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Let us then determine what are the circumstances which strike us as terrible or pitiful. Actions capable of this effect must happen between persons who are either friends or enemies or indifferent to one another. If an enemy kills an enemy, there is nothing to excite pity either in the act or the intention,--except so ... |
The action may be done consciously and with knowledge of the persons, in the manner of the older poets. It is thus too that Euripides makes Medea slay her children. Or, again, the deed of horror may be done, but done in ignorance, and the tie of kinship or friendship be discovered afterwards. The Oedipus of Sophocles i... |
Enough has now been said concerning the structure of the incidents, and the right kind of plot. XV In respect of Character there are four things to be aimed at. First, and most important, it must be good. Now any speech or action that manifests moral purpose of any kind will be expressive of character: the character wi... |
As in the structure of the plot, so too in the portraiture of character, the poet should always aim either at the necessary or the probable. Thus a person of a given character should speak or act in a given way, by the rule either of necessity or of probability; just as this event should follow that by necessary or pro... |
Again, since Tragedy is an imitation of persons who are above the common level, the example of good portrait-painters should be followed. They, while reproducing the distinctive form of the original, make a likeness which is true to life and yet more beautiful. So too the poet, in representing men who are irascible or ... |
These then are rules the poet should observe. Nor should he neglect those appeals to the senses, which, though not among the essentials, are the concomitants of poetry; for here too there is much room for error. But of this enough has been said in our published treatises. |
XVI What Recognition is has been already explained. We will now enumerate its kinds. First, the least artistic form, which, from poverty of wit, is most commonly employed recognition by signs. Of these some are congenital,--such as 'the spear which the earth-born race bear on their bodies,' or the stars introduced by C... |
Next come the recognitions invented at will by the poet, and on that account wanting in art. For example, Orestes in the Iphigenia reveals the fact that he is Orestes. She, indeed, makes herself known by the letter; but he, by speaking himself, and saying what the poet, not what the plot requires. This, therefore, is n... |
The third kind depends on memory when the sight of some object awakens a feeling: as in the Cyprians of Dicaeogenes, where the hero breaks into tears on seeing the picture; or again in the 'Lay of Alcinous,' where Odysseus, hearing the minstrel play the lyre, recalls the past and weeps; and hence the recognition. |
The fourth kind is by process of reasoning. Thus in the Choephori: 'Some one resembling me has come: no one resembles me but Orestes: therefore Orestes has come.' Such too is the discovery made by Iphigenia in the play of Polyidus the Sophist. It was a natural reflection for Orestes to make, 'So I too must die at the a... |
But, of all recognitions, the best is that which arises from the incidents themselves, where the startling discovery is made by natural means. Such is that in the Oedipus of Sophocles, and in the Iphigenia; for it was natural that Iphigenia should wish to dispatch a letter. These recognitions alone dispense with the ar... |
XVII In constructing the plot and working it out with the proper diction, the poet should place the scene, as far as possible, before his eyes. In this way, seeing everything with the utmost vividness, as if he were a spectator of the action, he will discover what is in keeping with it, and be most unlikely to overlook... |
Again, the poet should work out his play, to the best of his power, with appropriate gestures; for those who feel emotion are most convincing through natural sympathy with the characters they represent; and one who is agitated storms, one who is angry rages, with the most life-like reality. Hence poetry implies either ... |
As for the story, whether the poet takes it ready made or constructs it for himself, he should first sketch its general outline, and then fill in the episodes and amplify in detail. The general plan may be illustrated by the Iphigenia. A young girl is sacrificed; she disappears mysteriously from the eyes of those who s... |
After this, the names being once given, it remains to fill in the episodes. We must see that they are relevant to the action. In the case of Orestes, for example, there is the madness which led to his capture, and his deliverance by means of the purificatory rite. In the drama, the episodes are short, but it is these t... |
