Geometry Grades 9 12

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Geometry Grades 9 12

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recommended to the orator who is stating what is false: ‘for these
are plausible, and these things 1 liad xxii. 205. §24. 1460 a 14-20,
 216 THE POETICS OF ARISTOTLE existence or occurrence
of one thing is regularly attended by the existence or occurrence of
another, people, if the second be there, suppose that the first, too, is
real or actual; which is a fallacy. If, therefore, the first be a fiction,
but were it real, something else would by law of nature exist or
occur, append that other thing; for the mind, knowing that law of
nature to be true, falsely supposes that the statement is true.
(Example: that in the ‘‘ Bath-scene.’’) You should prefer a plausible
impossibility to an unconvincing possibility ; and the account should
not be made up out of unaccountable elements; it had best contain
none, but if it contain any, it should keep them in the background,
as does the Oedipus Oedipus’s ignorance οἵ the mode in which Laius
met his death, rather than like the report of the Pythian Games in
the Electra,! where it which they know [7. 6. that A accompanies B]
become evidence of what , they do not know [the truth of A or of
B].” The ordinary cross- | examination implies, of course, the
recognition of this principle. A plausible impossibility : in the Poetik
of ROTTEKEN (pp. 141 foll.) an attempt is made to classify and
estimate the violations of possibility which may be introduced. He
rightly assigns great importance to the subjective element; if one
have been brought into a proper condition of creepiness, one will not
be greatly surprised by the appearance of a ghost. Both metre and
music lull the critical power. The account should not be made up,
etc.: the unnatural, i.e. what violates natural or ordinary causation,
ought not to be an integral part of the story. ROTTEKEN gives the
rule (p. 146) that, if the poet decides to employ the unnatural,
instead of trying to keep it in the background, he had better
emphasize it and thoroughly prepare the hearer for it. The report of
the Pythian Games in the Electra : the Pythian contest first included
chariot-racing in the year 582, according to Pausanias (X. vii. § 3).
Sophocles, then, by introducing it in the days of Orestes was
committing an anachronism which most of his hearers would be able
1 Sophocles, Electra 680-760, § 24. 1460 a 21—31.
 ENGLISH TRANSLATION 217 is in the foreground, or in the
Mysians the man’s coming without speaking from Tegea to Mysia. It
is ridiculous to urge that the story would come to grief [without such
unaccountable features]; the story should not have required them
from the start. If, however, the poet introduce one, and the
possibility of more intelligible procedure be obvious, it is
preposterous also: thus the unnatural features in the Disembarking
of Odysseus in the Odyssey ' would, if portrayed by an inferior poet,
be unbearable ; as it is, the absurdity is concealed by the poet’s
other fascinations. to detect; for the institution was comparatively
modern; and the public games were the chief topic of fashionable
conversation in Athens (Aristophanes, Vespae 1190). Where the
anachronism is not glaring, Aristotle would probably have regarded it
as unobjectionable, whence he does not complain of Iphigeneia
sending a letter, though throughout his works he is most careful
himself about the use of the word “‘ write.” In the Mysians: a play of
this name by Aeschylus is sometimes cited. A man with blood upon
his hands could (apparently) address no one else (cf. Herodotus i.
35); and that Telephus was in this condition is implied by the poet
Amphis in Athenaeus 224 e. The question is where the difficulty lay
in a man getting from Tegea to Mysia without speaking. A
suggestion for the answer to this is given by Herodotus, who takes
care to observe that the Phrygian ceremonial in the matter of the
bloodguilty was the same as that of the Greeks; but according to
Aristotle the execution of human beings was thought nothing of by
barbarians (Natural History 673 a 25), whence the barbarians are
not likely to have known the “‘ customary modes of expiation *
understood by the Greeks (Politics 1262 a 31). Hence the “ unnatural
element ” lay in making barbarians understand a Greek rite which
could mean nothing to them. See in general Frazer’s account of the
mark set on Cain in the volume of essays on Anthropology dedicated
to Tylor. The unnatural features in the Disembarking of Odysseus :
viz. in the first place, that the ship should run aground “ to about
half its length, being vigorously driven,” without waking Odysseus,
especially as he was anxious to see smoke ascending from his
country (i. 58). This 1 Odyssey xiii. 119. $24. 1460 a 32—1460 Ὁ 2.
 218 THE POETICS OF ARISTOTLE Special care should be
taken with the diction in the “flat”? passages, ὃ. 6. where there is
neither psychology nor reasoning; for, conversely, over-brilliant
diction obscures both the psychology and the reasoning. § 25. The
following mode of consideration will make it clear how many formule
there are of critical questions and solutions and what their character
is. Since the poet is a portrayer, no less than a painter or other
maker of figures, he must always be portraying one of the three
following types : the real (past or present), the traditional (or
conventional), or the ideal. These are set forth in ordinary language,
or in dialectic words and metaphors. Ordinary words are subjected
to various treatment, for “such licence is permitted poets.” Further,
moral \/ ‘“‘ appetite” should have been sufficient to move him (de
Motu Animalium 701 a 35). Over-brilliant diction obscures, etc.: the
principle here adumbrated is that called by Frcouner (Vorschule, ii.
263) the economical employment of means, or the smallest exertion.
This principle seemed to some philosophers sufficiently important to
be made the fundamental doctrine of Aesthetic. The observation has
already been quoted from the Rhetoric that the diction must be
accommodated to the character; grandiloquence is unsuited to the
humbler characters in the play. The real .. . the conventional, or the
ideal : this is introducing a wholly different system of division from
that which preceded. The meaning of Idealism is discussed at length
in the second volume of FECHNER’S Vorschule der Aesthetik, esp.
pp. 105 foll. This author advises that the real be only departed from
when the advantages of doing so outweigh the disadvantages;
interesting cases which he discusses are whether a ‘statue of
Napoleon should be nude, or whether a modern emperor should be
represented dressed as a Roman Emperor. His analysis of the
concept of idealizing distinguishes the cases in which the individual
is idealized and that in which the type is idealized. With Aristotle,
who regards the individual of poetry as the type, this analysis would
have little or no meaning. Such licence is permitted poets: quotation
from Isocrates, Huagoras, Ρ. 190. §§ 24, 25. 1460 b 3—12. f τὰν ee
 ENGLISH TRANSLATION 219 correctness and poetical
correctness are not the same, nor is correctness according to any
other science identical with poetical correctness. ( Poetical
incorrecthess can be of two kinds, direct and indirect. ‘Inability on
the artist’s part to portray a theme in the manner which he has
elected is one error; another is wrong election (e.g. to portray a
horse with both his off-legs thrown forward), or violation of any
science, medical or other, only not poetry, according to which the
fiction is impossible.» From these points of view we may find the
solutions to the objections raised by critics. First, “ the impossible,
even as fiction, has been represented ’?: we admit the incorrectness,
but there is no harm if the fiction attains its end (stated above, viz.
making the particular passage or some other more marvellous); e.g.
the Pursuit of Hector. If, however, accuracy according to the rules of
the science involved would not have interfered with the realization of
the end in some degree, there is harm ; for, if possible, there should
be no incorrectness anywhere. Next, to which side does the error
belong—to what concerns the art immediately or to something
indirectly connected with it ? For it is a lighter error for the painter
not to know that a hind is hornless than to paint it so as not to
resemble a hind. Moral correctness and poetical correctness are not
the same : a reply to the criticisms in Plato’s Republic on the
morality of the Homeric poems. The dispute between Agamemnon
and Achilles may be poetical, though it would be highly improper in
actual warfare. Medical : with reference to Plato’s criticism on a
Homeric prescription. For the horse see de progressu Animal. 712 b.
lis end (stated above) : in ὃ 24, where we were told what the
impossibility was, and that it produced that “ correspondence ”
which is the source of the marvellous. 8 25. 1460 b 13+31.
