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502 VIII | poets who have composed a Heracleid, a Theseid, or other poems
503 | hereafter
504 XXI | Massilian expressions, e.g., "Hermo-caico-xanthus [who prayed to Father Zeus]."~
505 IX | or in prose. The work of Herodotus might be put into verse,
506 IV | kind of verse; rarely into hexameters, and only when we drop the
507 XXI | areter, "supplicator", for hiereus, "priest."~A word is lengthened
508 XXVI | structure; each is, in the highest degree attainable, an imitation
509 XIII | frailty. He must be one who is highly renowned and prosperous—
510 XXV | example, not to know that a hind has no horns is a less serious
511 XX | which neither causes nor hinders the union of many sounds
512 XXV | accent or breathing. Thus Hippias of Thasos solved the difficulties
513 IX | necessity. The poet and the historian differ not by writing in
514 XXVI | to the poetic but to the histrionic art; for gesticulation may
515 XVIII | marvelous skill in the effort to hit the popular taste—to produce
516 XXV | lines, didomen (didomen) de hoi, and to men hou (ou) kataputhetai
517 XXII | licenses of speech, and hold the author up to ridicule.
518 XXI | Three only end in I—meli, "honey"; kommi, "gum"; peperi, "
519 XXV | if he has represented a horse as throwing out both his
520 VIII | at the mustering of the host—incidents between which
521 XXV | didomen) de hoi, and to men hou (ou) kataputhetai ombro.~
522 XV | lie beyond the range of human knowledge, and which require
523 VII | had it been the rule for a hundred tragedies to compete together,
524 XXV | or irrational, or morally hurtful, or contradictory, or contrary
525 XXVI | represent "the quoit-throw," or hustle the coryphaeus when they
526 IV | satires, as the former did hymns to the gods and the praises
527 XXV | and that her father was Icadius, not Icarius. It is merely
528 XXV | the higher thing; for the ideal type must surpass the realty."
529 XVIII | test to take is the plot. Identity exists where the Complication
530 IV | as the forms of the most ignoble animals and of dead bodies.
531 II | II~Since the objects of imitation
532 III | III~There is still a third difference—
533 XXIII | Laconian Women, the Fall of Ilium, the Departure of the Fleet.~
534 XXV | sentinels. So, again, of Dolon: "ill-favored indeed he was to look upon."
535 XXV | meant that his body was ill-shaped but that his face was ugly;
536 XVII | The general plan may be illustrated by the Iphigenia. A young
537 XIII | Oedipus, Thyestes, or other illustrious men of such families.~A
538 XXV | as it now is among the Illyrians.~Again, in examining whether
539 XVI | the disguised Odysseus) imagined that A would] recognize
540 II | become a distinct kind in imitating objects that are thus distinct.
541 I | on the other, to poetic imitations in iambic, elegiac, or any
542 XXV | before had learnt to be immortal, and things unmixed before
543 VII | being seen in an almost imperceptible moment of time. Nor, again,
544 IV | instinct of imitation is implanted in man from childhood, one
545 V | distorted, but does not imply pain.~The successive changes
546 XXIV | poet should prefer probable impossibilities to improbable possibilities.
547 XXV | requirements of art, a probable impossibility is to be preferred to a
548 XIV | in search of subjects to impress the tragic quality upon
549 XIV | that this quality must be impressed upon the incidents.~Let
550 IV | Comedy—was at first mere improvisation. The one originated with
551 IV | aptitudes, till their rude improvisations gave birth to Poetry.~Poetry
552 XIX | who can admit the fault imputed to Homer by Protagoras—that
553 XXV | or introduced technical inaccuracies in medicine, for example,
554 XI | indeed other forms. Even inanimate things of the most trivial
555 XXV | matter than to paint it inartistically.~Further, if it be objected
556 VIII | composing the Odyssey he did not include all the adventures of Odysseus—
557 XIX | belongs. Under Thought is included every effect which has to
558 XXIV | composed, it would be found incongruous. For of all measures the
559 XVII | most unlikely to overlook inconsistencies. The need of such a rule
560 XXV | something, [but has imitated it incorrectly] through want of capacity,
561 V | masks, or prologues, or increased the number of actors—these
562 XV | the Orestes; of character indecorous and inappropriate, the lament
563 IV | directions, according to the individual character of the writers.
