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1002 XXIII | events may be. For as the sea-fight at Salamis and the battle
1003 XIV | chance, that led the poets in search of subjects to impress the
1004 XXIV | telling lies skilfully. The secret of it lies in a fallacy
1005 IV | meters being manifestly sections of rhythm. Persons, therefore,
1006 XXV | for instance, it be to secure a greater good, or avert
1007 XVII | However, he comes, he is seized, and, when on the point
1008 XVIII | presupposed in the drama, the seizure of the child, and then again ... [
1009 XVIII | Fall of Troy, instead of selecting portions, like Euripides;
1010 XI | revealed to Orestes by the sending of the letter; but another
1011 VII | dramatic competition and sensuous presentment is no part of
1012 XXV | the sense of mules, but of sentinels. So, again, of Dolon: "ill-favored
1013 XIII | XIII~As the sequel to what has already been
1014 V | was not at first treated seriously. It was late before the
1015 XXII | all these varieties are serviceable. But in iambic verse, which
1016 VI | if you string together a set of speeches expressive of
1017 XXII | away from the house;" sethen, ego de nin, "to thee, and
1018 V | had already taken definite shape when comic poets, distinctively
1019 XVIII | integral part of the whole, and share in the action, in the manner
1020 I | arts, such as that of the shepherd’s pipe, which are essentially
1021 XXI | species, as: "There lies my ship"; for lying at anchor is
1022 XXIII | as the Catalogue of the ships and others—thus diversifying
1023 XIV | There is then nothing to shock us, while the discovery
1024 XIV | act, is the worst. It is shocking without being tragic, for
1025 XIII | pity nor fear; it merely shocks us. Nor, again, that of
1026 XXIV | Odysseus is left upon the shore of Ithaca. How intolerable
1027 IV | degrees; each new element that showed itself was in turn developed.
1028 VI | which reveals moral purpose, showing what kind of things a man
1029 XVIII | the Situation, however, he shows a marvelous skill in the
1030 XVI | instance is the "voice of the shuttle" in the Tereus of Sophocles.~
1031 XI | recognition should be on both sides. Thus Iphigenia is revealed
1032 XVI | depends on memory when the sight of some object awakens a
1033 XX | by the unity of the thing signified.~
1034 XX | unity in two ways—either as signifying one thing, or as consisting
1035 XVI | employed—recognition by signs. Of these some are congenital—
1036 XXI | the same people. The word sigynon, "lance," is to the Cyprians
1037 XXIV | narrative form, many events simultaneously transacted can be presented;
1038 XIX | Protagoras—that in the words, "Sing, goddess, of the wrath,
1039 I | language, or "harmony", either singly or combined.~Thus in the
1040 XVIII | when the clever rogue, like Sisyphus, is outwitted, or the brave
1041 XXIV | tragedies presented at a single sitting.~Epic poetry has, however,
1042 VI | Tragedy, therefore, must have six parts, which parts determine
1043 XVII | himself, he should first sketch its general outline, and
1044 XVIII | however, he shows a marvelous skill in the effort to hit the
1045 XIII | at the close, and no one slays or is slain.~
1046 XXV | Now all gods and men were sleeping through the night," while
1047 V | revolution of the sun, or but slightly to exceed this limit, whereas
1048 IV | cities. Tragedy advanced by slow degrees; each new element
1049 XXIV | satisfied by poems on a smaller scale than the old epics,
1050 XX | as they are aspirated or smooth, long or short; as they
1051 I | Sophron and Xenarchus and the Socratic dialogues on the one hand;
1052 XXV | the only one.~Again, the solution may depend upon accent or
1053 XXV | critical difficulties and their solutions, the number and nature of
1054 XXV | sense. We should therefore solve the question by reference
1055 XXIV | For sameness of incident soon produces satiety, and makes
1056 XVI | the play of Polyidus the Sophist. It was a natural reflection
1057 I | could apply to the mimes of Sophron and Xenarchus and the Socratic
1058 XXVI | in epic recitation, as by Sosistratus, or in lyrical competition,