 22 THE POETICS OF ARISTOTLE Next, if the criticism is
that the thing is untrue, perhaps the solution should be in the style
of Sophocles’s observation that his own characters were ideal,
whereas those of Euripides were realistic. If neither of these
solutions will serve, perhaps we may reply that it is traditional; e.g.
the [Homeric] theology, for perhaps it is neither edifying nor true,
but it may be as Xenophanes describes it: “‘however, that is the
tradition.”’ In other cases the reply may be that though unedifying it
represents the facts; thus the line which describes the spears as
stuck erect on their ferules | may be defended on the ground that
this was the practice of the time, as it is even now that of the
Illyrians. Where the question concerns the propriety of an utterance
or performance, it must be judged not only on its abstract merits,
but in relation to subject, object, occasion, beneficiary and purpose,
e.g. advantage to be secured or detriment to be averted. In some
cases the objection may be answered by an examination of the
expression, e.g. reference to dialectic usage, in the case of “ first he
struck the urees,” * where the word may perhaps signify not
“‘mules,”’ but “‘ guards”’; or in that of Dolon, ‘‘ who was ill-
shapen,’® which may mean not “misshapen,” but “ ill-favoured,”
since the Cretans apply the term well-shapen to the wellfavoured in
countenance; or that of “‘ mix it livelier,’ 4 which may mean not
“stronger,” as for fuddlers, but ** quicker.” Erect on their ferules :
according to the Platonic dialogue Ion, strategy was a necessary part
of the equipment of the Homeric critic. The objection in this case is
not clear. 1 Tliad x. 152. 2 Ibid. i. 50. 3 Ibid. x. 316. 1 Ibid. ix. 902.
§ 25. 1460 Ὁ 31—1461 a 16. δὼ"
 ENGLISH TRANSLATION 221 Other [difficult] phrases are
cases of transference, e.g. “The other gods and horse-armed men
were sleeping all the night,” simultaneously with “whenever he
turned his gaze to the Trojan plain, the din of pipes and reeds εν οὖ
for “all” is used for “ many ” by transference [of species to genus],
since “all ”’ is a case of “much”; just as “‘ she alone has no share [in
Ocean flood] ”’ is by transference [of genus to species], since the
best known [the standard or type] is unique [or a unit]. Cases of
solution by (1) change of intonation are Hippias the Thasian’s
interpretation of “‘and grant him,” ! and Cases of transference: the
two which are selected, and illustrate the metaphorical use of
common words, imply that Homer was acquainted with Aristotle’s
metaphysical system. ‘“‘ All” (ὦ. 6. a whole without arrangement) is
a case of ‘‘ much,” because “much” means a quantity in excess of
some other quantity (Metaphys. 1057 a 13). An “all” is greater than
its parts, as we know from geometry; hence an “all” is invariably a
“much.” On the other hand, the unit is in the case of every genus
the commencement of the knowable, for that whereby we first know
a thing is the first measure in all cases (Metaphys. 1016 b 20); since,
then, the standard or type is a species of unit, if we use unit for type
it isa case of substituting genus for species. If I find out a man’s
income, I can only do so by knowing what relation it bears to some
unit, e.g. pound or shilling; similarly a man’s courage, intellect,
firmness, etc., can only be scientifically described in relation to some
unit or standard. When, then, Homer says (Iliad xviii. 489) that the
Wain is the only constellation which sinks not into the ocean, he
means that it is the type of a constellation that does not sink. The
ancients pointed out that the same was true of all — the Northern
constellations. The puzzle connected with “all” does not appear in
our texts of the Iliad ; apparently Aristotle read in x. 1 the same line
as ii. 1, with “‘ the other” for “‘ other” ; “ the other ” is the
equivalent of “ all.” And grant him : the reference is to an old
reading, which has disappeared from the texts. By “to give” for “we
give” the interpreter hoped to clear Zeus of having uttered a false
promise. * liad ii. 15. _ 25. 1461 a 16—22.
 222 THE POETICS OF ARISTOTLE “ that is not rotted by the
rain.””! Others can be solved by (2) distinguishing, as Empedocles
explained “ suddenly they grew mortal, which before were used to
be immortal, and things raw before”’ (they had _ been sorted)
‘‘[unmixed]”’; others (3) by pointing to an ambiguity, e.g. “night, full
two parts, is gone, and a third remains’; for the Greek for “‘more
than” may That is not rotted by the rain: apparently it was held that
a pine stump would be more likely to be rotted than one of oak; see
Introd. p. 52. By distinguishing : the nature of the method is
explained in Sophistict Elenchi, ἃ 20. The example there given might
be rendered, “ Did you see the man beaten with your eye?” where
the answerer should find out with which verb the instrumental is to
be taken before replying. And things raw, before (they had been
sorted): the verse of Empedocles (see p. 98, n 3) continued
“formerly [grew] unmixed, having parted their ways.” The reference
is to the de Generatione 339 b 12. The four elements of Empedocles
existed before the two forces ** Love” and “ Strife,” which combined
and separated—both functions expressed by compounds of the verb
κρίνειν. ‘‘ Things formerly raw grew unmixed” can, if we employ the
process called distinguishing, be shown to be no contradiction; for “
raw’? means not “ unmixed with each other,” but ‘unaffected by love
or strife.’” The word rendered “‘ raw ” (ζωρά) when applied to liquor
naturally means “ undiluted”; but “ raw ” water means undistilled
water, and raw material material which has not been worked.
Whereas, then, “raw spirit” is the opposite of mixed spirit, ‘‘raw
water” is the opposite of pure water; since the operation which fits a
thing for use in the one case is that of mixing, in the other that of
unmixing. Aristotle’s explanation appears to be quite satisfactory.
Athenaeus (424 a) informs us that Theophrastus rendered the word
“raw” in this line by “ mixed,” and Plutarch records the same of a
comic poet Sosicles. In applying the word in this sense to liquor, they
were certainly mistaken; Sosicles was probably jesting;
Theophrastus most likely has been misrepresented. The Greek for “‘
more than,” etc.: the three solutions of which this is the second are
collected in Sophistict Elenchi 162 a 6, where we learn 1 Yliad xxiii.
328. § 25. 1461 a 23—26. * ee Σ᾽ Pe ee ee «ὦ νας του
 ENGLISH TRANSLATION 223 also be rendered ‘they being
full.” Others by (4) familiar usage: men call a dilution wine, whence
we get ‘“‘greaves of new-wrought tin,’’! and iron-workers braziers,
whence Ganymede is said to wine-pour to Zeus,? although the gods
drink not wine. This last, however, may be by transference.
Whenever a phrase presents an appearance of inconsistency, you
should consider (5) how many senses it could bear in the passage,
e.g. in how many senses the that the word in the text may refer
either to grammatical ambiguity or to verbal ambiguity. Here the fact
is that πλέων may be regarded as either the comparative of πολύς,
in the nominative singular, agreeing with νύξ, or as the genitive
plural feminine of πλέος, agreeing with μοιράων; according to the
latter view the words will be construed “two of the three parts being
accomplished ”; and since the latter use of the word is quite in
accordance with usage, there is no obvious objection to Aristotle’s
explanation. Men call a dilution wine, etc. : see Introd. p. 25.
Although the gods drink not wine : but nectar, Metaphys. 1000 a 12.
In the Great Ethics 1205 b 15 the error of those who do not know
this 5 criticized. On the same principle, then, those who did not
know of iron (Herodotus i. 68) called an iron-worker “‘ coppersmith.”