564 IX | who write about particular individuals. But tragedians still keep
565 XV | men who are irascible or indolent, or have other defects of
566 XXVI | performers, who therefore indulge in restless movements. Bad
567 IV | find themselves learning or inferring, and saying perhaps, "Ah,
568 XXIV | second to be true, falsely infers the truth of the first.
569 VIII | the unity of the hero. For infinitely various are the incidents
570 XX | go?" and "go" are verbal inflections of this kind.~A Sentence
571 XXII | terms is a jargon. A certain infusion, therefore, of these elements
572 I | essential quality of each, to inquire into the structure of the
573 XXI | one, or when a syllable is inserted. A word is contracted when
574 XXII | seen in Epic poetry by the insertion of ordinary forms in the
575 IX | of probability, and then inserts characteristic names—unlike
576 XIII | moral sense, but it would inspire neither pity nor fear; for
577 IX | complete action, but of events inspiring fear or pity. Such an effect
578 XVIII | actors; it should be an integral part of the whole, and share
579 XXV | tacitly assumed by a person of intelligence.~The element of the irrational,
580 XIV | example, a brother kills, or intends to kill, a brother, a son
581 XIV | either in the act or the intention—except so far as the suffering
582 VI | powerful elements of emotional interest in Tragedy—Peripeteia or
583 XX | are acute, grave, or of an intermediate tone; which inquiry belongs
584 X | last should arise from the internal structure of the plot, so
585 XXV | there." The true mode of interpretation is the precise opposite
586 XI | recognition which is most intimately connected with the plot
587 XXIV | the shore of Ithaca. How intolerable even these might have been
588 IV | when we drop the colloquial intonation. The additions to the number
589 XXV | irrational element in the introduction of Aegeus by Euripides and
590 XVI | Next come the recognitions invented at will by the poet, and
591 III | reason the Dorians claim the invention both of Tragedy and Comedy.
592 II | Hegemon the Thasian, the inventor of parodies, and Nicochares,
593 XX | also with A—GRA. But the investigation of these differences belongs
594 XXIV | charm with which the poet invests it.~The diction should be
595 XXV | Again, when a word seems to involve some inconsistency of meaning,
596 XIX | not to know these things involves no serious censure upon
597 XVI | composite kind of recognition involving false inference on the part
598 XV | representing men who are irascible or indolent, or have other
599 XXV | wine. So too workers in iron are called chalkeas, or "
600 XIV | some one is about to do an irreparable deed through ignorance,
601 XIII | therefore, be single in its issue, rather than double as some
602 XI | such situations that the issues of good or bad fortune will
603 XXIV | is left upon the shore of Ithaca. How intolerable even these
604 IV | IV~Poetry in general seems
605 IX | IX~It is, moreover, evident
606 XVIII | the tragedies on Ajax and Ixion; the Ethical (where the
607 XVII | home for many years; he is jealously watched by Poseidon, and
608 XX | by itself no sound, but joined to a vowel sound becomes
609 XXIV | Greeks standing still and not joining in the pursuit, and Achilles
610 XII | tetrameters: the Commos is a joint lamentation of Chorus and
611 IV | and whether it is to be judged in itself, or in relation
612 XXV | conclusions; they pass adverse judgement and then proceed to reason
613 XXV | mentions. Critics, he says, jump at certain groundless conclusions;
614 XXV | surpass the realty." To justify the irrational, we appeal
615 XXV | depravity of character, are justly censured when there is no
616 XXV | hoi, and to men hou (ou) kataputhetai ombro.~Or again, the question
617 XVII | will discover what is in keeping with it, and be most unlikely
618 XXIII | view. If, again, he had kept it within moderate limits,
619 XXV | face. Again, zoroteron de keraie, "mix the drink livelier"
620 XXI | ernyges, "sprouters," for kerata, "horns"; and areter, "supplicator",
621 XIV | ignorance, and the tie of kinship or friendship be discovered
622 XVIII | same. Many poets tie the knot well, but unravel it Both
623 III | say, are by them called komai, by the Athenians demoi:
624 III | village to village (kata komas), being excluded contemptuously
625 III | comedians were so named not from komazein, "to revel," but because
