are the inter... |
Part 9 It can now be shown plainly that rotation is the primary locomotion. Every locomotion, as we said before, is either rotatory or rectilinear or a compound of the two: and the two former must be prior to the last, since they are the elements of which the latter consists. Moreover rotatory locomotion is prior to re... |
Any one point as much as any other is alike starting-point, middle-point, and finishing-point, so that we can say of certain things both that they are always and that they never are at a starting-point and at a finishing-point (so that a revolving sphere, while it is in motion, is also in a sense at rest, for it contin... |
As to locomotion being the primary motion, this is a truth that is attested by all who have ever made mention of motion in their theories: they all assign their first principles of motion to things that impart motion of this kind. Thus 'separation' and 'combination' are motions in respect of place, and the motion impar... |
Our present position, then, is this: We have argued that there always was motion and always will be motion throughout all time, and we have explained what is the first principle of this eternal motion: we have explained further which is the primary motion and which is the only motion that can be eternal: and we have pr... |
Part 10 We have now to assert that the first movent must be without parts and without magnitude, beginning with the establishment of the premisses on which this conclusion depends. |
One of these premisses is that nothing finite can cause motion during an infinite time. We have three things, the movent, the moved, and thirdly that in which the motion takes place, namely the time: and these are either all infinite or all finite or partly-that is to say two of them or one of them-finite and partly in... |
It has now to be shown that in no case is it possible for an infinite force to reside in a finite magnitude. This can be shown as follows: we take it for granted that the greater force is always that which in less time than another does an equal amount of work when engaged in any activity-in heating, for example, or sw... |
Now if I take a magnitude twice as great at BG, the time occupied by this magnitude in moving D will be half of EZ (assuming this to be the proportion): so we may call this time ZH. That being so, by continually taking a greater magnitude in this way I shall never arrive at the full AB, whereas I shall always be gettin... |
It is plain, then, from the foregoing arguments that it is impossible for an infinite force to reside in a finite magnitude or for a finite force to reside in an infinite magnitude. But before proceeding to our conclusion it will be well to discuss a difficulty that arises in connexion with locomotion. If everything th... |
The motion of these last two-of the one as movent and of the other as moved-must cease simultaneously, and with this the whole motion ceases. Now the things in which this motion is produced are things that admit of being sometimes in motion and sometimes at rest, and the motion is not continuous but only appears so: fo... |
Resuming our main argument, we proceed from the positions that there must be continuous motion in the world of things, that this is a single motion, that a single motion must be a motion of a magnitude (for that which is without magnitude cannot be in motion), and that the magnitude must be a single magnitude moved by ... |
There is a further difficulty in supposing it to be possible for anything that is in motion to cause motion continuously and not merely in the way in which it is caused by something repeatedly pushing (in which case the continuity amounts to no more than successiveness). Such a movent must either itself continue to pus... |
Now that these points are settled, it is clear that the first unmoved movent cannot have any magnitude. For if it has magnitude, this must be either a finite or an infinite magnitude. Now we have already'proved in our course on Physics that there cannot be an infinite magnitude: and we have now proved that it is imposs... |
THE POETICS OF ARISTOTLE By Aristotle A Translation By S. H. Butcher [Transcriber's Annotations and Conventions: the translator left intact some Greek words to illustrate a specific point of the original discourse. In this transcription, in order to retain the accuracy of this text, those words are rendered by spelling... |
Analysis of Contents I 'Imitation' the common principle of the Arts of Poetry. II The Objects of Imitation. III The Manner of Imitation. IV The Origin and Development of Poetry. V Definition of the Ludicrous, and a brief sketch of the rise of Comedy. VI Definition of Tragedy. VII The Plot must be a Whole. VIII The Plot... |
ARISTOTLE'S POETICS I propose to treat of Poetry in itself and of its various kinds, noting the essential quality of each; to inquire into the structure of the plot as requisite to a good poem; into the number and nature of the parts of which a poem is composed; and similarly into whatever else falls within the same in... |
Epic poetry and Tragedy, Comedy also and Dithyrambic: poetry, and the music of the flute and of the lyre in most of their forms, are all in their general conception modes of imitation. They differ, however, from one: another in three respects,--the medium, the objects, the manner or mode of imitation, being in each cas... |
For as there are persons who, by conscious art or mere habit, imitate and represent various objects through the medium of colour and form, or again by the voice; so in the arts above mentioned, taken as a whole, the imitation is produced by rhythm, language, or 'harmony,' either singly or combined. |
Thus in the music of the flute and of the lyre, 'harmony' and rhythm alone are employed; also in other arts, such as that of the shepherd's pipe, which are essentially similar to these. In dancing, rhythm alone is used without 'harmony'; for even dancing imitates character, emotion, and action, by rhythmical movement. |
There is another art which imitates by means of language alone, and that either in prose or verse--which, verse, again, may either combine different metres or consist of but one kind--but this has hitherto been without a name. For there is no common term we could apply to the mimes of Sophron and Xenarchus and the Socr... |
