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1 V | Crates was the first who abandoning the "iambic" or lampooning
2 XVI | said [that no one else was able to bend the bow; ... hence
3 VIII | thing whose presence or absence makes no visible difference,
4 XVII | briefly. A certain man is absent from home for many years;
5 XXV | solution may depend upon accent or breathing. Thus Hippias
6 XXIV | imparted to it, we must accept it in spite of the absurdity.
7 XXV | essence, and those which are accidental. If a poet has chosen to
8 X | one in which the change is accompanied by such Reversal, or by
9 XXIV | Bath Scene of the Odyssey.~Accordingly, the poet should prefer
10 XIII | good and for the bad. It is accounted the best because of the
11 XVIII | Unraveling] extends from the accusation of murder to the end.~There
12 XVII | he makes certain persons acquainted with him; he attacks the
13 XVI | his Thyestes. Others are acquired after birth; and of these
14 IV | first introduced a second actor; he diminished the importance
15 | actually
16 XX | long or short; as they are acute, grave, or of an intermediate
17 XXII | words, the compound are best adapted to dithyrambs, rare words
18 IV | of actors to three, and added scene-painting. Moreover,
19 XXI | qualify the metaphor by adding the term to which the proper
20 IV | colloquial intonation. The additions to the number of "episodes"
21 XXVI | told that Epic poetry is addressed to a cultivated audience,
22 XXIV | have already laid down an adequate limit: the beginning and
23 XXIV | the proper measure.~Homer, admirable in all respects, has the
24 V | first the same freedom was admitted in Tragedy as in Epic poetry.~
25 IV | many of our cities. Tragedy advanced by slow degrees; each new
26 XXIV | poem. The Epic has here an advantage, and one that conduces to
27 VIII | did not include all the adventures of Odysseus—such as his
28 XXV | groundless conclusions; they pass adverse judgement and then proceed
29 XXV | element in the introduction of Aegeus by Euripides and the badness
30 XIII | enemies—like Orestes and Aegisthus—quit the stage as friends
31 XXII | mikros te kai asthenikos kai aeides.~Yet a little fellow, weak
32 XXII | if for the line, ~diphron aeikelion katatheis oligen te trapezan,~
33 XXII | oligos te kai outidanos kai aeikes,~Yet a small man, worthless
34 XIV | pleasure which the poet should afford is that which comes from
35 | against
36 XVII | represent; and one who is agitated storms, one who is angry
37 XI | death on the stage, bodily agony, wounds, and the like.~
38 V | themes and plots.~Epic poetry agrees with Tragedy in so far as
39 IV | inferring, and saying perhaps, "Ah, that is he." For if you
40 XIV | dependent on extraneous aids. Those who employ spectacular
41 XVIII | such as the tragedies on Ajax and Ixion; the Ethical (
42 XXIV | measures, the latter being akin to dancing, the former expressive
43 XI | Oedipus and free him from his alarms about his mother, but by
44 IX | particular is—for example—what Alcibiades did or suffered. In Comedy
45 XVI | or again in the Lay of Alcinous, where Odysseus, hearing
46 IX | where incidents and names alike are fictitious, and yet
47 XVI | This, therefore, is nearly allied to the fault above mentioned—
48 XVI | So I too must die at the altar like my sister." So, again,
49 XXV | before mixed."~Or again, by ambiguity of meaning, as parocheken
50 XXV | where the word pleo is ambiguous.~Or by the usage of language.
51 XX | one significant sound—as amphi, peri, and the like. Or,
52 XVII | fault found in Carcinus. Amphiaraus was on his way from the
53 XXI | and ops, as in mia ginetai amphoteron ops, "the appearance of
54 XVII | fill in the episodes and amplify in detail. The general plan
55 XVI | artificial aid of tokens or amulets. Next come the recognitions
56 XII | is a Choric ode without anapaests or trochaic tetrameters:
57 XXI | lies my ship"; for lying at anchor is a species of lying. From
58 XIX | feelings, such as pity, fear, anger, and the like; the suggestion
59 XVII | agitated storms, one who is angry rages, with the most lifelike
60 VII | order. Hence a very small animal organism cannot be beautiful;
61 VII | therefore, in the case of animate bodies and organisms a certain
62 XV | external to the drama—for antecedent or subsequent events, which
63 IX | well known—as in Agathon’s Antheus, where incidents and names
64 XIV | instance, however, is in the Antigone, where Haemon threatens