It seems more likely that the mention of “iron ”* was avoided owing
to the ill luck supposed to attach to that metal. Numerous
superstitions connected with iron are collected by Dourrh, Magie et
Religion dans P Afrique du Nord (1909), p. 41; he refers further to
Reinach, Cultes, Mythes, et Religions, XI. xiii. This last : “ to wine-
pour”” may be regarded as a species of “‘ decanting.” But to a
mixture of tin and copper, which is “ virtually” the former, the
doctrine of metaphor will not apply. How many senses, etc.: the
passage apparently suggests that the spear penetrated two layers of
copper, and was then stopped by a layer of gold, behind which were
two of tin. The ancient tritics thought the gold layer would most
naturally come outside. To “stay” or “hold” is said to mean to
prevent a thing moving according to its natural impulse (Metaphys.
1023 a 18), and the explanation of the difficulty is evidently to be
got from the various modes in which this can be effected. 1 Tliad
xxi. 592. 2 Ibid. xx. 234. § 25. 1461 a 26—33.
 224 THE POETICS OF ARISTOTLE expression “ there the
brazen spear stayed ”’ 1 can signify that it was prevented by it : Is it
most natural to understand it thus or thus ?—the opposite principle
to that stated by Glaucon—that critics in some cases assume an
unnatural interpretation, argue on a gratuitous verdict, and criticize
the poet for having said what they suppose him to have said, if it be
inconsistent with some fancy of their own. This is the case with the
Icarius controversy. The objectors suppose him to have been a
Laconian; how absurd then, they say, that Telemachus should not
meet him on his visit to Lacedaemon! But it may be as the
Cephallenians say, viz. that Odysseus took a wife from them, whose
father was Icadius, not Icarius; whence the objection is probably a
mere mistake. In general a case of impossibility should be referred
co poetic plausibility or poetic idealism; for a plausible impossibility is
preferable poetically to an unconvincing possibility, and though
certain types may be impossible (as were the figures of Zeuxis), yet
they may be ideal [and so poetical], which, as the type, should excel
the real; while the unnatural may be referred to popular assertion,
and occasionally defended on the ground that the thing is not
unnatural; for “‘ the improbable has a tendency to occur.” Passages
which, taken literally, are inconsistent, should be examined as the
dialectical tests examine them; ?7.e. is it the same thing, in the
same reference and in the same sense, in which case it is the poet
himself [who is inconsistent]; or is it the same only in reference to
the critic’s assertions or some reasonable supposition of the latter ?
The censorious terms “ unnatural” and ‘“‘immoral”’ are 1 Tliad xx.
272. § 25. 1461 a 33—1461 b 19. ie ee eee ee ee ee ee” oe oe Ts ee
2
 ENGLISH TRANSLATION 225 justly employed when what is
unnatural is introduced on no ground of necessity, as Aegeus by
Euripides, or depravity, as in the case of Menelaus in the Orestes.
Critical objections are, then, taken out of five formulae; a thing may
be denounced as impossible, unnatural, immoral, inconsistent or
inartistic. The number of the solutions is to be made out [by the
student] from the figures given above : it comes to twelve. ὃ 26.
The question suggests itself : Which is the better form of fiction, the
Epic or the Tragic? If the less vulgar be the better, and the better
means that which is addressed to the better wits, it is evident that
the pantomimic style is vulgar; for it implies that its audience The
number of the solutions, etc. . . . it comes to twelve: the numbers
that have been given are three (1460 Ὁ 10), three (¢bid. 11), “
many,” afterwards specified as four, one (difference between poetic
and other correctness), and one (difference between essential and
accidental correctness). In detail, a thing may be defended as
realistic, conventional or idealistic; or as a case in which poetry
conflicts with another science; or as an incidental, not essential,
error; or as a foreign word; or as a metaphor; or as a familiar usage;
or as a word of which the sense (where it is in ordinary language
ambiguous) has been mistaken, wrongly intoned, wrongly
distinguished, or wrongly applied. The pantomimic style, οἷο. this
matter is discussed by Fors (Das Drama in seinem Gegensatz zur
Dichtkunst, p. 110), who decides that the “‘ composite arts ” are not
to be regarded merely as palliatives for the collapse of the fancy, as
crutches for a lame imagination, but as possessing educational
value, in that they guide the reproductive fancy—which would
otherwise go astray—into the path followed by the poet, and offer a
substitute where the fancy absolutely fails. The opposite view to
Aristotle’s, viz. that the Drama is inferior to the Epic, is maintained at
length by J. von Krrcumann (Asthetik auf realistischer Grundlage, ii,
248-252). In the combination of arts represented by a stage
performance, each art suffers; so the poetry is confined to speeches,
and may not concern itself with scenes; and the lyric passages have
to be unduly abbreviated, because only a limited time can be
allowed for the performance; on the other hand, “ the plastic art *
$§ 25, 26. 1461 b 20—30. P
 226 THE POETICS OF ARISTOTLE will not perceive unless
the reciter adds what will rouse them violently, as does the inferior
flute-player when he whirls himself about when playing “ the Quoit,”
or grabs at the director if he be playing “Scylla.” Tragedy is then as a
style to Epic as the later school of actors is to the earlier, in the
opinion of the latter; for Mynniscus used to call Callippides an ape
for overdoing his part, and such was Areus’s view of our acting too.
Epic, then, they maintain, is addressed to a refined audience, who
do not require figures; whereas Tragedy is addressed to poor
creatures. If, then, it be vulgar, clearly it is the worse. To this we
may reply in the first place that the brunt of the accusation falls not
on the poet, but on the actor; for over-gesticulation may be
committed by a reciter (the style of Sosistratus), or a part-singer, 6.
g. Mnasitheus of Opus. Secondly, all forms of motion are not
discreditable, as this would involve the condemnation of all dancing:
whereas it is only that of inferior artists (as indeed Callippides in his
time and now certain other actors are termed) which is censured for
its unladylike figures. Thirdly, Tragedy no less than Romance can
(here meaning the portraying of emotions by gestures) cannot get
fair play, because the attention of the spectator is distracted, and the
particular mental activities which are counterfeited by the drama are
not suitable for plastic representation. The later school of actors :
the matter to which reference is made is discussed in the Rhetoric
(p. 1403), where we learn that there was as yet no treatise on
histrionic, though in the author’s time the actor was becoming a
more important person than the poet. Call Callippides an ape:
according to ΚΊΒΟΗΜΑΝΝ (]. 6. 249) only the best actors can
minimize the tendency to overdo gesture by idealization, but even
they cannot quite overcome it. Unladylike figures : that dancing is in
the main a feminine pastime ig maintained by WALLASCHEK
(Anfiinge, p. 235, etc.),on the ground that § 26. 1461 b 31—1462 a
12.
 ENGLISH TRANSLATION 227 achieve its end without any
motion: it can be interpreted by mere perusal. If therefore Tragedy
be otherwise superior, this fault, if it be one, need not belong to it.
Further, because it has everything that Romance has (for this can be
exactly calculated), and in addition—no small assets—music and
exhibition, whereby the gratification of each factor is intensified :
further, is sharply focused, whether read or acted: further, the
purpose of the fiction is realized in a shorter length of time—for the
compressed product gives more pleasure than one with a large
dilution of time, as might be seen if any one were to expand the
Oedipus of Sophocles into as many books as the Iliad. Further, the
romancer’s fiction has less unity (as is shown by the fact that any
romance makes several tragedies; so that if the romancer treats a
single story, either it must be set forth briefly, and give the
appearance of a torso, or be accommodated to the length it is a
means of disposing of superfluous energy, such as in the case of the
male is utilized in active life. There are indeed a few tribes in which
men only dance, but even in such cases it sometimes occurs that
there is an underlying theory which contradicts the practice, a man
being supposed to represent a woman. He gives details of the
practice throughout the world (ibid. 236-240). It can be interpreted
by mere perusal : this assertion appears to have been the subject of
violent discussion recently in Germany (see Foru, Lc. p. 70).