XVIII Every tragedy falls into two parts,--Complication and Unravelling or Denouement. Incidents extraneous to the action are frequently combined with a portion of the action proper, to form the Complication; the rest is the Unravelling. By the Complication I mean all that extends from the beginning of the action to th... |
There are four kinds of Tragedy, the Complex, depending entirely on Reversal of the Situation and Recognition; the Pathetic (where the motive is passion),--such as the tragedies on Ajax and Ixion; the Ethical (where the motives are ethical),--such as the Phthiotides and the Peleus. The fourth kind is the Simple <We her... |
In speaking of a tragedy as the same or different, the best test to take is the plot. Identity exists where the Complication and Unravelling are the same. Many poets tie the knot well, but unravel it ill. Both arts, however, should always be mastered. |
Again, the poet should remember what has been often said, and not make an Epic structure into a Tragedy--by an Epic structure I mean one with a multiplicity of plots--as if, for instance, you were to make a tragedy out of the entire story of the Iliad. In the Epic poem, owing to its length, each part assumes its proper... |
The Chorus too should be regarded as one of the actors; it should be an integral part of the whole, and share in the action, in the manner not of Euripides but of Sophocles. As for the later poets, their choral songs pertain as little to the subject of the piece as to that of any other tragedy. They are, therefore, sun... |
XIX 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,... |
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 k... |
XX [Language in general includes the following parts:--Letter, Syllable, Connecting word, Noun, Verb, Inflexion or Case, Sentence or Phrase. |
A Letter is an indivisible sound, yet not every such sound, but only one which can form part of a group of sounds. For even brutes utter indivisible sounds, none of which I call a letter. The sound I mean may be either a vowel, a semi-vowel, or a mute. A vowel is that which without impact of tongue or lip has an audibl... |
A Syllable is a non-significant sound, composed of a mute and a vowel: for GR without A is a syllable, as also with A,--GRA. But the investigation of these differences belongs also to metrical science. |
A Connecting word is a non-significant sound, which neither causes nor hinders the union of many sounds into one significant sound; it may be placed at either end or in the middle of a sentence. Or, a non-significant sound, which out of several sounds, each of them significant, is capable of forming one significant sou... |
A Noun is a composite significant sound, not marking time, of which no part is in itself significant: for in double or compound words we do not employ the separate parts as if each were in itself significant. Thus in Theodorus, 'god-given,' the {delta omega rho omicron nu} or 'gift' is not in itself significant. |
A Verb is a composite significant sound, marking time, in which, as in the noun, no part is in itself significant. For 'man,' or 'white' does not express the idea of 'when'; but 'he walks,' or 'he has walked' does connote time, present or past. |
Inflexion belongs both to the noun and verb, and expresses either the relation 'of,' 'to,' or the like; or that of number, whether one or many, as 'man' or 'men '; or the modes or tones in actual delivery, e.g. a question or a command. 'Did he go?' and 'go' are verbal inflexions of this kind. |
A Sentence or Phrase is a composite significant sound, some at least of whose parts are in themselves significant; for not every such group of words consists of verbs and nouns--'the definition of man,' for example--but it may dispense even with the verb. Still it will always have some significant part, as 'in walking,... |
XXI Words are of two kinds, simple and double. By simple I mean those composed of non-significant elements, such as {gamma eta}. By double or compound, those composed either of a significant and non-significant element (though within the whole word no element is significant), or of elements that are both significant. A... |
Every word is either current, or strange, or metaphorical, or ornamental, or newly-coined, or lengthened, or contracted, or altered. |
By a current or proper word I mean one which is in general use among a people; by a strange word, one which is in use in another country. Plainly, therefore, the same word may be at once strange and current, but not in relation to the same people. The word {sigma iota gamma upsilon nu omicron nu}, 'lance,' is to the Cy... |
Metaphor is the application of an alien name by transference either from genus to species, or from species to genus, or from species to species, or by analogy, that is, proportion. Thus from genus to species, as: 'There lies my ship'; for lying at anchor is a species of lying. From species to genus, as: 'Verily ten tho... |