65 | anyhow
66 XXVI | used to call Callippides "ape" on account of the extravagance
67 XXI | ginetai amphoteron ops, "the appearance of both is one."~An altered
68 VIII | Hence the error, as it appears, of all poets who have composed
69 XXI | strange one.~Metaphor is the application of an alien name by transference
70 XXV | how men say the thing is." applies to tales about the gods.
71 XVII | To this ministry she is appointed. Some time later her own
72 XXIV | the only poet who rightly appreciates the part he should take
73 IV | by degrees their special aptitudes, till their rude improvisations
74 V | It was late before the Archon granted a comic chorus to
75 XXI | for kerata, "horns"; and areter, "supplicator", for hiereus, "
76 IX | instance the statue of Mitys at Argos, which fell upon his murderer
77 XXII | shores screech."~Again, Ariphrades ridiculed the tragedians
78 XVI | the best is that which arises from the incidents themselves,
79 III | view, of the same kind as Aristophanes—for both imitate persons
80 XVI | necklaces, or the little ark in the Tyro by which the
81 XIII | should, as we have seen, be arranged not on the simple but on
82 XVII | her own brother chances to arrive. The fact that the oracle
83 XVII | tempest-tost, he himself arrives; he makes certain persons
84 XVI | alone dispense with the artificial aid of tokens or amulets.
85 XXV | like a painter or any other artist, must of necessity imitate
86 VI | respects, yet has a plot and artistically constructed incidents. Besides
87 XX | produced; according as they are aspirated or smooth, long or short;
88 IV | importance of the Chorus, and assigned the leading part to the
89 XVIII | to its length, each part assumes its proper magnitude. In
90 XXII | nun de m’eon mikros te kai asthenikos kai aeides.~Yet a little
91 XIV | may cite the Alcmaeon of Astydamas, or Telegonus in the Wounded
92 III | them called komai, by the Athenians demoi: and they assume that
93 XVII | acquainted with him; he attacks the suitors with his own
94 VI | that novices in the art attain to finish of diction and
95 XXVI | is, in the highest degree attainable, an imitation of a single
96 XXVI | tragedy is the higher art, as attaining its end more perfectly.~
97 XXVI | representation. Moreover, the art attains its end within narrower
98 IX | Indeed, it would be absurd to attempt it; for even subjects that
99 XXIII | Homer is manifest. He never attempts to make the whole war of
100 VI | has, indeed, an emotional attraction of its own, but, of all
101 XXI | that term one of its proper attributes; as if we were to call the
102 XV | inconsistency, the Iphigenia at Aulis—for Iphigenia the suppliant
103 XXV | secure a greater good, or avert a greater evil.~Other difficulties
104 XXV | should, if possible, be avoided.~Again, does the error touch
105 VI | things a man chooses or avoids. Speeches, therefore, which
106 XVI | the sight of some object awakens a feeling: as in the Cyprians
107 XXIII | Little Iliad for eight—the Award of the Arms, the Philoctetes,
108 XVI | bend the bow; ... hence B (the disguised Odysseus)
109 XXIV | and Achilles waving them back. But in the Epic poem the
110 XXII | Epicharen eidon Marathonade badizonta,~I saw Epichares walking
111 XXIII | sea-fight at Salamis and the battle with the Carthaginians in
112 VII | a certain magnitude; for beauty depends on magnitude and
113 XVIII | interludes—a practice first begun by Agathon. Yet what difference
114 III | than Chionides and Magnes, belonged to that country. Tragedy
115 XVI | no one else was able to bend the bow; ... hence B (the
116 IV | still followed their natural bent: the lampooners became writers
117 XXI | species to species, as: "With blade of bronze drew away the
118 XXV | It is not meant that his body was ill-shaped but that
119 XXII | puny table.~Or, for eiones booosin, "the sea shores roar,"
120 XVIII | Sisyphus, is outwitted, or the brave villain defeated. Such an
121 IX | and are often forced to break the natural continuity.~
122 XVI | Dicaeogenes, where the hero breaks into tears on seeing the
123 XXI | kata mazon, "on the right breast," dexiteron is for dexion.~
124 XXV | may depend upon accent or breathing. Thus Hippias of Thasos
125 XVII | the Odyssey can be stated briefly. A certain man is absent
126 XXIV | prefatory words, at once brings in a man, or woman, or other
127 XX | group of sounds. For even brutes utter indivisible sounds,