Aristotle’s opinion is clearly that the tragic effect, so far as it
coincides with the Epic effect, can be produced by perusal; but that
it can be accomplished better by a performance. The convpressed
product gives more pleasure than one with, eic. : this phenomenon
is explained in Problems 873 a 30, the reason there alleged being
that (in the case of wine) the wine and water are separately tasted,
whereas in the less diluted liquor the water is concealed by the wine.
(This is also explained in the de Generatione, bk. i.) Accommodated
to the length of time allotied: ὃ. e. to.that occupied by the Tragedies
exhibited at one sitting, § 24. 26. 1462 a 13—1462 b 6. P2
 22 THE POETICS OF ARISTOTLE of time allotted and seem
diffuse); I mean as when it is composed of several life-chapters, as
indeed both the Iliad and the Odyssey contain many such portions,
and these of sufficient size to stand alone; yet these poems are not
only constructed in the best possible way, but are severally in the
highest degree portrayals of a single life-chapter. If, therefore,
Tragedy be superior in all these respects, and in addition in
discharging the function of the art—for they should not furnish any
gratification, but only what has been stated—it is clear that Tragedy,
as realizing its purpose better, is a nobler form of art than Romance.
Thus ends our analysis, anatomy and critique of Tragedy and
Romance, and our account of objections and rejoinders. . I mean as
when, eic.: explanation of the aspect in which the Romance has less
unity. § 26. 1462 b 6—19.
 GREEK AND LATIN TEXTS, WITH CRITICAL NOTES
SYMBOLS In the Latin Text. Numeralsin ) indicate that the Arabic has
two. or more synonymous renderings of the same word. * indicates
that the preceding word follows an amended reading of the Arabic.
Italics indicate that the Arabic has been supplemented. ΜΑΣ,
CapirTaLs indicate that a rendering of the underlying Syriac has been
substituted for the Arabic. In the Critical Notes. (. ) enclosing the
sign for a MS. indicate that its reading is for some reason uncertain.
* signifies the Arabic version. Uniform orthography has been
adopted, and purely orthographica variants have been recorded only
when they have some interest or importance. The last lines of B are
wanting in the facsimile used by the writer. 229
 ΠΕΡῚ ΠΟΙΗΤΙΚΗΣ 1447a Περὶ ποιητικῆς αὐτῆς τε καὶ τῶν
εἰδῶν αὐτῆς, ἥν τινα t δύναμιν ἕκαστον ἔχει, καὶ πῶς δεῖ συνίστασθαι
τοὺς μύθους 10 εἰ μέλλει καλῶς ἕξειν ἡ ποίησις, ἔτι δὲ ἐκ πόσων καὶ
ποίων ἐστὶ μορίων, ὁμοίως δὲ καὶ περὶ τῶν ἄλλων ὅσα τῆς αὐτῆς ἔστι
μεθόδου, λέγωμεν ἀρξάμενοι κατὰ φύσιν πρῶτον ἀπὸ τῶν πρώτων.
ἐποποιία δὴ καὶ ἡ τῆς τραγῳδίας ποίησις, ἔτι δὲ κω15 μῳδία καὶ ἡ
διθυραμβοποιητικὴ καὶ τῆς αὐλητικῆς ἡ πλείστη καὶ κιθαριστικῆς,
πᾶσαι τυγχάνουσιν οὖσαι μιμήσεις τὸ σύνολον, διαφέρουσι δὲ
ἀλλήλων τρισίν, ἢ γὰρ τῷ ἔν ἑτέροις μιμεῖσθαι ἢ τῷ ἕτερα ἢ τῷ
ἑτέρως καὶ μὴ τὸν αὐτὸν τρόπον. ὥσπερ γὰρ καὶ χρώμασι καὶ
σχήμασι πολλὰ μιμοῦνταί τινες 20 ἀπεικάζοντες, οἱ μὲν διὰ τέχνης οἱ
δὲ διὰ συνηθείας, ἕτεροι δὲ διὰ τῆς φωνῆς, οὕτω καὶ ἐν ταῖς
εἰρημέναις τέχναις. ἅπασαι μὲν οὖν ποιοῦνται τὴν μίμησιν ἐν ῥυθμῷ
καὶ λόγῳ καὶ ἁομονίᾳ, τούτοις δ᾽ ἢ χωρὶς ἢ μεμιγμένοις᾽ οἷον ἁρμονίᾳ
μὲν καὶ ῥυθμῷ χρώμεναι μόνον ἥ τε αὐλητικὴ καὶ ἣ κιθαριστικὴ 25
κἂν εἴ τινες ἕτεραι τυγχάνουσιν οὖσαι τὴν δύναμιν, οἷον ἡ τῶν
συρίγγων: αὐτῷ δὲ τῷ ῥυθμῷ μιμοῦνται χωρὶς ἁρμονίας οἱ τῶν
ὀρχηστῶν, καὶ γὰρ οὗτοι διὰ τῶν σχηματιζομένων ῥυθμῶν μιμοῦνται
καὶ ἤθη καὶ πάθη καὶ πράξεις" ἡ δὲ ἐποποιία μόνον τοῖς λόγοις ψιλοῖς
ἢ τοῖς μέτροις, καὶ τούτοις εἴτε μιγνῦσα μετ᾽ ἀλλήλων εἴθ᾽ Evi τινι
γένει χρωμένη 12 λέγωμεν CE*: λέγομεν AD*. 16 μιμήσεις AC:
μίμησις DE. 21 ἐν C:om.ADE. 22 οὖν Ὁ : om. ACE. 24 μόνον ACE:
μόναι μόνον D. 25 τυγχάνουσιν LS pr. m.: τυγχάνωσιν ACDE. οὖσαι
ACDE: οὖσαι τ avta Lasc. * (p. 119). 230
 LIBER ARISTOTELIS DE POETIS. VERSIO ABI BASHAR
MATTHAE!I JONAE F., KONNAENSIS, EX SYRIACO IN ARABICUM.