626 XXI | end in I—meli, "honey"; kommi, "gum"; peperi, "pepper";
627 XXII | sea shores roar," eiones krazousin, "the sea shores screech."~
628 XXI | Peleidou; of contraction: kri, do, and ops, as in mia
629 XXV | met him when he went to Lacedaemon. But the Cephallenian story
630 XXV | critics imagine he was a Lacedaemonian. They think it strange,
631 XXIII | Mendicant Odysseus, the Laconian Women, the Fall of Ilium,
632 XXIV | ignorance as to the manner of Laius’ death); not within the
633 XV | indecorous and inappropriate, the lament of Odysseus in the Scylla,
634 XII | tetrameters: the Commos is a joint lamentation of Chorus and actors. The
635 IV | being that in which people lampooned one another. Thus the older
636 XXI | people. The word sigynon, "lance," is to the Cyprians a current
637 IV | Tragedians, since the drama was a larger and higher form of art.~
638 XVI | picture; or again in the Lay of Alcinous, where Odysseus,
639 IV | Chorus, and assigned the leading part to the dialogue. Sophocles
640 IV | of this again is, that to learn gives the liveliest pleasure,
641 IV | creatures, and through imitation learns his earliest lessons; and
642 XXV | became mortal that before had learnt to be immortal, and things
643 XIII | the poets recounted any legend that came in their way.
644 XXV | throwing out both his off legs at once, or introduced technical
645 XXII | to be a poet if you might lengthen syllables at will. He caricatured
646 IV | imitation learns his earliest lessons; and no less universal is
647 XXI | in A. Thus the number of letters in which nouns masculine
648 XV | who are above the common level, the example of good portrait
649 XXII | hellebore.~To employ such license at all obtrusively is, no
650 XXII | error who censure these licenses of speech, and hold the
651 XVII | angry rages, with the most lifelike reality. Hence poetry implies
652 XVII | character; in the other, he is lifted out of his proper self.~
653 XXIV | introduced and an air of likelihood imparted to it, we must
654 IV | however, of learning is more limited. Thus the reason why men
655 XX | consisting of several parts linked together. Thus the Iliad
656 XX | the Iliad is one by the linking together of parts, the definition
657 XX | without impact of tongue or lip has an audible sound. A
658 XXV | de keraie, "mix the drink livelier" does not mean "mix it stronger"
659 IV | that to learn gives the liveliest pleasure, not only to philosophers
660 XXI | which has never been even in local use, but is adopted by the
661 XXII | diction, on the other hand, is lofty and raised above the commonplace
662 XXI | vowel is exchanged for a longer one, or when a syllable
663 XIV | are the situations to be looked for by the poet. He may
664 XVI | came to find my son, and I lose my own life." So too in
665 XXVI | Such length implies some loss of unity,] if, I mean, the
666 VII | and sense of the whole is lost for the spectator; as for
667 XI | to knowledge, producing love or hate between the persons
668 II | dancing, flute-playing, and lyre-playing. So again in language, whether
669 XXVI | as by Sosistratus, or in lyrical competition, as by Mnasitheus
670 VI | on the art of the stage machinist than on that of the poet.~
671 III | earlier than Chionides and Magnes, belonged to that country.
672 IV | too first laid down the main lines of comedy, by dramatizing
673 XIII | rather than double as some maintain. The change of fortune should
674 XIII | he may be in the general management of his subject, yet is felt
675 XV | any speech or action that manifests moral purpose of any kind
676 XV | propriety. There is a type of manly valor; but valor in a woman,
677 XXII | saw Epichares walking to Marathon,~or, ~ouk an g’eramenos
678 XXII | the verse:~Epicharen eidon Marathonade badizonta,~I saw Epichares
679 XXV | to the Trojan plain, he marveled at the sound of flutes and
680 XVIII | Situation, however, he shows a marvelous skill in the effort to hit
681 V | obvious example, the comic mask is ugly and distorted, but
682 V | of. Who furnished it with masks, or prologues, or increased
683 XXIV | relevant to the subject, add mass and dignity to the poem.
684 XXI | multiple in form, like so many Massilian expressions, e.g., "Hermo-caico-xanthus [
685 XXIV | stateliest and the most massive; and hence it most readily
686 XVIII | however, should always be mastered.~Again, the poet should
687 XIX | art of Delivery and to the masters of that science. It includes,