128 XIX | speech. For what were the business of a speaker, if the Thought
129 XXV | arms: "Upright upon their butt-ends stood the spears." This
130 XIII | satisfies the moral sense nor calls forth pity or fear. Nor,
131 XXVI | it conforms to the Epic canon of length, it must seem
132 XVII | madness which led to his capture, and his deliverance by
133 XXII | lengthen syllables at will. He caricatured the practice in the very
134 XXIV | several lines of actions carried on at one and the same time;
135 XXIII | and the battle with the Carthaginians in Sicily took place at
136 XXIII | story of the war—such as the Catalogue of the ships and others—
137 XIII | plot, and also an opposite catastrophe for the good and for the
138 VII | itself follow anything by causal necessity, but after which
139 XVIII | more so, in face of the caviling criticism of the day. For
140 I | as Chaeremon did in his Centaur, which is a medley composed
141 VIII | and likewise the Iliad, to center round an action that in
142 XXV | went to Lacedaemon. But the Cephallenian story may perhaps be the
143 VI | as much pleasure as the chalk outline of a portrait. Thus
144 XXV | workers in iron are called chalkeas, or "workers in bronze."
145 XXIV | is veiled by the poetic charm with which the poet invests
146 XXV | ways we may take "being checked there." The true mode of
147 XI | the messenger comes to cheer Oedipus and free him from
148 XXIV | it. It is Homer who has chiefly taught other poets the art
149 XVIII | drama, the seizure of the child, and then again ... [the
150 IV | is implanted in man from childhood, one difference between
151 XIV | Euripides makes Medea slay her children. Or, again, the deed of
152 III | who is much earlier than Chionides and Magnes, belonged to
153 XVI | of reasoning. Thus in the Choephori: "Some one resembling me
154 VI | which the speaker does not choose or avoid anything whatever,
155 VI | what kind of things a man chooses or avoids. Speeches, therefore,
156 XXV | accidental. If a poet has chosen to imitate something, [but
157 XIV | action of the play: one may cite the Alcmaeon of Astydamas,
158 IV | onward, instances can be cited—his own Margites, for example,
159 IV | still in use in many of our cities. Tragedy advanced by slow
160 III | contemptuously from the city. They add also that the
161 VI | characters speak the language of civic life; the poets of our time,
162 III | country. Tragedy too is claimed by certain Dorians of the
163 XV | rule is relative to each class. Even a woman may be good,
164 IV | Comedy came to light, the two classes of poets still followed
165 XXII | contributes more to produce a cleanness of diction that is remote
166 XXII | perfection of style is to be clear without being mean. The
167 XXII | without being mean. The clearest style is that which uses
168 XXI | is used for tamein, "to cleave," and tamein, again for
169 XXI | drew away the life," and "Cleft the water with the vessel
170 XVIII | effect is produced when the clever rogue, like Sisyphus, is
171 XV | a woman, or unscrupulous cleverness is inappropriate. Thirdly,
172 XIII | stage as friends at the close, and no one slays or is
173 XIV | fact, for instance, that Clytemnestra was slain by Orestes and
174 IX | or by accident; for even coincidences are most striking when they
175 XI | best form of recognition is coincident with a Reversal of the Situation,
176 I | objects through the medium of color and form, or again by the
177 IV | but to the execution, the coloring, or some such other cause.~
178 VI | painting. The most beautiful colors, laid on confusedly, will
179 I | means are all employed in combination, in the latter, now one
180 XXII | true facts under impossible combinations. Now this cannot be done
181 III | demoi: and they assume that comedians were so named not from komazein, "
182 XVII | The purpose, again, of his coming is outside the action proper.
183 XII | actors from the stage and the Commoi.~The Prologue is that entire
184 XXII | diction that is remote from commonness than the lengthening, contraction,
185 XII | trochaic tetrameters: the Commos is a joint lamentation of
186 XXVI | this same defect. We may compare the opinion that the older
187 IV | discarded for one of greater compass, and the grotesque diction
188 XIV | upon their plots. They are compelled, therefore, to have recourse
189 VII | for a hundred tragedies to compete together, the performance