There are, again, some arts which employ all the means above mentioned, namely, rhythm, tune, and metre. Such are Dithyrambic and Nomic poetry, and also Tragedy and Comedy; but between them the difference is, that in the first two cases these means are all employed in combination, in the latter, now one means is employ... |
Such, then, are the differences of the arts with respect to the medium of imitation. II Since the objects of imitation are men in action, and these men must be either of a higher or a lower type (for moral character mainly answers to these divisions, goodness and badness being the distinguishing marks of moral differen... |
Now it is evident that each of the modes of imitation above mentioned will exhibit these differences, and become a distinct kind in imitating objects that are thus distinct. Such diversities may be found even in dancing, flute-playing, and lyre-playing. So again in language, whether prose or verse unaccompanied by musi... |
III There is still a third difference--the manner in which each of these objects may be imitated. For the medium being the same, and the objects the same, the poet may imitate by narration--in which case he can either take another personality as Homer does, or speak in his own person, unchanged--or he may present all h... |
These, then, as we said at the beginning, are the three differences which distinguish artistic imitation,--the medium, the objects, and the manner. So that from one point of view, Sophocles is an imitator of the same kind as Homer--for both imitate higher types of character; from another point of view, of the same kind... |
This may suffice as to the number and nature of the various modes of imitation. IV Poetry in general seems to have sprung from two causes, each of them lying deep in our nature. First, the instinct of imitation is implanted in man from childhood, one difference between him and other animals being that he is the most im... |
Imitation, then, is one instinct of our nature. Next, there is the instinct for 'harmony' and rhythm, metres being manifestly sections of rhythm. Persons, therefore, starting with this natural gift developed by degrees their special aptitudes, till their rude improvisations gave birth to Poetry. |
Poetry now diverged in two directions, according to the individual character of the writers. The graver spirits imitated noble actions, and the actions of good men. The more trivial sort imitated the actions of meaner persons, at first composing satires, as the former did hymns to the gods and the praises of famous men... |
As, in the serious style, Homer is pre-eminent among poets, for he alone combined dramatic form with excellence of imitation, so he too first laid down the main lines of Comedy, by dramatising the ludicrous instead of writing personal satire. His Margites bears the same relation to Comedy that the Iliad and Odyssey do ... |
Whether Tragedy has as yet perfected its proper types or not; and whether it is to be judged in itself, or in relation also to the audience,--this raises another question. Be that as it may, Tragedy--as also Comedy--was at first mere improvisation. The one originated with the authors of the Dithyramb, the other with th... |
Aeschylus first introduced a second actor; he diminished the importance of the Chorus, and assigned the leading part to the dialogue. Sophocles raised the number of actors to three, and added scene-painting. Moreover, it was not till late that the short plot was discarded for one of greater compass, and the grotesque d... |
Comedy is, as we have said, an imitation of characters of a lower type, not, however, in the full sense of the word bad, the Ludicrous being merely a subdivision of the ugly. It consists in some defect or ugliness which is not painful or destructive. To take an obvious example, the comic mask is ugly and distorted, but... |
The successive changes through which Tragedy passed, and the authors of these changes, are well known, whereas Comedy has had no history, because it was not at first treated seriously. It was late before the Archon granted a comic chorus to a poet; the performers were till then voluntary. Comedy had already taken defin... |
Epic poetry agrees with Tragedy in so far as it is an imitation in verse of characters of a higher type. They differ, in that Epic poetry admits but one kind of metre, and is narrative in form. They differ, again, in their length: for Tragedy endeavours, as far as possible, to confine itself to a single revolution of t... |
Of their constituent parts some are common to both, some peculiar to Tragedy, whoever, therefore, knows what is good or bad Tragedy, knows also about Epic poetry. All the elements of an Epic poem are found in Tragedy, but the elements of a Tragedy are not all found in the Epic poem. |
VI Of the poetry which imitates in hexameter verse, and of Comedy, we will speak hereafter. Let us now discuss Tragedy, resuming its formal definition, as resulting from what has been already said. |
Tragedy, then, is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; through pity and fear effecting the proper purgation of th... |
Now as tragic imitation implies persons acting, it necessarily follows, in the first place, that Spectacular equipment will be a part of Tragedy. Next, Song and Diction, for these are the medium of imitation. By 'Diction' I mean the mere metrical arrangement of the words: as for 'Song,' it is a term whose sense every o... |
Again, Tragedy is the imitation of an action; and an action implies personal agents, who necessarily possess certain distinctive qualities both of character and thought; for it is by these that we qualify actions themselves, and these--thought and character--are the two natural causes from which actions spring, and on ... |
But most important of all is the structure of the incidents. For Tragedy is an imitation, not of men, but of an action and of life, and life consists in action, and its end is a mode of action, not a quality. Now character determines men's qualities, but it is by their actions that they are happy or the reverse. Dramat... |
The Plot, then, is the first principle, and, as it were, the soul of a tragedy: Character holds the second place. A similar fact is seen in painting. The most beautiful colours, laid on confusedly, will not give as much pleasure as the chalk outline of a portrait. Thus Tragedy is the imitation of an action, and of the ... |