1059 XXV | correctness. The answers should be sought under the twelve heads above
1060 VI | principle, and, as it were, the soul of a tragedy; Character
1061 XIV | recognizing who he is, spares his life. So in the Iphigenia,
1062 XXV | their butt-ends stood the spears." This was the custom then,
1063 XIII | because of the weakness of the spectators; for the poet is guided
1064 XXIV | Tegea to Mysia and is still speechless. The plea that otherwise
1065 XIII | can be more alien to the spirit of Tragedy; it possesses
1066 IV | the writers. The graver spirits imitated noble actions,
1067 XXIV | it, we must accept it in spite of the absurdity. Take even
1068 XXVI | pleasurable than one which is spread over a long time and so
1069 VI | causes from which actions spring, and on actions again all
1070 XXI | appear to be: as ernyges, "sprouters," for kerata, "horns"; and
1071 IV | in general seems to have sprung from two causes, each of
1072 XX | that it cannot correctly stand by itself at the beginning
1073 XXV | poets. Add to this, that the standard of correctness is not the
1074 XXIV | upon the stage—the Greeks standing still and not joining in
1075 XVI | on their bodies," or the stars introduced by Carcinus in
1076 IV | rhythm. Persons, therefore, starting with this natural gift developed
1077 XXIV | measures the heroic is the stateliest and the most massive; and
1078 IV | earlier satyric form for the stately manner of Tragedy. The iambic
1079 IX | design. We may instance the statue of Mitys at Argos, which
1080 XXV | For example: "there was stayed the spear of bronze"—we
1081 XXII | poetry of Cleophon and of Sthenelus. That diction, on the other
1082 XXIV | trochaic tetrameter are stirring measures, the latter being
1083 XXV | Upright upon their butt-ends stood the spears." This was the
1084 IV | natural form, and there it stopped.~Aeschylus first introduced
1085 XXV | It may well be that these stories are not higher than fact
1086 XVII | and one who is agitated storms, one who is angry rages,
1087 XVII | happy gift of nature or a strain of madness. In the one case
1088 IX | pieces for competition, they stretch the plot beyond its capacity,
1089 XXVI | adopted by the poet has a strict unity, it must either be
1090 XIX | inquiry the subject more strictly belongs. Under Thought is
1091 XIV | the circumstances which strike us as terrible or pitiful.~
1092 VI | ethical quality. Again, if you string together a set of speeches
1093 XXV | livelier" does not mean "mix it stronger" as for hard drinkers, but "
1094 VIII | action and that a whole, the structural union of the parts being
1095 V | ludicrous being merely a subdivision of the ugly. It consists
1096 XIX | produced by speech, the subdivisions being: proof and refutation;
1097 XV | drama—for antecedent or subsequent events, which lie beyond
1098 VI | character: character comes in as subsidiary to the actions. Hence the
1099 XVII | suitors are wasting his substance and plotting against his
1100 XXII | difference will be felt if we substitute the common words,~nun de
1101 XXII | flesh of my foot.~Euripides substitutes thoinatai, "feasts on,"
1102 IX | which the episodes or acts succeed one another without probable
1103 IV | and the Epic poets were succeeded by Tragedians, since the
1104 V | does not imply pain.~The successive changes through which Tragedy
1105 XXVI | actors entertained of their successors. Mynniscus used to call
1106 XXV | as in Empedocles: "Of a sudden things became mortal that
1107 XXIV | Homer is our earliest and sufficient model. Indeed each of his
1108 XV | subject of the imitation, who suggested the type, be inconsistent,
1109 XIX | anger, and the like; the suggestion of importance or its opposite.
1110 XVIII | tragedy. They are, therefore, sung as mere interludes—a practice
1111 XV | Aulis—for Iphigenia the suppliant in no way resembles her
1112 XXI | kerata, "horns"; and areter, "supplicator", for hiereus, "priest."~
1113 XXIII | of two; while the Cypria supplies materials for many, and
1114 XXVI | unrefined. The audience is supposed to be too dull to comprehend
1115 XXIV | diction and thought they are supreme.~Epic poetry differs from