688 XIV | handle the traditional. material. Let us explain more clearly
689 XXIII | while the Cypria supplies materials for many, and the Little
690 XXV | the critics.~First as to matters which concern the poet’s
691 VI | not to be, or a general maxim is enunciated.~Fourth among
692 XXI | recast: as in dexiteron kata mazon, "on the right breast,"
693 XXII | an unseemly couch and a meager table,~we read, ~diphron
694 IV | imitated the actions of meaner persons, at first composing
695 | Meanwhile
696 VI | Diction, for these are the media of imitation. By "Diction"
697 I | his Centaur, which is a medley composed of meters of all
698 XVIII | either fail utterly or meet with poor success on the
699 XV | Scylla, and the speech of Melanippe; of inconsistency, the Iphigenia
700 XIII | Alcmaeon, Oedipus, Orestes, Meleager, Thyestes, Telephus, and
701 XXI | nature. Three only end in I—meli, "honey"; kommi, "gum";
702 XIV | will thrill with horror and melt to pity at what takes Place.
703 XXIII | Neoptolemus, the Eurypylus, the Mendicant Odysseus, the Laconian Women,
704 XXV | opposite of what Glaucon mentions. Critics, he says, jump
705 XIV | when in the Cresphontes Merope is about to slay her son,
706 XXV | pipes." "All" is here used metaphorically for "many," all being a
707 XIV | spectacle is a less artistic method, and dependent on extraneous
708 XXI | kri, do, and ops, as in mia ginetai amphoteron ops, "
709 XXII | diphron mochtheron katatheis mikran te trapezan.~Setting a wretched
710 XXII | common words,~nun de m’eon mikros te kai asthenikos kai aeides.~
711 VII | there were one a thousand miles long. As, therefore, in
712 I | term we could apply to the mimes of Sophron and Xenarchus
713 XVII | to the goddess. To this ministry she is appointed. Some time
714 XVI | where Odysseus, hearing the minstrel play the lyre, recalls the
715 IV | contemplate when reproduced with minute fidelity: such as the forms
716 XXV | Icarius. It is merely a mistake, then, that gives plausibility
717 IX | may instance the statue of Mitys at Argos, which fell upon
718 XXVI | lyrical competition, as by Mnasitheus the Opuntian. Next, all
719 XXII | table,~we read, ~diphron mochtheron katatheis mikran te trapezan.~
720 XXIV | earliest and sufficient model. Indeed each of his poems
721 XXIII | again, he had kept it within moderate limits, it must have been
722 XXII | poetic diction there must be moderation. Even metaphors, strange (
723 VI | tragedies of most of our modern poets fail in the rendering
724 XXV | metaphors. There are also many modifications of language, which we concede
725 VII | an almost imperceptible moment of time. Nor, again, can
726 XIV | terrible but only of the monstrous, are strangers to the purpose
727 XXV | impossible, or irrational, or morally hurtful, or contradictory,
728 XXV | Of a sudden things became mortal that before had learnt to
729 XVIII | the Pathetic (where the motive is passion)—such as the
730 XV | inconsistent. As an example of motiveless degradation of character,
731 XVIII | the Ethical (where the motives are ethical)—such as the
732 XXII | Philoctetes says:~phagedaina d’he mou sarkas esthiei podos.~The
733 XVII | case a man can take the mould of any character; in the
734 XX | the form assumed by the mouth and the place where they
735 I | and action, by rhythmical movement.~There is another art which
736 XXVI | therefore indulge in restless movements. Bad flute-players twist
737 XIII | prosperity to adversity: for this moves neither pity nor fear; it
738 XXI | be triple, quadruple, or multiple in form, like so many Massilian
739 XVIII | extends from the accusation of murder to the end.~There are four
740 IX | Argos, which fell upon his murderer while he was a spectator
741 VIII | his feigned madness at the mustering of the host—incidents between
742 XXVI | entertained of their successors. Mynniscus used to call Callippides "
743 XXIV | who has come from Tegea to Mysia and is still speechless.
744 XXIV | Pythian games; or, as in the Mysians, the man who has come from
745 XVII | sacrificed; she disappears mysteriously from the eyes of those who
746 III | assume that comedians were so named not from komazein, "to revel,"
747 XXI | in scattering his rays is nameless. Still this process bears
748 III | the poet may imitate by narration—in which case he can either
749 XXVI | art attains its end within narrower limits for the concentrated
750 XIV | occurs between those who are near or dear to one another—if,