Dixit Aristoteles: Nos loquimur nunc de arte poeta- 1447 ἃ rum et
speciebus eius, et nuntiamus quae vis unicuique earum sit, et quo
modo deceat constare mythos [et poemata], si poesis destinat ire
rem suam cursum boni- 10 tatis; item ex quot partibus illa constet,
et quaenam sint partes eius, et pariter loguemur super quot extant
quae ad eandem pertineant. Et loquemur et loquimur de hoc omni,
incipientes principio a rebus primis. Jam omni poemate et omni
recitatione poetica intendimus sive tragoediam sive comoediam sive
dithyrambopoeticum et circa plurimum auletices et quodcunque
intrat in imitationem (2) artis citharisticae et alia. Genera vero 15
eius tria sunt; aut enim per res alias imitatur (2), aut contraria huic
est sc. res alias imitatur (2), aut it rationibus diversis, non una et
eadem. Et sicut homines aliquando imitantur (2) per colores et
formas multa, quatenus alii imitantur (2) artibus, alii vero
consuetudinibus, at alii eorum vocibus, sic artes quas descripsimus
et omnes faciunt 20 imitationem (2) rhythmo et sermone et
harmonia, idque fit Sive separatim sive mixtim; exemplum illius
auletice et citharistice, ambae enim utuntur rhythmo et compositione
tantummodo ; et si existunt artes aliae vi sua similes 25 harum,
quemadmodum ars sibilandi utitur rhythmo uno atque eodem sine
compositione, et ars instrumenti saltationis item; nam hae per
rhythmos figuratos imitantur (2) consuetudines et passiones item, et
actiones item, alia quidem sermone pedestri mero, plus quam
metris, imita231
 232 ΠΕΡῚ ΠΟΙΗΤΙΚΗΣ δι 1, 2 1447b τῶν μέτρων
τυγχάνουσα μέχρι tod νῦν' οὐδὲν γὰρ ἂν ἔχοιμεν ὀνομάσαι κοινὸν
τοὺς Σώφρονος καὶ Ξενάρχου μίμους 10 καὶ τοὺς Σωκρατικοὺς
λόγους, οὐδὲ εἴ τις διὰ τριμέτρων ἢ ἐλεγείων ἢ τῶν ἄλλων τινῶν τῶν
τοιούτων ποιοῖτο τὴν μίμησιν: πλὴν οἱ ἄνθρωποί γε συνάπτοντες τῷ
μέτρῳ τὸ ποιεῖν ἐλεγειοποιούς, τοὺς δὲ ἐποποιοὺς ὀνομάζουσιν οὐχ
ὡς τὴν κατὰ μίμησιν ποιητάς, ἀλλὰ κοινῇ κατὰ τὸ μέτρον προσ1δ
αγορεύοντες. καὶ γὰρ ἂν ἰατρικὸν ἢ μουσικόν τι διὰ τῶν μέτρων
ἐκφέρωσιν, οὕτω καλεῖν εἰώθασιν οὐδὲν δὲ κοινόν ἔστιν “Ομήρῳ καὶ
᾿Εμπεδοκλεῖ πλὴν τὸ μέτρον" διὸ τὸν μὲν ποιητὴν δίκαιον καλεῖν, τὸν
δὲ φυσιολόγον μᾶλλον ἢ ποιητήν. ὁμοίως δὲ κἂν εἴ τις ἅπαντα τὰ
μέτρα μιγνύων ποιοῖτο 20 τὴν μίμησιν, καθάπερ Χαιρήμων ἐποίησε
Κένταυρον μικτὴν ῥαψῳδίαν, ἐξ ἁπάντων τῶν μέτρων καὶ ποιητὴν
προσαγορευτέον. περὲ μὲν οὖν τούτων διωρίσθω τοῦτον τὸν
τρόπον" εἰσὶ δέ τινες al πᾶσι χρῶνται τοῖς εἰρημένοις, λέγω δὲ οἷον
δυθμῷ καὶ μέλει καὶ μέτρῳ, ὥσπερ ἥ te τῶν διθυραμβικῶν 25 ποίησις
καὶ ἣ τῶν νόμων καὶ ἥ τε τραγῳδία καὶ ἣ κωμῳδία; διαφέρουσι δὲ ὅτι
αἱ μὲν ἅμα πᾶσιν αἱ δὲ κατὰ μέρος. ταύτας μὲν οὖν λέγω τὰς
διαφορὰς τῶν τεχνῶν, & οἷς Ἷ ποιοῦνται τὴν μίμησιν. ἐπεὶ δὲ
μιμοῦνται οἱ μιμούμενοι πράτ- ; 1448 a tovtac (ἀνάγκη δὲ τούτους ἢ
σπουδαίους ἢ φαύλους εἶναι, τὰ ; γὰρ ἤθη σχεδὸν ἀεὶ τούτοις
ἀκολουθεῖ μόνοις, κακίᾳ γὰρ καὶ ἀρετῇ τὰ ἤθη διαφέρουσι πάντες)
ἤτοι βελτίονας ἢ κα 1447 Ὁ 8 ἂν ογῃ. E. 9 rots AC: τοῦ DE*. 10
τριμέτρων Α ΟΕ ἢ: μέτρων D. 11] τινῶν ACE*: om. D. 14 τὴν κατὰ
ADE (like Great Ethics 1209 a 36 οὐκ ἔστιν ἐκείνην ye τὴν φιλίαν
φίλος, ἀλλὰ Thy κατὰ τὸ ἡδύ, Physics 261 a 24 κινεῖ κυρίως τὴν κατὰ
τόπον) : τὴν expunged in C: om. F (with caret before and after
κατὰ) K. 15 μουσικόν ACDE: φυσικόν ἢ j (p. 117). τι ACE: 0m. D.
τῶν μέτρων ACE: τὸ μέτρον D. 20 κένταυρον ) AC*: ἐπίταυρον DE.
23 at Iratus: οἱ ACDE*. 24 διθυραμβικῶν | ACDE:: διθυράμβων F. 26
πᾶσιν AC: πᾶσαι DE. 27 οὖν Ο(Ε)":οὐᾶ: ἢ οὖν ob D. οἷς Iratus: ais
ACDE™*. 28 πράττοντες". 1448 @ 2 κακίᾳ καὶ ἱ ἀρετῇ CE: κακία καὶ
ἀρετὴ AD. 3 ἤτοι AC: Hr E: εἴτε D. i ᾿
 VERSIO MATTHAEI KONNAENSIS 288 turque ea haec sive
miscens sive utendo genere uno et metris; quae est sine nomine
adhuc* : neque enim habe- 1447b8 mus nominare quidnam
commune sit imitationibus (2) poetae Sophronis* et Xenarchi et
sermonibus ascriptis 10 Socrati, at neque si facit quis imitationem
(2) suam trimetris vel his quae vocantur elegia, vel una ex his
reliquis rebus quas imitatur (2) hoc modo; nisi quod homines dum
conjungunt metrum artis poeticae faciunt metra, nominantque hune
quidem ab elegia, alium vero in reliquis, et quibus est initium et finis.
Neque ut qui faciunt poema quod fit imitatione (2) sed quos (?)
nomi- 15 nant sunt socii in metris suis. Nam si fecerint aliquid ex
rebus medicis vel rebus physicis per metra sic solent nominare :
neque ullam rem communem habent Homerus et Empedocles
praeter metrum; quare illum quidem decet vocare poetam, hunc
vero disputatorem de physicis 20 potius quam poetam. Pariter si
facit quis imitationem (2) miscendo omnia metra, ut agebat
Chaeremon, imitabatur enim Centaurum saltantem choream ex
omnibus metris, amen oportet nominare eum poetam. Et super his
quidem definitum est hoc modo. Et existunt homines qui utuntur
omnibus iis quae descripta sunt, v.c. in 25 rhythmo et sono dulci et
metris, quemadmodum ars poetica dithyrambi et nomi et tragoedia
etiam et comoedia; differunt vero quatenus nonnullae vero per
partem. Has ergo dico esse species artium quibus faciunt
imitationem (2). Et quoniam ii qui imitantur hoc faciunt agendo 1448
a actum voluntarium, oportet necessario esse hos aut praestantes
aut viles; nam consuetudines (2) exempli gratia sequuntur haec duo
tantummodo: nam consuetudines (2) omnium tantum differunt
vilitate et praestantia. Faciuntque imitationem (2) aut praestantiores
nobis aut viliores aut quorum condicio in hoc
 284 ΠΕΡῚ ΠΟΙΗΤΙΚΗ͂Σ § 2, ὃ 1484 ἡμᾶς ἢ χείρονας ἢ καὶ
τοιούτους. ὥσπερ οἱ γραφεῖς" 5 Πολύγνωτος μὲν γὰρ κρείττους,
Παύσων δὲ χείρους, Διονύσιος δὲ ὁμοίους εἴκαζεν: δῆλον δὴ ὅτι καὶ
τῶν λεχθεισῶν ἑκάστη μιμήσεων ἕξει ταύτας τὰς διαφοράς, καὶ ἔσται
ἑτέρα τῷ ἕτερα μιμεῖσθαι τοῦτον τὸν τρόπον. καὶ γὰρ ἔν ὀρχήσει καὶ
αὐλήσει καὶ κιθαρίσει ἔστι γενέσθαι πάσας τὰς ἀνομοιότοτητας᾽ καὶ
+td περὶ τοὺς λόγους δὲ καὶ τὴν ψιλομετρίαν, οἷον “Ὅμηρος μὲν
βελτίους, Κλεοφῶν δὲ ὁμοίους, ᾿Πγήμων δὲ ὃ Θάσιος ὃ τὰς παρῳδίας
ποιήσας πρῶτος καὶ Νικοχάρης 6 τὴν Δειλιάδα χείρους" ὁμοίους δὲ
καὶ περὶ τοὺς διθυράμβους καὶ περὶ τοὺς νόμους (ὥσπερ Tac,
Κύκλωπας 16 Τιμόθεος καὶ Φιλόξενος) μιμήσαιτο ἄν wc ἔν αὐτῇ δὲ
τῇ διαφορᾷ [καὶ] 7) τραγῳδία πρὸς τὴν κωμῳδίαν διέστηκεν" ἡ μὲν
γὰρ χείρους, 7 δὲ βελτίους μιμεῖσθαι βούλεται τῶν νῦν. ἔτι δὲ
τούτων τρίτη διαφορὰ τὸ ὡς ἕκαστα τούτων μιμήσαιτο ἄν τις. καὶ
γὰρ ἔν τοῖς αὐτοῖς καὶ τὰ αὐτὰ μιμεῖσθαι 20 ἔστιν ὁτὲ μὲν
ἀπαγγέλλοντα, ἢ ἕτερόν τι γινόμενον, ὥσπερ “Ὅμηρος ποιεῖ, ἢ ὡς
τὸν αὐτὸν καὶ μὴ μεταβάλλοντα, ἢ πάντας ὡς πράττοντας καὶ
ἔνεργοῦντας τοὺς μιμουμένους. ἐν τρισὶ δὴ ταύταις διαφοραῖς ἣ
μίμησίς ἔστιν, ὡς εἴπομεν κατ᾽ ἀρχάς, +é οἷς te καὶ ὥς. ὥστε τῇ μὲν
ὁ αὐτὸς ἂν εἴη μιμητὴς 25 “Ourjow Σοφοκλῆς, μιμοῦνται γὰρ ἄμφω
σπουδαίους, τῇ δὲ ᾿Αριστοφάνει, πράττοντας γὰρ μιμοῦνται καὶ
δρῶντας ἄμφω. begins ὅθεν καὶ δράματα καλεῖσθαι τινες αὐτά
φασιν, ὅτι μιμοῦν6 δὴ": BS ACDE. 8τῷ Ο: τὸ ADE. 9 πάσας Ο:
ταύτας ΑὮ ΕΚ." 10 τὸ ACDE: om. Lase. : read τῶν (as in Soph. ΕἸ.