190 IX | necessary sequence. Bad poets compose such pieces by their own
191 XXI | R, S, or in some letter compounded with S—these being two,
192 XXVI | supposed to be too dull to comprehend unless something of their
193 VII | the proper magnitude is comprised within such limits, that
194 XXV | modifications of language, which we concede to the poets. Add to this,
195 XXVI | narrower limits for the concentrated effect is more pleasurable
196 I | are all in their general conception modes of imitation. They
197 XXV | First as to matters which concern the poet’s own art. If he
198 XXVI | unity, it must either be concisely told and appear truncated;
199 XXV | jump at certain groundless conclusions; they pass adverse judgement
200 XV | the essentials, are the concomitants of poetry; for here too
201 XXVI | all action is not to be condemned—any more than all dancing—
202 XXIV | within a single view. This condition will be satisfied by poems
203 XXIV | advantage, and one that conduces to grandeur of effect, to
204 XXII | the same time, the partial conformity with usage will give perspicuity.
205 XXVI | appear truncated; or, if it conforms to the Epic canon of length,
206 VII | beautiful; for the view of it is confused, the object being seen in
207 VI | beautiful colors, laid on confusedly, will not give as much pleasure
208 XVI | signs. Of these some are congenital—such as "the spear which
209 VIII | no necessary or probable connection: but he made the Odyssey,
210 XX | or "he has walked" does connote time, present or past.~Inflection
211 I | there are persons who, by conscious art or mere habit, imitate
212 XIV | The action may be done consciously and with knowledge of the
213 XV | described. The fourth point is consistency: for though the subject
214 XV | inconsistent, still he must be consistently inconsistent. As an example
215 XX | signifying one thing, or as consisting of several parts linked
216 V | in Epic poetry.~Of their constituent parts some are common to
217 VI | Song. Two of the parts constitute the medium of imitation,
218 VI | portraiture before they can construct the plot. It is the same
219 XIII | of art should be of this construction. Hence they are in error
220 IV | with pain, we delight to contemplate when reproduced with minute
221 IV | seeing a likeness is, that in contemplating it they find themselves
222 III | kata komas), being excluded contemptuously from the city. They add
223 IX | forced to break the natural continuity.~But again, Tragedy is an
224 X | action which is one and continuous in the sense above defined,
225 XXII | perspicuous. But nothing contributes more to produce a cleanness
226 IV | see it in the fact that conversational speech runs into iambic
227 XXIV | character or thought. For, conversely, character and thought are
228 XVII | who feel emotion are most convincing through natural sympathy
229 XX | however, that it cannot correctly stand by itself at the beginning
230 XXVI | quoit-throw," or hustle the coryphaeus when they perform the Scylla.
231 IX | must not, therefore, at all costs keep to the received legends,
232 | could
233 V | but of Athenian writers Crates was the first who abandoning
234 XIV | employ spectacular means to create a sense not of the terrible
235 IV | most imitative of living creatures, and through imitation learns
236 IX | that what is possible is credible: what has not happened we
237 XIV | Haemon threatens to kill Creon. The next and better way
238 XIV | the best, as when in the Cresphontes Merope is about to slay
239 XXV | his face was ugly; for the Cretans use the word eueides, "well-flavored"
240 XVIII | in face of the caviling criticism of the day. For whereas
241 XXVI | poetry is addressed to a cultivated audience, who do not need
242 II | differed in representing their Cyclopes. The same distinction marks
243 IV | most ignoble animals and of dead bodies. The cause of this
244 XIII | who, in the piece, are the deadliest enemies—like Orestes and
245 XIV | between those who are near or dear to one another—if, for example,
246 XXII | Thus Eucleides, the elder, declared that it would be an easy
247 XXI | Verily ten thousand noble deeds hath Odysseus wrought";
248 IV | causes, each of them lying deep in our nature. First, the
249 XVIII | outwitted, or the brave villain defeated. Such an event is probable
250 XV | indolent, or have other defects of character, should preserve
251 VI | with a play which, however deficient in these respects, yet has