{An ornamental word...} A newly-coined word is one which has never been even in local use, but is adopted by the poet himself. Some such words there appear to be: as {epsilon rho nu upsilon gamma epsilon sigma}, 'sprouters,' for {kappa epsilon rho alpha tau alpha}, 'horns,' and {alpha rho eta tau eta rho}, 'supplicator... |
A word is lengthened when its own vowel is exchanged for a longer one, or when a syllable is inserted. A word is contracted when some part of it is removed. Instances of lengthening are,--{pi omicron lambda eta omicron sigma} for {pi omicron lambda epsilon omega sigma}, and {Pi eta lambda eta iota alpha delta epsilon o... |
An altered word is one in which part of the ordinary form is left unchanged, and part is re-cast; as in {delta epsilon xi iota-tau epsilon rho omicron nu / kappa alpha tau alpha / mu alpha zeta omicron nu}, {delta epsilon xi iota tau epsilon rho omicron nu} is for {delta epsilon xi iota omicron nu}. |
[Nouns in themselves are either masculine, feminine, or neuter. Masculine are such as end in {nu}, {rho}, {sigma}, or in some letter compounded with {sigma},--these being two, and {xi}. Feminine, such as end in vowels that are always long, namely {eta} and {omega}, and--of vowels that admit of lengthening--those in {al... |
XXII The perfection of style is to be clear without being mean. The clearest style is that which uses only current or proper words; at the same time it is mean:--witness the poetry of Cleophon and of Sthenelus. That diction, on the other hand, is lofty and raised above the commonplace which employs unusual words. By un... |
He caricatured the practice in the very form of his diction, as in the verse: '{Epsilon pi iota chi alpha rho eta nu / epsilon iota delta omicron nu / Mu alpha rho alpha theta omega nu alpha delta epsilon / Beta alpha delta iota zeta omicron nu tau alpha}, or, {omicron upsilon kappa / alpha nu / gamma / epsilon rho alp... |
Euripides substitutes {Theta omicron iota nu alpha tau alpha iota} 'feasts on' for {epsilon sigma theta iota epsilon iota} 'feeds on.' Again, in the line, {nu upsilon nu / delta epsilon / mu /epsilon omega nu / omicron lambda iota gamma iota gamma upsilon sigma / tau epsilon / kappa alpha iota / omicron upsilon tau iot... |
Or, for {eta iota omicron nu epsilon sigma / beta omicron omicron omega rho iota nu, eta iota omicron nu epsilon sigma kappa rho alpha zeta omicron upsilon rho iota nu} |
Again, Ariphrades ridiculed the tragedians for using phrases which no one would employ in ordinary speech: for example, {delta omega mu alpha tau omega nu / alpha pi omicron} instead of {alpha pi omicron / delta omega mu alpha tau omega nu}, {rho epsilon theta epsilon nu}, {epsilon gamma omega / delta epsilon / nu iota... |
It is a great matter to observe propriety in these several modes of expression, as also in compound words, strange (or rare) words, and so forth. But the greatest thing by far is to have a command of metaphor. This alone cannot be imparted by another; it is the mark of genius, for to make good metaphors implies an eye ... |
Of the various kinds of words, the compound are best adapted to Dithyrambs, rare words to heroic poetry, metaphors to iambic. In heroic poetry, indeed, all these varieties are serviceable. But in iambic verse, which reproduces, as far as may be, familiar speech, the most appropriate words are those which are found even... |
Concerning Tragedy and imitation by means of action this may suffice. XXIII As to that poetic imitation which is narrative in form and employs a single metre, the plot manifestly ought, as in a tragedy, to be constructed on dramatic principles. It should have for its subject a single action, whole and complete, with a ... |
For this reason the Iliad and the Odyssey each furnish the subject of one tragedy, or, at most, of two; while the Cypria supplies materials for many, and the Little Iliad for eight--the Award of the Arms, the Philoctetes, the Neoptolemus, the Eurypylus, the Mendicant Odysseus, the Laconian Women, the Fall of Ilium, the... |
XXIV Again, Epic poetry must have as many kinds as Tragedy: it must be simple, or complex, or 'ethical,' or 'pathetic.' The parts also, with the exception of song and spectacle, are the same; for it requires Reversals of the Situation, Recognitions, and Scenes of Suffering. Moreover, the thoughts and the diction must b... |
Epic poetry differs from Tragedy in the scale on which it is constructed, and in its metre. As regards scale or length, we have already laid down an adequate limit:--the beginning and the end must be capable of being brought within a single view. This condition will be satisfied by poems on a smaller scale than the old... |
Epic poetry has, however, a great--a special--capacity for enlarging its dimensions, and we can see the reason. In Tragedy we cannot imitate several lines of actions carried on at one and the same time; we must confine ourselves to the action on the stage and the part taken by the players. But in Epic poetry, owing to ... |