178 a 23 οἱ περὶ τοὺς λόγου"). 12 ὃ ras Lasc.: om. ὁ ACDE. 13
δειλιάδα A pr. τη. E pr. m.: δηλιάδα CD*. ὁμοίους U: ὁμοίως
ACDE™*. 14 yas κύκλωπας CE (yas is accus. plural, Fragm. 615
note, of γαῖ, Problems 934 Ὁ 9): γᾶς κυκλω πᾶς AD: sic of *
indicates inability to read the word: πέρσας καὶ Fr. MEDICI. γὰρ for
yas X pr.m. 16 καὶ οἴῃ. ἢ 20. ὁτὲ μὲν... ἤ: the proper sequence δὲ is
altered in accordance with the rule Rhet. 1407 a 23, because of the
length of the sentence. 24 ἐν οἷς τε καὶ ὥς ACDE: the whole om. S:
xa) ἃ ins. before καὶ Lasc. (after Phys. 249 a 5 διαφοράν, μήτε ὃ
μήτε ἐν ᾧ) : ἀναγκαίως * (a word signifying ‘‘ primarily ” is wanted).
 VERSIO MATTHAEI KONNAENSIS 235 est; sicut imitantur
(2) pictores in artibus suis optimi ex 1448 a iis optimos et pessimi
pessimos : quemadmodum Pauson 5 quidem imitatus est (2)
pejores, Dionysius vero similem. Liquet (2) ergo futuras esse
unicuique imitationi (2) ex iis quae descriptae sunt et unicuique actui
voluntario has differentias, imitabitur (2) que una alteram hoc modo.
Nam in saltatione et fistulatione et arte lyrarum licet his esse
dissimilibus et circa sermonem et metrum solutum : quemadmodum
Homerus meliora Cleophon 10 vero res similes, Hegemon autem
ascriptus Thasiae, qui primus fecit tragoediam, et Nicochares
ascriptus ostentui, qui imitabatur pejus. Item et circa dithyrambum
et nomos sicut imitatur (2) quis sic Cyclopas Timotheus et
Philoxenus; et in eadem discrepantia est differentia 15 tragoediae
cum comoedia. Scilicet illa quidem pejores, haec vero imitatur (2)
meliores. Etiam tertia quae est harum discrepantiarum et ex iis ea
est ut imiteris unumquodque horum. Nam in his etiam imitationibus
(2) ipsis (2) interdum quidem dum pollicentur imitationem sive re
alia fit, quaemadmodum 20 agebat Homerus, vel si fuit similis ei in
quo est nulla differentia.. Et omnes qui agunt (2) qui imitantur (2)
faciunt imitationem (2) suam quemadmodum diximus ab initio, his
tribus differentiis et his necessario. Eo usque ut sit ille quidem
imitator (2) idem (2) Homeri 25 quidem Sophocles, nam uterque
imitatur (2) meliores; hune vero imitentur (2) secta Aristophanis,
quatenus tamquam agunt (2) ambo. Εὖ hinc dixere quidam haec
 286 ΠΕΡῚ ΠΟΙΗΤΙΚΗ͂Σ δὲ 8, 4 1448a ται δρῶντας. διὸ καὶ
ἀντιποιοῦνται τῆς τε τραγῳδίας καὶ τῆς κωμῳδίας οἱ Δωριεῖς (τῆς μὲν
κωμῳδίας οἱ Meyageic 80 οἵ τε ἐνταῦθα ὡς ἐπὶ τῆς παρ᾽ αὐτοῖς
δημοκρατίας γενομένης, καὶ of ἔκ Σικελίας, ἐκεῖθεν γὰρ ἦν
᾿Επίχαρμος ὁ ποιητὴς πολλῷ πρότερος ὧν Χιωνίδου καὶ άγνητος, καὶ
τῆς τραγῳδίας ἔνιοι τῶν ἐν Πελοποννήσῳ) ποιούμενοι τὰ ὀνόματα
σημεῖον" αὐτοὶ μὲν γὰρ κώμας τὰς περιοικίδας καλεῖν 85 φασιν,
᾿Αθηναῖοι δὲ δήμους (ὡς κωμῳδοὺς οὐκ ἀπὸ τοῦ κωμάζειν λεχθέντας
ἀλλὰ τῇ κατὰ κώμας πλάνῃ ἀτιμαζομένους 1448b ἐκ τοῦ Gotews),
καὶ τὸ ποιεῖν αὐτοὶ μὲν δρᾶν, ᾿Αθηναίους δὲ ν΄ πράττειν
προσαγορεύειν. περὶ μὲν οὖν τῶν διαφορῶν καὶ πόσαι καὶ τίνες τῆς 4
μιμήσεως εἰρήσθω ταῦτα. ἐοίκασι δὲ γεννῆσαι μὲν ὅλως τὴν 5
ποιητικὴν αἰτίαι δύο τινὲς καὶ αὗται φυσικαί. τό τε yao μιμεῖσθαι
σύμφυτον τοῖς ἀνθρώποις ἔκ παίδων ἐστί, καὶ τούτῳ διαφέρει τῶν
ἄλλων ζῴων ὅτι μιμητικώτατόν ἐστι καὶ τὰς μαθήσεις ποιεῖται διὰ
μιμήσεως τὰς πρώτας, καὶ τὸ χαίρειν τοῖς μιμήμασι πάντας. σημεῖον
δὲ τούτου τὸ συμβαῖνον ἐπὶ 10 τῶν ἔργων" ἃ γὰρ αὐτὰ λυπηρῶς
ὁρῶμεν, τούτων τὰς εἰκόνας τὰς μάλιστα ἠκριβωμένας χαίρομεν
θεωροῦντες, οἷον θηρίων τε μορφὰς τῶν ἀτιμοτάτων καὶ νεκρῶν.