252 VII | whole be perspicuous. And to define the matter roughly, we may
253 X | continuous in the sense above defined, I call Simple, when the
254 V | Comedy had already taken definite shape when comic poets,
255 XV | an example of motiveless degradation of character, we have Menelaus
256 XXVI | censured for representing degraded women. Again, Tragedy like
257 XXVI | each is, in the highest degree attainable, an imitation
258 II | Nicochares, the author of the Deiliad, worse than they are. The
259 IV | themselves we view with pain, we delight to contemplate when reproduced
260 VI | and Polygnotus. Polygnotus delineates character well; the style
261 XVII | to his capture, and his deliverance by means of the purificatory
262 XIV | Tragedy; for we must not demand of Tragedy any and every
263 III | it originated under their democracy, but also by the Megarians
264 III | komai, by the Athenians demoi: and they assume that comedians
265 XXV | eueides, "well-flavored" to denote a fair face. Again, zoroteron
266 XVIII | Complication and Unraveling or Denouement. Incidents extraneous to
267 XXI | an alien term, and then deny of that term one of its
268 XXIII | the Fall of Ilium, the Departure of the Fleet.~
269 XIV | less artistic method, and dependent on extraneous aids. Those
270 XVIII | of Tragedy: the Complex, depending entirely on Reversal of
271 II | in painting. Polygnotus depicted men as nobler than they
272 XIII | pleasure, however, thence derived is not the true tragic pleasure.
273 XXV | the poet’s own art. If he describes the impossible, he is guilty
274 IX | when they have an air of design. We may instance the statue
275 XXII | ekeinou elleboron.~Not if you desire his hellebore.~To employ
276 XVII | watched by Poseidon, and left desolate. Meanwhile his home is in
277 XI | hate between the persons destined by the poet for good or
278 XIV | poet. He may not indeed destroy the framework of the received
279 XVII | himself preserved while he destroys them. This is the essence
280 XXIII | incidents. As it is, he detaches a single portion, and admits
281 V | these and other similar details remain unknown. As for the
282 VI | a quality. Now character determines men’s qualities, but it
283 XXII | alteration of words. For by deviating in exceptional cases from
284 VI | the style of Zeuxis is devoid of ethical quality. Again,
285 XXI | breast," dexiteron is for dexion.~Nouns in themselves are
286 XXV | by the same rules as in dialectical refutation—whether the same
287 I | Xenarchus and the Socratic dialogues on the one hand; and, on
288 XVI | feeling: as in the Cyprians of Dicaeogenes, where the hero breaks into
289 II | Timotheus and Philoxenus differed in representing their Cyclopes.
290 XXIV | the subject, add mass and dignity to the poem. The Epic has
291 XXVI | over a long time and so diluted. What, for example, would
292 XXIV | capacity for enlarging its dimensions, and we can see the reason.
293 IV | introduced a second actor; he diminished the importance of the Chorus,
294 II | are, Pauson as less noble, Dionysius drew them true to life.~
295 IV | Poetry now diverged in two directions, according to the individual
296 XVII | girl is sacrificed; she disappears mysteriously from the eyes
297 XIV | without being tragic, for no disaster follows It is, therefore,
298 IV | that the short plot was discarded for one of greater compass,
299 VIII | genius—seems to have happily discerned the truth. In composing
300 XIX | Tragedy having been already discussed. concerning Thought, we
301 VIII | removed, the whole will be disjointed and disturbed. For a thing
302 XVI | Iphigenia should wish to dispatch a letter. These recognitions
303 VIII | that, if any one of them is displaced or removed, the whole will
304 I | So much then for these distinctions.~There are, again, some
305 V | shape when comic poets, distinctively so called, are heard of.
306 III | three differences which distinguish artistic imitation—the medium,
307 II | goodness and badness being the distinguishing marks of moral differences),
308 V | the comic mask is ugly and distorted, but does not imply pain.~
309 VIII | whole will be disjointed and disturbed. For a thing whose presence
310 IV | with the authors of the Dithyramb, the other with those of
311 IV | birth to Poetry.~Poetry now diverged in two directions, according
312 XXIII | the ships and others—thus diversifying the poem. All other poets