751 XVI | some external tokens, as necklaces, or the little ark in the
752 XV | should observe. Nor should he neglect those appeals to the senses,
753 XXIII | Arms, the Philoctetes, the Neoptolemus, the Eurypylus, the Mendicant
754 IV | advanced by slow degrees; each new element that showed itself
755 II | inventor of parodies, and Nicochares, the author of the Deiliad,
756 XXV | were sleeping through the night," while at the same time
757 XXII | the house;" sethen, ego de nin, "to thee, and I to him;"
758 XVIII | taken the whole tale of Niobe, and not a part of her story,
759 II | Polygnotus depicted men as nobler than they are, Pauson as
760 II | holds good of Dithyrambs and Nomes; here too one may portray
761 I | Such are Dithyrambic and Nomic poetry, and also Tragedy
762 XXV | usage of language. We may note a rare word, as in oureas
763 I | and of its various kinds, noting the essential quality of
764 VI | A further proof is, that novices in the art attain to finish
765 XVI | is made in one way by the nurse, in another by the swineherds.
766 XXV | meaning, as parocheken de pleo nux, where the word pleo is
767 XXI | always long, namely E and O, and—of vowels that admit
768 XXV | inartistically.~Further, if it be objected that the description is
769 XXIV | character and thought are merely obscured by a diction that is over-brilliant~
770 XXII | employ such license at all obtrusively is, no doubt, grotesque;
771 V | destructive. To take an obvious example, the comic mask
772 X | plots are an imitation, obviously show a similar distinction.
773 IX | person of a certain type on occasion speak or act, according
774 XIV | drama proper; but cases occur where it falls within the
775 XIV | when the tragic incident occurs between those who are near
776 XII | the Stasimon is a Choric ode without anapaests or trochaic
777 XVII | failed, the audience being offended at the oversight.~Again,
778 XVII | where the custom is to offer up an strangers to the goddess.
779 XXV | alone she hath no part... , oie, ‘alone" is metaphorical;
780 XXV | any mixed drink is called oinos, "wine". Hence Ganymede
781 XXII | diphron aeikelion katatheis oligen te trapezan,~Setting an
782 XXII | in the line,~nun de m’eon oligos te kai outidanos kai aeikes,~
783 XXV | men hou (ou) kataputhetai ombro.~Or again, the question
784 IV | there were. But from Homer onward, instances can be cited—
785 XXVI | competition, as by Mnasitheus the Opuntian. Next, all action is not
786 XVII | arrive. The fact that the oracle for some reason ordered
787 VI | circumstances. In the case of oratory, this is the function of
788 XVII | the oracle for some reason ordered him to go there, is outside
789 VII | parts, must not only have an orderly arrangement of parts, but
790 VIII | visible difference, is not an organic part of the whole.~
791 VII | case of animate bodies and organisms a certain magnitude is necessary,
792 VI | with each kind of artistic ornament, the several kinds being
793 XXV | de hoi, and to men hou (ou) kataputhetai ombro.~Or
794 XXII | walking to Marathon,~or, ~ouk an g’eramenos ton ekeinou
795 XI | meaning to slay him; but the outcome of the preceding incidents
796 XXII | nun de m’eon oligos te kai outidanos kai aeikes,~Yet a small
797 III | evidence of language. The outlying villages, they say, are
798 XVIII | rogue, like Sisyphus, is outwitted, or the brave villain defeated.
799 XXIV | obscured by a diction that is over-brilliant~
800 XXIII | limits, it must have been over-complicated by the variety of the incidents.
801 XXVI | gesticulation may be equally overdone in epic recitation, as by
802 XVII | and be most unlikely to overlook inconsistencies. The need
803 XVII | audience being offended at the oversight.~Again, the poet should
804 XXV | less serious matter than to paint it inartistically.~Further,
805 XXV | should be men such as Zeuxis painted. "Yes," we say, "but the
806 XXV | being an imitator, like a painter or any other artist, must
807 XV | example of good portrait painters should be followed. They,
808 VIII | Odysseus—such as his wound on Parnassus, or his feigned madness
809 XXV | ambiguity of meaning, as parocheken de pleo nux, where the word
810 II | Thasian, the inventor of parodies, and Nicochares, the author
811 XXII | while, at the same time, the partial conformity with usage will
812 XXIV | Epic poem the absurdity passes unnoticed. Now the wonderful
813 XIII | again, that of a bad man passing from adversity to prosperity:
814 XVIII | Pathetic (where the motive is passion)—such as the tragedies on
815 XXIV | should be elaborated in the pauses of the action, where there
816 II | as nobler than they are, Pauson as less noble, Dionysius
817 XXI | are: poleos for poleos, Peleiadeo for Peleidou; of contraction:
818 XXI | for poleos, Peleiadeo for Peleidou; of contraction: kri, do,
819 XVIII | the Phthiotides and the Peleus. The fourth kind is the
820 III | by certain Dorians of the Peloponnese. In each case they appeal
821 XXI | honey"; kommi, "gum"; peperi, "pepper"; five end in U.
822 XXI | kommi, "gum"; peperi, "pepper"; five end in U. Neuter
823 IV | Whether Tragedy has as yet perfected its proper types or not;
824 XXII | XXII~The perfection of style is to be clear
825 XXVI | as attaining its end more perfectly.~Thus much may suffice concerning
826 XXVI | the coryphaeus when they perform the Scylla. Tragedy, it
827 VII | to compete together, the performance would have been regulated
828 VI | emotional interest in Tragedy—Peripeteia or Reversal of the Situation,
829 IX | names she attaches to the personages. The particular is—for example—
830 III | can either take another personality as Homer does, or speak
831 XXII | conformity with usage will give perspicuity. The critics, therefore,
832 XVIII | poets, their choral songs pertain as little to the subject
833 VI | saying what is possible and pertinent in given circumstances.
834 XXII | in his Philoctetes says:~phagedaina d’he mou sarkas esthiei
835 IV | other with those of the phallic songs, which are still in
836 IV | liveliest pleasure, not only to philosophers but to men in general; whose
837 IX | Poetry, therefore, is a more philosophical and a higher thing than
838 II | types, as Timotheus and Philoxenus differed in representing
839 XVI | own life." So too in the Phineidae: the women, on seeing the
840 XVIII | element], exemplified by the Phorcides, the Prometheus, and scenes
841 XVIII | are ethical)—such as the Phthiotides and the Peleus. The fourth
842 I | the one poet, the other physicist rather than poet. On the
843 XVI | into tears on seeing the picture; or again in the Lay of
844 XXVI | the same view was held of Pindarus. Tragic art, then, as a
845 I | as that of the shepherd’s pipe, which are essentially similar
846 XXV | the sound of flutes and pipes." "All" is here used metaphorically
847 XXV | turned his gaze to the Trojan plain, he marveled at the sound
848 XXV | mistake, then, that gives plausibility to the objection.~In general,
849 XXIV | is still speechless. The plea that otherwise the plot
850 IX | own fault, good poets, to please the players; for, as they
851 XXIV | unnoticed. Now the wonderful is pleasing, as may be inferred from
852 XXVI | concentrated effect is more pleasurable than one which is spread
853 XXVI | produce the most vivid of pleasures. Further, it has vividness
854 XVII | his home is in a wretched plight—suitors are wasting his
855 XVII | wasting his substance and plotting against his son. At length,
856 XXII | d’he mou sarkas esthiei podos.~The tumor which is eating
857 [Title]| Poetics~
858 VI | this is the function of the political art and of the art of rhetoric:
859 XXV | not the same in poetry and politics, any more than in poetry
860 XVIII | fail utterly or meet with poor success on the stage. Even
861 XVIII | in the effort to hit the popular taste—to produce a tragic
862 XVIII | Troy, instead of selecting portions, like Euripides; or who
863 II | Nomes; here too one may portray different types, as Timotheus
864 XV | In this way Achilles is portrayed by Agathon and Homer.~These
865 XVII | is jealously watched by Poseidon, and left desolate. Meanwhile
866 VI | agents, who necessarily possess certain distinctive qualities
867 XIII | the spirit of Tragedy; it possesses no single tragic quality;
868 XXIV | impossibilities to improbable possibilities. The tragic plot must not
869 XXV | to fact: they are, very possibly, what Xenophanes says of
870 X | a case of propter hoc or post hoc.~
871 XXV | Hence Ganymede is said "to pour the wine to Zeus," though
872 XVI | artistic form, which, from poverty of wit, is most commonly
873 VI | Besides which, the most powerful elements of emotional interest
874 IV | hymns to the gods and the praises of famous men. A poem of
875 III | dran, and the Athenian, prattein.~This may suffice as to
876 XXI | Hermo-caico-xanthus [who prayed to Father Zeus]."~Every
877 IV | serious style, Homer is pre-eminent among poets, for he alone