αἴτιον δὲ καὶ τούτου, ὅτι μανθάνειν οὐ μόνον τοῖς φιλοσόφοις
ἥδιστον ἀλλὰ καὶ τοῖς ἄλλοις ὁμοίως, ἀλλ᾽ ἐπὶ βραχὺ κοινωνοῦσιν
αὐτοῦ. διὰ 15 γὰρ τοῦτο χαίρουσι τὰς εἰκόνας ὁρῶντες, ὅτι
συμβαίνει θεωροῦντας μανθάνειν καὶ συλλογίζεσθαι τί ἕκαστον, οἷον
ὅτι οὗτος ἐκεῖνος. ἐπεὶ ἐὰν μὴ τύχῃ προεωρακώς, οὐχ 7} μίμημα
ποιήσει τὴν ἡδονὴν ἀλλὰ διὰ τὴν ἀπεργασίαν ἢ 29 τῆς μὲν Β ἢ: τῆς
μὲν yop ACDE. 32 Χιωνίδου Mapius *: χωνίδου ABCE: χονύδου ). 34
αὐτοὶ SPENGEL: οὗτοι MSS. 35 ᾿Αθηναίους SPENGEL. 1448 Ὁ 2
προσαγορεύειν ABCE: προσαγορευομένους D. 5 αὗται U pr. πη.
Lasc.: αὐταὶ ABCDE. τε om. B. 7 διαφέρει B: διαφέρουσι ACDE*. 10
αὐτὰ ACDE: airaévB*? 12 τούτου C* : τούτων om. καὶ B: τοῦτο
ADE. 14 ὁμοίως ACDE: ὅτι Β. 17 οὐχ # HERMANN: οὐχὶ ABCDE”*, ee
ΎΨΡ.
 VERSIO MATTHAEI KONNAENSIS 287 appellari etiam
dramata, propterea quod imitentur eos 1448 ἃ qui faciunt; et idcirco
sibi vindicant Dores tragoediam 30 et comoediam; comoediam
quidem secundum id quod putatur hi qui sunt hic tamquam ubi fuit
apud eos democratia; quod vero qui sunt e Sicilia dicunt est eam
inventam quemadmodum faciebat Epicharmus poeta, qui fuit
antiquior multo Chionide et Magnete, quatenus dabant ii duo indicia,
dum utebantur confirmatione ex nominibus tragoediae quae sunt in
Peloponneso; nam illi 35 quidem appellabant vicos comos, sed
demosos appellabant Athenienses satira lacessitos propterea quod
contemnerentur (2) ab incolis vicorum. Differentiae quidem 1448 b2
imitationis (2) et species et quantitas et quae sint hae sunt quae
dictae. Et verosimile est esse causas genetrices poetices quae sunt
natura duas. Et imitatio (2) res est quae crescit 5 cum hominibus ex
initio cum sunt infantes, et hoc est ex iis quibus discrepant homines
ab animalibus reliquis, quatenus homo imitatur (2) magis,
disciplinam (2) que facit imitando (2) res primas (2). Omnes enim
delectantur (2) imitando (2). Indiciumque est eius hoc quod accidit
in operibus quoque; quae enim videmus, quorumque est 10 visus
tristis, tamen gaudemus eorum forma et imaginibus, cum quidem
videmus ea ut quae sint accuratissima, v.c. formas (2) animalium
contemptorum mortuorum. Causaque eius haec est, sc. quod
doctrina non modo grata est philosopho soli, sed his reliquis itidem :
nisi quod participant in ea parum. Ob hanc ergo causam gaudent
cum 15 vident imagines (2); propterea quod accidit iis ut videant et
discant; idque est ratiocinatio ab eo quod est unicuique, v.c. ecce
hoc est illud; propterea quod si non antea
 238 ΠΕΡῚ ΠΟΙΗΤΙΚΗ͂Σ δ 4 1448b τὴν χροιὰν ἢ διὰ τοιαύτην
τινὰ ἄλλην αἰτίαν. κατὰ φύ20 σιν δὲ ὄντος ἡμῖν τοῦ μιμεῖσθαι +xal
τῆς ἁρμονίας καὶ τοῦ ῥυθμοῦ (τὰ γὰρ μέτρα ὅτι μόρια τῶν ῥυθμῶν
ἔστι φανερόν) ἐξ ἀρχῆς of πεφυκότες πρὸς αὐτὰ μάλιστα κατὰ
μικρὸν προάγοντες ἐγέννησαν τὴν ποίησιν ἔκ τῶν
αὐτοσχεδιασμάτων. διεσπάσθη δὲ κατὰ τὰ οἰκεῖα ἤθη ἡ ποίησις" 250i
μὲν γὰρ σεμνότεροι τὰς καλὰς ἐμιμοῦντο πράξεις καὶ τὰς τῶν
τοιούτων, οἱ δὲ εὐτελέστεροι τὰς τῶν φαύλων, πρῶτον ψόγους
ποιοῦντες, ὥσπερ ἅτεροι ὕμνους καὶ ἐγκώμια. τῶν μὲν οὖν πρὸ
“Ομήρου οὐδενὸς ἔχομεν εἰπεῖν τοιοῦτον ποίημα, εἰκὸς δὲ + εἶναι
πολλούς, ἀπὸ δὲ “Ounoov ἀρξαμένοις ἔστιν, 80 οἷον ἐκείνου 6
Μαργίτης καὶ τὰ τοιαῦτα. ἐν οἷς κατὰ τὸ ἄρμόττον καὶ τὸ ἰαμβεῖον
ἦλθε μέτρον" διὸ καὶ ἰαμβεῖον καλεῖται νῦν, ὅτι ἐν τῷ μέτρῳ τούτῳ
ἰάμβιζον ἀλλήλους" καὶ ἐγένοντο τῶν παλαιῶν οἱ μὲν ἡρωικῶν, οἱ δὲ
ἰάμβων ποιηταί. ὥσπερ δὲ καὶ τὰ σπουδαῖα μάλιστα ποιητὴς “Ὅμηρος
ἦν (μόνος γὰρ οὐχ ὅτι εὖ ἀλλὰ καὶ μιμήσεις δραματικὰς ἐποίησεν),
οὕτω καὶ τὸ τῆς κωμῳδίας σχῆμα πρῶτος ὑπέδειξεν, οὐ ψόγον ἀλλὰ
τὸ γελοῖον δραματοποιήσας" ὃ γὰρ Magyitns ἀνάλογον 8 Or 14494
ἔχει, ὥσπερ Ihias . . . καὶ ἡ ᾿Οδύσσεια πρὸς τὰς τραγῳδίας, οὕτω καὶ
οὗτος πρὸς τὰς κωμῳδίας. παραφανείσης δὲ τῆς τραγῳδίας καὶ
κωμῳδίας οἱ ἐφ᾽ ἑκατέραν τὴν ποίησιν ὁρμῶντες κατὰ τὴν οἰκείαν
φύσιν οἵ μὲν ἀντὶ τῶν ἰάμβων κωμῳ20 καὶ τῆς ABCDE: διὰ τῆς *
rightly. 21 τῶν ῥυθμῶν ABCD: τοῦ ῥυθμοῦ E. 22 οἱ πεφυκότες πρὸς
B*: πεφυκότες καὶ ACDE. 26 τῶν τοιούτων ACE: om. τῶν BD.
εὐτελέστεροι ACE: εὐτελέστερον B: ἐντελέστεροι D. 27 ψόγου.