313 II | are thus distinct. Such diversities may be found even in dancing,
314 XXIV | to grandeur of effect, to diverting the mind of the hearer,
315 XX | marks the beginning, end, or division of a sentence; such, however,
316 II | mainly answers to these divisions, goodness and badness being
317 XXV | sentinels. So, again, of Dolon: "ill-favored indeed he
318 III | They add also that the Dorian word for "doing" is dran,
319 XX | Theodorus, ‘god-given," the doron or "gift" is not in itself
320 XXII | at all obtrusively is, no doubt, grotesque; but in any mode
321 XIII | Nor, again, should the downfall of the utter villain be
322 XVIII | that the poets who have dramatized the whole story of the Fall
323 IV | main lines of comedy, by dramatizing the ludicrous instead of
324 III | Dorian word for "doing" is dran, and the Athenian, prattein.~
325 XXI | bronze." Here arusai, "to draw away" is used for tamein, "
326 XXV | it stronger" as for hard drinkers, but "mix it quicker."~Sometimes
327 IV | hexameters, and only when we drop the colloquial intonation.
328 XXVI | audience is supposed to be too dull to comprehend unless something
329 XXI | are always long, namely E and O, and—of vowels that
330 VI | same with almost all the early poets.~The plot, then, is
331 XXI | nonsignificant elements, such as ge, "earth." By double or compound,
332 XVI | as "the spear which the earth-born race bear on their bodies,"
333 XXII | declared that it would be an easy matter to be a poet if you
334 XXII | podos.~The tumor which is eating the flesh of my foot.~Euripides
335 XVI | by which the discovery is effected. Even these admit of more
336 VI | narrative; through pity and fear effecting the proper purgation of
337 XVIII | a marvelous skill in the effort to hit the popular taste—
338 XXII | from the house;" sethen, ego de nin, "to thee, and I
339 XXII | in the verse:~Epicharen eidon Marathonade badizonta,~I
340 XXIII | and the Little Iliad for eight—the Award of the Arms, the
341 XXII | ouk an g’eramenos ton ekeinou elleboron.~Not if you desire
342 XXIV | it.~The diction should be elaborated in the pauses of the action,
343 XXIV | within the drama—as in the Electra, the messenger’s account
344 XXII | an g’eramenos ton ekeinou elleboron.~Not if you desire his hellebore.~
345 VI | the chief place among the embellishments~The Spectacle has, indeed,
346 XIII | that of a man who is not eminently good and just, yet whose
347 VI | proper purgation of these emotions. By "language embellished,"
348 XVIII | in Hades. The poet should endeavor, if possible, to combine
349 V | their length: for Tragedy endeavors, as far as possible, to
350 | ending
351 XXI | and X are equivalent to endings in S. No noun ends in a
352 XXI | to endings in S. No noun ends in a mute or a vowel short
353 IV | Thus the reason why men enjoy seeing a likeness is, that
354 XXIV | great—a special—capacity for enlarging its dimensions, and we can
355 XV | preserve the type and yet ennoble it. In this way Achilles
356 VI | rhythm, "harmony" and song enter. By "the several kinds in
357 XXVI | opinion that the older actors entertained of their successors. Mynniscus
358 XVIII | the Complex, depending entirely on Reversal of the Situation
359 I | poet, but the verse that entitles them all to the name. Even
360 XVI | already explained. We will now enumerate its kinds.~First, the least
361 XXII | diction, as in the verse:~Epicharen eidon Marathonade badizonta,~
362 XXII | Marathonade badizonta,~I saw Epichares walking to Marathon,~or, ~
363 III | of Sicily, for the poet Epicharmus, who is much earlier than
364 XXIV | smaller scale than the old epics, and answering in length
365 XXVI | for gesticulation may be equally overdone in epic recitation,
366 VI | place, that Spectacular equipment will be a part of Tragedy.
367 XXI | the same; for PS and X are equivalent to endings in S. No noun
368 XXII | Marathon,~or, ~ouk an g’eramenos ton ekeinou elleboron.~Not
369 XIV | was slain by Orestes and Eriphyle by Alcmaeon—but he ought
370 XXI | words there appear to be: as ernyges, "sprouters," for kerata, "
371 XVII | from the temple. This fact escaped the observation of one who
372 I | shepherd’s pipe, which are essentially similar to these. In dancing,
373 VII | VII~These principles being established, let us now discuss the
374 XX | beginning of a sentence—as men, etoi, de.~A Noun is a composite
375 XXII | author up to ridicule. Thus Eucleides, the elder, declared that