As for the metre, the heroic measure has proved its fitness by the test of experience. If a narrative poem in any other metre or in many metres were now composed, it would be found incongruous. For of all measures the heroic is the stateliest and the most massive; and hence it most readily admits rare words and metapho... |
Homer, admirable in all respects, has the special merit of being the only poet who rightly appreciates the part he should take himself. The poet should speak as little as possible in his own person, for it is not this that makes him an imitator. Other poets appear themselves upon the scene throughout, and imitate but l... |
The element of the wonderful is required in Tragedy. The irrational, on which the wonderful depends for its chief effects, has wider scope in Epic poetry, because there the person acting is not seen. Thus, the pursuit of Hector would be ludicrous if placed upon the stage--the Greeks standing still and not joining in th... |
Accordingly, the poet should prefer probable impossibilities to improbable possibilities. The tragic plot must not be composed of irrational parts. Everything irrational should, if possible, be excluded; or, at all events, it should lie outside the action of the play (as, in the Oedipus, the hero's ignorance as to the ... |
The diction should be elaborated in the pauses of the action, where there is no expression of character or thought. For, conversely, character and thought are merely obscured by a diction that is over brilliant. |
XXV With respect to critical difficulties and their solutions, the number and nature of the sources from which they may be drawn may be thus exhibited. |
The poet being an imitator, like a painter or any other artist, must of necessity imitate one of three objects,--things as they were or are, things as they are said or thought to be, or things as they ought to be. The vehicle of expression is language,--either current terms or, it may be, rare words or metaphors. There... |
First as to matters which concern the poet's own art. If he describes the impossible, he is guilty of an error; but the error may be justified, if the end of the art be thereby attained (the end being that already mentioned), if, that is, the effect of this or any other part of the poem is thus rendered more striking. ... |
Again, does the error touch the essentials of the poetic art, or some accident of it? For example,--not to know that a hind has no horns is a less serious matter than to paint it inartistically. |
Further, if it be objected that the description is not true to fact, the poet may perhaps reply,--'But the objects are as they ought to be': just as Sophocles said that he drew men as they ought to be; Euripides, as they are. In this way the objection may be met. If, however, the representation be of neither kind, the ... |
Again, in examining whether what has been said or done by some one is poetically right or not, we must not look merely to the particular act or saying, and ask whether it is poetically good or bad. We must also consider by whom it is said or done, to whom, when, by what means, or for what end; whether, for instance, it... |
Other difficulties may be resolved by due regard to the usage of language. We may note a rare word, as in {omicron upsilon rho eta alpha sigma / mu epsilon nu / pi rho omega tau omicron nu}, where the poet perhaps employs {omicron upsilon rho eta alpha sigma} not in the sense of mules, but of sentinels. So, again, of D... |
Sometimes an expression is metaphorical, as 'Now all gods and men were sleeping through the night,'--while at the same time the poet says: 'Often indeed as he turned his gaze to the Trojan plain, he marvelled at the sound of flutes and pipes.' 'All' is here used metaphorically for 'many,' all being a species of many. S... |
Again, the solution may depend upon accent or breathing. Thus Hippias of Thasos solved the difficulties in the lines,--{delta iota delta omicron mu epsilon nu (delta iota delta omicron mu epsilon nu) delta epsilon / omicron iota,} and { tau omicron / mu epsilon nu / omicron upsilon (omicron upsilon) kappa alpha tau alp... |
Or again, the question may be solved by punctuation, as in Empedocles,--'Of a sudden things became mortal that before had learnt to be immortal, and things unmixed before mixed.' |
Or again, by ambiguity of meaning,--as {pi alpha rho omega chi eta kappa epsilon nu / delta epsilon / pi lambda epsilon omega / nu upsilon xi}, where the word {pi lambda epsilon omega} is ambiguous. |
Or by the usage of language. Thus any mixed drink is called {omicron iota nu omicron sigma}, 'wine.' Hence Ganymede is said 'to pour the wine to Zeus,' though the gods do not drink wine. So too workers in iron are called {chi alpha lambda kappa epsilon alpha sigma}, or workers in bronze. This, however, may also be take... |
Again, when a word seems to involve some inconsistency of meaning, we should consider how many senses it may bear in the particular passage. For example: 'there was stayed the spear of bronze'--we should ask in how many ways we may take 'being checked there.' The true mode of interpretation is the precise opposite of w... |