ABCD: ψόγον BE. ποιοῦντες ACDE: ποιοῦνται B. ἅτεροι SPENGEL:
ἕτεροι MSS. (cf. Nic. Ethics 1151 a3). 28 πρὸ ABCD: πρὸς E. 29 εἶναι
ACDE: εἰδέναι B: perhaps εἶναι (see Gl.). 31 καὶ τὸ i. B: ἰαμβεῖον
ACDE. 35 ἀλλὰ καὶ B*: GAA’ ὅτι καὶ (cf. Eudemian Ethics
1229a15)AODE. δραματικὰς ABDE: δραματικῶς C. 36 τὸ-σχῆμα B:
τὰσχήματα ACDE. ὑπέδειξεν ADE: ἀπέδειξεν B: ὑπῆρξεν C. 37 ὁ yap
B Lasc.: τὸ yap ACDE, 1449 a 1 supply κατὰ τὴν σύστασιν ἡ. ἡ AB*:
om. CDE,
 VERSIO MATTHAEI KONNAENSIS 289 viderit, non faciet iis
quod simulat, sed propter actionem 1448 b et passionem aut locis
aut propter causam aliquam simi- 20 lem. Et natura quidem
habemus ut imitemur compositione et rhythmis, sc. quod quidem
metra similia sunt rhythmis liquet iis qui creati sunt ad hoc ab initio
et praesertim quod generaverunt poeticam dum afferunt - illud et
suppeditant paullisper, generaveruntque eam ab iis qui composuere
eam statim ex tempore. Vulsaque est secundum consuetudinem
suam propriam, dico Poeticam, nam nonnulli poetarum, et eorum
castiores imitantur 25 actiones pulcras et in eo quod simile est illi
versantur; alii autem qui quidem turpiores fuerant, lacessendo
primum malos faciebant postea laudem et encomia aliorum
malorum. Nisi quod non habemus dicere de homine ante Homerum
eum fecisse talem artem, ex arte poetica, quamquam fuere fortasse
poetae alii multi, nisi quod ab Homero est initium; v.c. eius est libido
et adulterium et 30 similia. Et haec quae sunt sic sunt quae advexit
metrum, quemadmodum advexit iambum, quare similia huius metri
appellata sunt iambi, et hoc metro contemnebant alius alium. Et
fiebant ex antiquis alii poetae in genere iambi, et genere appellato
heroico, quaemadmodum poeta in rebus seriis praesertim tantum
fuit Homerus solus 35 modo nam hic solus tantum non modo fecit
res optimas in eo, sed fecit imitationes appellatas dramaticas. Et sic
hic primus monstravit formam artis satiricae, cui inest non satira
tantum, sed in genere irrisionis et ludificationis nam fecit in ea
poema appellatum Graece dramata. Nam Ecce Libidinis ratio analoga
est, et qualis est Ilias ad compositionem* et dicta Odyssea ad
tragoedias, tale est 1449 a hoc ad genera comoediae. Quum
apparuissent methodus tragoediae et methodus comoediae, qui
conabantur eo, arte poetica, utramque harum, secundum
proprietatem naturae alii faciebant vice generis poetici dicti iambi
 240 ΠΕΡῚ ΠΟΙΗΤΙΚΗΣ 84 5 δοποιοὶ ἐγένοντο, of δὲ ἀντὶ
τῶν ἐπῶν τραγῳδοδιδάσκαλοι διὰ 1449a τὸ μείζω καὶ ἐντιμότερα τὰ
σχήματα εἶναι ταῦτα ἐκείνων. τὸ μὲν οὖν ἐπισκοπεῖν do ἔχει ἤδη ἡ
τραγῳδία τοῖς εἴδεσιν ἱκανῶς, ἢ οὔ, αὐτό te καθ᾽ αὑτὸ κρίνεται εἶναι
καὶ πρὸς τὰ θέατρα ἄλλος λόγος. γενομένη δ᾽ οὖν ἀπ᾿ ἀρχῆς
αὐτοσχεδια10 στιμκῆς καὶ αὐτὴ καὶ ἣ κωμῳδία, καὶ ἣ μὲν ἀπὸ τῶν
ἐξαρχόντων τὸν διθύραμβον, ἣ δὲ ἀπὸ τῶν τὰ φαλλικὰ ἃ ἔτι καὶ γῦν
ἔν πολλαῖς τῶν πόλεων διαμένει νομιζόμενα, κατὰ μικρὸν ηὐξήθη
προαγόντων ὅσον ἐγίνετο φανερὸν αὐτῆς, καὶ πολλὰς μεταβολὰς
μεταβαλοῦσα ἣ τραγῳδία ἐπαύσατο, ἐπεὶ ἔσχε τὴν 1ὅ αὑτῆς φύσιν.
καὶ τό τε τῶν ὑποκριτῶν πλῆθος ἐξ ἑνὸς εἷς δύο πρῶτος Αἰσχύλος
ἤγαγε καὶ τὰ τοῦ χοροῦ ἠλάττωσε καὶ τὸν λόγον πρωταγωνιστὴν
παρεσκεύασεν, τρεῖς δὲ καὶ σκηνογραφίαν Σοφοκλῆς. ἔτι δὲ τὸ
μέγεθος ἐκ μικρῶν μύθων, καὶ λέξεως γελοίας διὰ τὸ ἔκ σατυρικοῦ
μεταβαλεῖν ὀψὲ ἀἄπεσεμοονύνθη. τό τε μέτρον ἔκ τετραμέτρου
ἰαμβεῖον ἐγένετο᾽ τὸ μὲν γὰρ πρῶτον τετραμέτρῳ ἐχρῶντο διὰ τὸ
σατυρικὴν καὶ ὀρχηστικωτέραν εἶναι τὴν ποίησιν, λέξεως δὲ
γενομένης αὐτὴ ἡἣ φύσις τὸ οἰκεῖον μέτρον εὗρε" μάλιστα γὰρ
λεκτικὸν τῶν μέτρων τὸ ἰαμβεῖόν ἔστιν. σημεῖον δὲ τούτου, πλεῖστα
25 γὰρ ἰαμβεῖα λέγομεν ἐν τῇ διαλέκτῳ τῇ πρὸς ἀλλήλους, éaμετρα
δὲ ὀλιγάκις καὶ ἐκβαίνοντες τῆς λεκτικῆς ἁρμονίας. ἔτι δὲ ἐπεισοδίων
πλήθη, καὶ τὰ ἄλλ᾽ ὡς ἕκαστα κοσμηθῆναι λέγεται ἔστω ἡμῖν
εἰρημένα" πολὺ γὰρ ἂν ἴσως ἔργον εἴη διεξιέναι καθ᾽ ἕκαστον. 5
τραγῳφδοδιδάσκαλοι Ο Ὁ Εἰ : τραγοδιδάσκαλοι Β. 6 μείζω BD:
μείζονα C: μεῖζον AE. εἶναι τ. &. ACDE: τ. ἐ. εἶναι B. 7 dp’ Β (&p’):
παρέχει ACDE (πότερον commenced by mistake): ἀρχὴ ". 8 εἴδεσιν
ACDE: ἡδέσιν Β. εἶναι BCE: 4 vat AD (see p. 72). 9 γενομένη RT:
γενομένης ABCDE. δ᾽ οὖν Bs οὖ ACDE. 11 φαλλικὰ Lasc.: φαυλικὰ
ABE * (euphemism): φαύλλικὰ CD (from Aristophanes, V’cspae 1206
2). 12 διαμένει S Lasc.: διαμένειν ABCDE: om. FHK. 16 χοροῦ ABDE:
χρόνου C (cf. 1449 b 16). 19 σατυρικοῦ BODE: σατυριακοῦ A. 24
μέτρων ABCD: ἀμέτρων E. 27 τὰ ἄλλ᾽ ὡς B: τὰ ἄλλως ACE: τὰ ἄλλα
(ἃ added in red) D.