878 XII | part of a tragedy which precedes the Parode of the Chorus.
879 XXV | of interpretation is the precise opposite of what Glaucon
880 XXII | Achilles;" and the like. It is precisely because such phrases are
881 VI | to finish of diction and precision of portraiture before they
882 XXIV | rarely. Homer, after a few prefatory words, at once brings in
883 XXIV | Accordingly, the poet should prefer probable impossibilities
884 XXV | probable impossibility is to be preferred to a thing improbable and
885 VIII | disturbed. For a thing whose presence or absence makes no visible
886 VII | competition and sensuous presentment is no part of artistic theory.
887 XV | defects of character, should preserve the type and yet ennoble
888 XVII | own hand, and is himself preserved while he destroys them.
889 XVIII | consists of the incidents presupposed in the drama, the seizure
890 XXI | supplicator", for hiereus, "priest."~A word is lengthened when
891 IV | though many such writers probably there were. But from Homer
892 VI | and actors. Besides, the production of spectacular effects depends
893 V | furnished it with masks, or prologues, or increased the number
894 XVIII | exemplified by the Phorcides, the Prometheus, and scenes laid in Hades.
895 I | I~I PROPOSE to treat of Poetry in itself
896 X | given event is a case of propter hoc or post hoc.~
897 XIII | who is highly renowned and prosperous—a personage like Oedipus,
898 XIX | fault imputed to Homer by Protagoras—that in the words, "Sing,
899 XXV | rare word, as in oureas men proton, "the mules first [he killed],"
900 XIX | Modes of Utterance. But this province of knowledge belongs to
901 XXVI | Tragedy, to an inferior public. Being then unrefined, it
902 XV | enough has been said in our published treatises.~
903 XXV | question may be solved by punctuation, as in Empedocles: "Of a
904 XXII | Setting a wretched couch and a puny table.~Or, for eiones booosin, "
905 XVIII | Simple. [We here exclude the purely spectacular element], exemplified
906 VI | fear effecting the proper purgation of these emotions. By "language
907 XVII | deliverance by means of the purificatory rite. In the drama, the
908 XXIV | messenger’s account of the Pythian games; or, as in the Mysians,
909 XXI | may likewise be triple, quadruple, or multiple in form, like
910 XXV | hard drinkers, but "mix it quicker."~Sometimes an expression
911 XIII | like Orestes and Aegisthus—quit the stage as friends at
912 XXVI | they have to represent "the quoit-throw," or hustle the coryphaeus
913 XVI | spear which the earth-born race bear on their bodies," or
914 XVII | storms, one who is angry rages, with the most lifelike
915 XXII | kinds above mentioned, will raise it above the commonplace
916 IV | also to the audience—this raises another question. Be that
917 XV | events, which lie beyond the range of human knowledge, and
918 XIII | the poets.~In the second rank comes the kind of tragedy
919 XXII | Euripides, who employed the rarer term instead of the ordinary
920 XXI | the sun in scattering his rays is nameless. Still this
921 XXII | couch and a meager table,~we read, ~diphron mochtheron katatheis
922 XXIV | massive; and hence it most readily admits rare words and metaphors,
923 XVII | whether the poet takes it ready made or constructs it for
924 XXV | ideal type must surpass the realty." To justify the irrational,
925 XVI | minstrel play the lyre, recalls the past and weeps; and
926 XXI | left unchanged, and part is recast: as in dexiteron kata mazon, "
927 XIV | the impression we should receive from hearing the story of
928 XXVI | equally overdone in epic recitation, as by Sosistratus, or in
929 XI | that one person only is recognized by the other—when the latter
930 XIV | about to slay her son, but, recognizing who he is, spares his life.
931 XIII | view. At first the poets recounted any legend that came in
932 XIV | compelled, therefore, to have recourse to those houses whose history
933 VIII | man’s life which cannot be reduced to unity; and so, too, there
934 XVI | Sophist. It was a natural reflection for Orestes to make, "So
935 XXV | difficulties may be resolved by due regard to the usage of language.
936 XVIII | The Chorus too should be regarded as one of the actors; it
937 VII | performance would have been regulated by the water-clock—as indeed
938 IX | function of the poet to relate what has happened, but what
939 IX | true difference is that one relates what has happened, the other