Third in order is Thought,--that is, the faculty of saying what is possible and pertinent in given circumstances. In the case of oratory, this is the function of the Political art and of the art of rhetoric: and so indeed the older poets make their characters speak the language of civic life; the poets of our time, the... |
Fourth among the elements enumerated comes Diction; by which I mean, as has been already said, the expression of the meaning in words; and its essence is the same both in verse and prose. |
Of the remaining elements Song holds the chief place among the embellishments. The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of poetry. For the power of Tragedy, we may be sure, is felt even apart from representation and ... |
VII These principles being established, let us now discuss the proper structure of the Plot, since this is the first and most important thing in Tragedy. |
Now, according to our definition, Tragedy is an imitation of an action that is complete, and whole, and of a certain magnitude; for there may be a whole that is wanting in magnitude. A whole is that which has a beginning, a middle, and an end. A beginning is that which does not itself follow anything by causal necessit... |
Again, a beautiful object, whether it be a living organism or any whole composed of parts, must not only have an orderly arrangement of parts, but must also be of a certain magnitude; for beauty depends on magnitude and order. Hence a very small animal organism cannot be beautiful; for the view of it is confused, the o... |
VIII Unity of plot does not, as some persons think, consist in the Unity of the hero. For infinitely various are the incidents in one man's life which cannot be reduced to unity; and so, too, there are many actions of one man out of which we cannot make one action. Hence, the error, as it appears, of all poets who have... |
IX It is, moreover, evident from what has been said, that it is not the function of the poet to relate what has happened, but what may happen,--what is possible according to the law of probability or necessity. The poet and the historian differ not by writing in verse or in prose. The work of Herodotus might be put int... |
It clearly follows that the poet or 'maker' should be the maker of plots rather than of verses; since he is a poet because he imitates, and what he imitates are actions. And even if he chances to take an historical subject, he is none the less a poet; for there is no reason why some events that have actually happened s... |
Of all plots and actions the epeisodic are the worst. I call a plot 'epeisodic' in which the episodes or acts succeed one another without probable or necessary sequence. Bad poets compose such pieces by their own fault, good poets, to please the players; for, as they write show pieces for competition, they stretch the ... |
But again, Tragedy is an imitation not only of a complete action, but of events inspiring fear or pity. Such an effect is best produced when the events come on us by surprise; and the effect is heightened when, at the same time, they follow as cause and effect. The tragic wonder will thee be greater than if they happen... |
Plots are either Simple or Complex, for the actions in real life, of which the plots are an imitation, obviously show a similar distinction. An action which is one and continuous in the sense above defined, I call Simple, when the change of fortune takes place without Reversal of the Situation and without Recognition. |
A Complex action is one in which the change is accompanied by such Reversal, or by Recognition, or by both. These last should arise from the internal structure of the plot, so that what follows should be the necessary or probable result of the preceding action. It makes all the difference whether any given event is a c... |
XI Reversal of the Situation is a change by which the action veers round to its opposite, subject always to our rule of probability or necessity. Thus in the Oedipus, the messenger comes to cheer Oedipus and free him from his alarms about his mother, but by revealing who he is, he produces the opposite effect. Again in... |
Two parts, then, of the Plot--Reversal of the Situation and Recognition--turn upon surprises. A third part is the Scene of Suffering. The Scene of Suffering is a destructive or painful action, such as death on the stage, bodily agony, wounds and the like. |
XII [The parts of Tragedy which must be treated as elements of the whole have been already mentioned. We now come to the quantitative parts, and 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 play... |
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 ... |
XIII As the sequel to what has already been said, we must proceed to consider what the poet should aim at, and what he should avoid, in constructing his plots; and by what means the specific effect of Tragedy will be produced. |
A perfect tragedy should, as we have seen, be arranged not on the simple but on the complex plan. It should, moreover, imitate actions which excite pity and fear, this being the distinctive mark of tragic imitation. It follows plainly, in the first place, that the change, of fortune presented must not be the spectacle ... |
A well constructed plot should, therefore, be single in its issue, rather than double as some maintain. The change of fortune should be not from bad to good, but, reversely, from good to bad. It should come about as the result not of vice, but of some great error or frailty, in a character either such as we have descri... |
In the second rank comes the kind of tragedy which some place first. Like the Odyssey, it has a double thread of plot, and also an opposite catastrophe for the good and for the bad. It is accounted the best because of the weakness of the spectators; for the poet is guided in what he writes by the wishes of his audience... |
XIV Fear and pity may be aroused by spectacular means; but they may also result from the inner structure of the piece, which is the better way, and indicates a superior poet. For the plot ought to be so constructed that, even without the aid of the eye, he who hears the tale told will thrill with horror and melt to pit... |
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