376 XXV | the Cretans use the word eueides, "well-flavored" to denote
377 XXIII | Philoctetes, the Neoptolemus, the Eurypylus, the Mendicant Odysseus,
378 | ever
379 XXVI | Being then unrefined, it is evidently the lower of the two.~Now,
380 XXV | good, or avert a greater evil.~Other difficulties may
381 XIX | speeches, when the object is to evoke the sense of pity, fear,
382 XXV | contradictory should be examined by the same rules as in
383 XXV | the Illyrians.~Again, in examining whether what has been said
384 V | sun, or but slightly to exceed this limit, whereas the
385 | except
386 XXIV | The parts also, with the exception of song and spectacle, are
387 XXII | words. For by deviating in exceptional cases from the normal idiom,
388 XXI | lengthened when its own vowel is exchanged for a longer one, or when
389 XIX | proof and refutation; the excitation of the feelings, such as
390 XVII | Polyidus, in whose play he exclaims very naturally: "So it was
391 XVIII | is the Simple. [We here exclude the purely spectacular element],
392 IV | imitation as such, but to the execution, the coloring, or some such
393 XVIII | purely spectacular element], exemplified by the Phorcides, the Prometheus,
394 II | imitation above mentioned will exhibit these differences, and become
395 XXI | there is at times no word in existence; still the metaphor may
396 XVIII | take is the plot. Identity exists where the Complication and
397 XVIII | branch, the critics now expect one man to surpass all others
398 XIV | traditional. material. Let us explain more clearly what is meant
399 XVI | Recognition is has been already explained. We will now enumerate its
400 XIX | themselves without verbal exposition; while effects aimed at
401 XX | to the noun and verb, and expresses either the relation "of," "
402 XXI | like so many Massilian expressions, e.g., "Hermo-caico-xanthus [
403 XVII | but it is these that give extension to Epic poetry. Thus the
404 XXVI | ape" on account of the extravagance of his action, and the same
405 XIII | character between these two extremes—that of a man who is not
406 VI | is Thought—that is, the faculty of saying what is possible
407 XVIII | all poetic elements; or failing that, the greatest number
408 XXV | well-flavored" to denote a fair face. Again, zoroteron de
409 XXIV | The secret of it lies in a fallacy For, assuming that if one
410 XXIV | knowing the second to be true, falsely infers the truth of the
411 XXII | reproduces, as far as may be, familiar speech, the most appropriate
412 IV | gods and the praises of famous men. A poem of the satirical
413 XXV | inconsistent with their own fancy.~The question about Icarius
414 XXV | has been treated in this fashion. The critics imagine he
415 XVI | the place, inferred their fate—"Here we are doomed to die,
416 XXV | itself there are two kinds of faults—those which touch its essence,
417 XIII | in effect; and Euripides, faulty though he may be in the
418 XXII | substitutes thoinatai, "feasts on," for esthiei, "feeds
419 XXII | feasts on," for esthiei, "feeds on." Again, in the line,~
420 XVI | of some object awakens a feeling: as in the Cyprians of Dicaeogenes,
421 XIX | refutation; the excitation of the feelings, such as pity, fear, anger,
422 VIII | wound on Parnassus, or his feigned madness at the mustering
423 IX | of Mitys at Argos, which fell upon his murderer while
424 XXII | kai aeides.~Yet a little fellow, weak and ugly.~Or, if for
425 IX | he was a spectator at a festival, and killed him. Such events
426 IV | when reproduced with minute fidelity: such as the forms of the
427 VI | novices in the art attain to finish of diction and precision
428 VI | expressive of character, and well finished in point of diction and
429 XXII | glued the bronze by aid of fire," and others of the same
430 VI | And these complete the fist. These elements have been
431 XXIV | heroic measure has proved its fitness by hexameter test of experience.
432 VII | formerly done. But the limit as fixed by the nature of the drama
433 XXIII | Ilium, the Departure of the Fleet.~
434 XXII | tumor which is eating the flesh of my foot.~Euripides substitutes
435 XXVI | restless movements. Bad flute-players twist and twirl, if they
436 II | be found even in dancing, flute-playing, and lyre-playing. So again
437 XXV | marveled at the sound of flutes and pipes." "All" is here
438 XXII | is eating the flesh of my foot.~Euripides substitutes thoinatai, "