In general, the impossible must be justified by reference to artistic requirements, or to the higher reality, or to received opinion. With respect to the requirements of art, a probable impossibility is to be preferred to a thing improbable and yet possible. Again, it may be impossible that there should be men such as ... |
Things that sound contradictory should be examined by the same rules as in dialectical refutation whether the same thing is meant, in the same relation, and in the same sense. We should therefore solve the question by reference to what the poet says himself, or to what is tacitly assumed by a person of intelligence. |
The element of the irrational, and, similarly, depravity of character, are justly censured when there is no inner necessity for introducing them. Such is the irrational element in the introduction of Aegeus by Euripides and the badness of Menelaus in the Orestes. |
Thus, there are five sources from which critical objections are drawn. Things are censured either as impossible, or irrational, or morally hurtful, or contradictory, or contrary to artistic correctness. The answers should be sought under the twelve heads above mentioned. |
XXVI The question may be raised whether the Epic or Tragic mode of imitation is the higher. If the more refined art is the higher, and the more refined in every case is that which appeals to the better sort of audience, the art which imitates anything and everything is manifestly most unrefined. The audience is suppose... |
Now, in the first place, this censure attaches not to the poetic but to the histrionic art; for gesticulation may be equally overdone in epic recitation, as by Sosi-stratus, or in lyrical competition, as by Mnasitheus the Opuntian. Next, all action is not to be condemned any more than all dancing--but only that of bad ... |
And superior it is, because it has all the epic elements--it may even use the epic metre--with the music and spectacular effects as important accessories; and these produce the most vivid of pleasures. Further, it has vividness of impression in reading as well as in representation. Moreover, the art attains its end wit... |
If, then, Tragedy is superior to Epic poetry in all these respects, and, moreover, fulfils its specific function better as an art for each art ought to produce, not any chance pleasure, but the pleasure proper to it, as already stated it plainly follows that Tragedy is the higher art, as attaining its end more perfectl... |
Thus much may suffice concerning Tragic and Epic poetry in general; their several kinds and parts, with the number of each and their differences; the causes that make a poem good or bad; the objections of the critics and the answers to these objections. |
A TREATISE ON GOVERNMENT By Aristotle Translated From The Greek Of Aristotle By William Ellis, A.M. London & Toronto Published By J M Dent & Sons Ltd. & In New York By E. P. Dutton &. Co |
First Issue Of This Edition 1912 Reprinted 1919, 1923, 1928 INTRODUCTION The Politics of Aristotle is the second part of a treatise of which the Ethics is the first part. It looks back to the Ethics as the Ethics looks forward to the Politics. For Aristotle did not separate, as we are inclined to do, the spheres of the... |
In an early dialogue of Plato's, the Protagoras, Socrates asks Protagoras why it is not as easy to find teachers of virtue as it is to find teachers of swordsmanship, riding, or any other art. Protagoras' answer is that there are no special teachers of virtue, because virtue is taught by the whole community. Plato and ... |
Such a programme for a treatise on government might lead us to expect in the Politics mainly a description of a Utopia or ideal state which might inspire poets or philosophers but have little direct effect upon political institutions. Plato's Republic is obviously impracticable, for its author had turned away in despai... |
Aristotle has none of the high enthusiasm or poetic imagination of Plato. He is even unduly impatient of Plato's idealism, as is shown by the criticisms in the second book. But he has a power to see the possibilities of good in things that are imperfect, and the patience of the true politician who has learned that if h... |
This combination of idealism and respect for the teachings of experience constitutes in some ways the strength and value of the Politics, but it also makes it harder to follow. The large nation states to which we are accustomed make it difficult for us to think that the state could be constructed and modelled to expres... |
It may help to an understanding of the Politics if something is said on those two points. We are accustomed since the growth of the historical method to the belief that states are "not made but grow," and are apt to be impatient with the belief which Aristotle and Plato show in the powers of the lawgiver. But however t... |