940 XXIV | mind of the hearer, and relieving the story with varying episodes.
941 V | and other similar details remain unknown. As for the plot,
942 VI | verse and prose.~Of the remaining elements Song holds the
943 XVII | sacrificed"; and by that remark he is saved.~After this,
944 XVIII | Again, the poet should remember what has been often said,
945 XXII | cleanness of diction that is remote from commonness than the
946 VI | modern poets fail in the rendering of character; and of poets
947 XIII | must be one who is highly renowned and prosperous—a personage
948 XXII | mode of expression, and replace it by the current or proper
949 IV | The iambic measure then replaced the trochaic tetrameter,
950 XXV | fact, the poet may perhaps reply, "But the objects are as
951 XV | and which require to be reported or foretold; for to the
952 XXV | a wrong choice—if he has represented a horse as throwing out
953 XI | our definition, Tragedy represents. Moreover, it is upon such
954 IV | delight to contemplate when reproduced with minute fidelity: such
955 XXII | But in iambic verse, which reproduces, as far as may be, familiar
956 XV | be followed. They, while reproducing the distinctive form of
957 XV | human knowledge, and which require to be reported or foretold;
958 I | structure of the plot as requisite to a good poem; into the
959 XXII | metaphors implies an eye for resemblances.~Of the various kinds of
960 XXIII | and an end. It will thus resemble a living organism in all
961 XVI | the Choephori: "Some one resembling me has come: no one resembles
962 XXV | Other difficulties may be resolved by due regard to the usage
963 XXVI | who therefore indulge in restless movements. Bad flute-players
964 VI | its formal definition, as resulting from what has been already
965 VI | us now discuss Tragedy, resuming its formal definition, as
966 XV | in the Medea, or in the return of the Greeks in the Iliad.
967 XI | about his mother, but by revealing who he is, he produces the
968 III | named not from komazein, "to revel," but because they wandered
969 VI | that they are happy or the reverse. Dramatic action, therefore,
970 XIII | not from bad to good, but, reversely, from good to bad. It should
971 V | confine itself to a single revolution of the sun, or but slightly
972 VI | time, the language of the rhetoricians. Character is that which
973 I | emotion, and action, by rhythmical movement.~There is another
974 XXII | and hold the author up to ridicule. Thus Eucleides, the elder,
975 XXII | screech."~Again, Ariphrades ridiculed the tragedians for using
976 XXIV | would have been ruined, is ridiculous; such a plot should not
977 XXIV | being the only poet who rightly appreciates the part he
978 XVII | means of the purificatory rite. In the drama, the episodes
979 XXII | booosin, "the sea shores roar," eiones krazousin, "the
980 XVIII | produced when the clever rogue, like Sisyphus, is outwitted,
981 XV | for here too there is much room for error. But of this enough
982 VII | And to define the matter roughly, we may say that the proper
983 IV | special aptitudes, till their rude improvisations gave birth
984 XXIV | the plot would have been ruined, is ridiculous; such a plot
985 XXIV | for Recognition scenes run through it), and at the
986 IV | that conversational speech runs into iambic lines more frequently
987 XXIII | For as the sea-fight at Salamis and the battle with the
988 XXIV | with varying episodes. For sameness of incident soon produces
989 XXII | says:~phagedaina d’he mou sarkas esthiei podos.~The tumor
990 XXIV | of incident soon produces satiety, and makes tragedies fail
991 IV | instead of writing personal satire. His Margites bears the
992 IV | persons, at first composing satires, as the former did hymns
993 IV | famous men. A poem of the satirical kind cannot indeed be put
994 XXIV | This condition will be satisfied by poems on a smaller scale
995 XIII | this kind would, doubtless, satisfy the moral sense, but it
996 XVI | recognition of Odysseus by his scar, the discovery is made in
997 XVI | some are bodily marks, as scars; some external tokens, as
998 XXI | be used. For instance, to scatter seed is called sowing: but
999 XXI | the action of the sun in scattering his rays is nameless. Still
1000 IV | actors to three, and added scene-painting. Moreover, it was not till
1001 XXII | krazousin, "the sea shores screech."~Again, Ariphrades ridiculed
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