439 IX | capacity, and are often forced to break the natural continuity.~
440 XV | require to be reported or foretold; for to the gods we ascribe
441 | formerly
442 XX | significant, is capable of forming one significant sound—as
443 XIII | story of a few houses—on the fortunes of Alcmaeon, Oedipus, Orestes,
444 III | The claim to Comedy is put forward by the Megarians—not only
445 XIII | the best tragedies are founded on the story of a few houses—
446 XIV | may not indeed destroy the framework of the received legends—
447 XI | comes to cheer Oedipus and free him from his alarms about
448 V | though at first the same freedom was admitted in Tragedy
449 XIV | and the tie of kinship or friendship be discovered afterwards.
450 XXVI | respects, and, moreover, fulfills its specific function better
451 V | type—not, however, in the full sense of the word bad, the
452 V | called, are heard of. Who furnished it with masks, or prologues,
453 XXII | idiom, the language will gain distinction; while, at the
454 XXIV | s account of the Pythian games; or, as in the Mysians,
455 XXV | called oinos, "wine". Hence Ganymede is said "to pour the wine
456 IV | their rude improvisations gave birth to Poetry.~Poetry
457 XXV | indeed as he turned his gaze to the Trojan plain, he
458 XXI | nonsignificant elements, such as ge, "earth." By double or compound,
459 V | iambic" or lampooning form, generalized his themes and plots.~Epic
460 XXI | used for a large number generally. From species to species,
461 XXVI | the histrionic art; for gesticulation may be equally overdone
462 XXVI | audience, who do not need gesture; Tragedy, to an inferior
463 XVII | power, with appropriate gestures; for those who feel emotion
464 XXI | do, and ops, as in mia ginetai amphoteron ops, "the appearance
465 XVII | by the Iphigenia. A young girl is sacrificed; she disappears
466 XIV | mother when on the point of giving her up. This, then, is why
467 XXV | precise opposite of what Glaucon mentions. Critics, he says,
468 XXII | saw who on another man had glued the bronze by aid of fire,"
469 XXI | of the poet "sowing the god-created light." There is another
470 XX | significant. Thus in Theodorus, ‘god-given," the doron or "gift" is
471 XI | to his death, and Danaus goes with him, meaning to slay
472 XX | a mute and a vowel: for GR without A is a syllable,
473 XX | syllable, as also with A—GRA. But the investigation of
474 XXIV | and one that conduces to grandeur of effect, to diverting
475 V | was late before the Archon granted a comic chorus to a poet;
476 XX | short; as they are acute, grave, or of an intermediate tone;
477 IV | character of the writers. The graver spirits imitated noble actions,
478 III | Megarians—not only by those of Greece proper, who allege that
479 XXV | he says, jump at certain groundless conclusions; they pass adverse
480 XIII | spectators; for the poet is guided in what he writes by the
481 XXV | describes the impossible, he is guilty of an error; but the error
482 XXI | I—meli, "honey"; kommi, "gum"; peperi, "pepper"; five
483 I | by conscious art or mere habit, imitate and represent various
484 XVIII | Prometheus, and scenes laid in Hades. The poet should endeavor,
485 XIV | is in the Antigone, where Haemon threatens to kill Creon.
486 XIV | of his own, and skilfully handle the traditional. material.
487 XIV | what is meant by skilful handling.~The action may be done
488 VII | neither begin nor end at haphazard, but conform to these principles.~
489 VIII | natural genius—seems to have happily discerned the truth. In
490 XXV | mix it stronger" as for hard drinkers, but "mix it quicker."~
491 XI | knowledge, producing love or hate between the persons destined
492 XXV | sought under the twelve heads above mentioned.~
493 V | distinctively so called, are heard of. Who furnished it with
494 XXIV | diverting the mind of the hearer, and relieving the story
495 XXIV | of his knowing that his hearers like it. It is Homer who
496 XIV | the aid of the eye, he who hears the tale told will thrill
497 II | are; Cleophon as they are; Hegemon the Thasian, the inventor
498 IX | surprise; and the effect is heightened when, at the same time,
499 XXVI | action, and the same view was held of Pindarus. Tragic art,
500 XIV | just in time. Again in the Helle, the son recognizes the
501 XXII | elleboron.~Not if you desire his hellebore.~To employ such license
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