So again the Milesians, Herodotus tells us, were long troubled by civil discord, till they asked help from Paros, and the Parians sent ten commissioners who gave Miletus a new constitution. So the Athenians, when they were founding their model new colony at Thurii, employed Hippodamus of Miletus, whom Aristotle mention... |
Aristotle's Politics, then, is a handbook for the legislator, the expert who is to be called in when a state wants help. We have called him a state doctor. It is one of the most marked characteristics of Greek political theory that Plato and Aristotle think of the statesman as one who has knowledge of what ought to be ... |
With this position much that Aristotle has to say about government is in agreement. He assumes the characteristic Platonic view that all men seek the good, and go wrong through ignorance, not through evil will, and so he naturally regards the state as a community which exists for the sake of the good life. It is in the... |
In accordance with the same line of thought, imperfect states, although called perversions, are regarded by Aristotle as the result rather of misconception and ignorance than of perverse will. They all represent, he says, some kind of justice. Oligarchs and democrats go wrong in their conception of the good. They have ... |
The Greek doctrine that the essence of the state consists in community of purpose is the counterpart of the notion often held in modern times that the essence of the state is force. The existence of force is for Plato and Aristotle a sign not of the state but of the state's failure. It comes from the struggle between c... |
If the state is the organisation of men seeking a common good, power and political position must be given to those who can forward this end. This is the principle expressed in Aristotle's account of political justice, the principle of "tools to those who can use them." As the aim of the state is differently conceived, ... |
Further, the belief that the constitution of a state is only the outward expression of the common aspirations and beliefs of its members, explains the paramount political importance which Aristotle assigns to education. It is the great instrument by which the legislator can ensure that the future citizens of his state ... |
Such is in brief the attitude in which Aristotle approaches political problems, but in working out its application to men and institutions as they are, Aristotle admits certain compromises which are not really consistent with it. |
1. Aristotle thinks of membership of a state as community in pursuit of the good. He wishes to confine membership in it to those who are capable of that pursuit in the highest and most explicit manner. His citizens, therefore, must be men of leisure, capable of rational thought upon the end of life. He does not recogni... |
2. Aristotle in his account of the ideal state seems to waver between two ideals. There is the ideal of an aristocracy and the ideal of what he calls constitutional government, a mixed constitution. The principle of "tools to those who can use them" ought to lead him, as it does Plato, to an aristocracy. Those who have... |
Aristotle is right in seeing that political government demands equality, not in the sense that all members of the state should be equal in ability or should have equal power, but in the sense that none of them can properly be regarded simply as tools with which the legislator works, that each has a right to say what wi... |
The state is possible only because men have common aspirations, but government, and political power, the existence of officials who are given authority to act in the name of the whole state, are necessary because men's community is imperfect, because man's social nature expresses itself in conflicting ways, in the clas... |
Aristotle's mixed constitution springs from a recognition of sectional interests in the state. For the proper relation between the claims of "virtue," wealth, and numbers is to be based not upon their relative importance in the good life, but upon the strength of the parties which they represent. The mixed constitution... |
With this spirit of realism which pervades Books IV., V., and VI. the idealism of Books I., II., VII., and VIII. is never reconciled. Aristotle is content to call existing constitutions perversions of the true form. But we cannot read the Politics without recognising and profiting from the insight into the nature of th... |
A. D. LINDSAY. BIBLIOGRAPHY First edition of works (with omission of Rhetorica, Poetica, and second book of OEconomica), 5 vols. by Aldus Manutius, Venice, 1495-8; re-impression supervised by Erasmus and with certain corrections by Grynaeus (including Rhetorica and Poetica), 1531, 1539, revised 1550; later editions wer... |
ENGLISH TRANSLATIONS: Edited by T. Taylor, with Porphyry's Introduction, 9 vols., 1812; under editorship of J. A. Smith and W. D. Ross, 1908. |
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