1116 VIII | as in all else he is of surpassing merit, here too—whether
1117 IX | the events come on us by surprise; and the effect is heightened
1118 XI | and Recognition—turn upon surprises. A third part is the Scene
1119 XVI | nurse, in another by the swineherds. The use of tokens for the
1120 XXII | poet if you might lengthen syllables at will. He caricatured
1121 XVII | convincing through natural sympathy with the characters they
1122 XXV | says himself, or to what is tacitly assumed by a person of intelligence.~
1123 | taking
1124 XXV | the thing is." applies to tales about the gods. It may well
1125 XVIII | effort to hit the popular taste—to produce a tragic effect
1126 XXIV | is Homer who has chiefly taught other poets the art of telling
1127 XXIV | herself, as we have said, teaches the choice of the proper
1128 XVI | where the hero breaks into tears on seeing the picture; or
1129 XXV | legs at once, or introduced technical inaccuracies in medicine,
1130 XXIV | the man who has come from Tegea to Mysia and is still speechless.
1131 XIV | Alcmaeon of Astydamas, or Telegonus in the Wounded Odysseus.
1132 XXV | strange, therefore, that Telemachus should not have met him
1133 XIII | Orestes, Meleager, Thyestes, Telephus, and those others who have
1134 XIX | utters a prayer? For to tell some one to do a thing or
1135 XXIV | taught other poets the art of telling lies skilfully. The secret
1136 XVII | against his son. At length, tempest-tost, he himself arrives; he
1137 XVII | was on his way from the temple. This fact escaped the observation
1138 XXIII | the same time, but did not tend to any one result, so in
1139 IX | than history: for poetry tends to express the universal,
1140 XVI | voice of the shuttle" in the Tereus of Sophocles.~The third
1141 XII | without anapaests or trochaic tetrameters: the Commos is a joint lamentation
1142 II | as they are; Hegemon the Thasian, the inventor of parodies,
1143 XXV | breathing. Thus Hippias of Thasos solved the difficulties
1144 | thee
1145 XXIII | would have been too vast a theme, and not easily embraced
1146 V | lampooning form, generalized his themes and plots.~Epic poetry agrees
1147 | thence
1148 XX | itself significant. Thus in Theodorus, ‘god-given," the doron
1149 VII | presentment is no part of artistic theory. For had it been the rule
1150 VIII | composed a Heracleid, a Theseid, or other poems of the kind.
1151 XV | cleverness is inappropriate. Thirdly, character must be true
1152 XXII | foot.~Euripides substitutes thoinatai, "feasts on," for esthiei, "
1153 XXIV | Suffering. Moreover, the thoughts and the diction must be
1154 XIII | Odyssey, it has a double thread of plot, and also an opposite
1155 XIX | a prayer, a statement, a threat, a question, an answer,
1156 XIV | the Antigone, where Haemon threatens to kill Creon. The next
1157 XIV | hears the tale told will thrill with horror and melt to
1158 | throughout
1159 XXV | has represented a horse as throwing out both his off legs at
1160 XXVI | something of their own is thrown by the performers, who therefore
1161 XXI | the proportion there is at times no word in existence; still
1162 II | portray different types, as Timotheus and Philoxenus differed
1163 XXII | or, ~ouk an g’eramenos ton ekeinou elleboron.~Not if
1164 XX | grave, or of an intermediate tone; which inquiry belongs in
1165 XX | or "men"; or the modes or tones in actual delivery, e.g.,
1166 XX | which without impact of tongue or lip has an audible sound.
1167 IV | other accessories of which tradition tells, must be taken as
1168 XIV | and skilfully handle the traditional. material. Let us explain
1169 XXIV | many events simultaneously transacted can be presented; and these,
1170 XXIII | been already observed, the transcendent excellence of Homer is manifest.
1171 XXI | application of an alien name by transference either from genus to species,
1172 XVIII | such choral interludes, and transferring a speech, or even a whole
1173 XVII | who sacrificed her; she is transported to another country, where
1174 I | to the name. Even when a treatise on medicine or natural science
1175 XV | been said in our published treatises.~
1176 XVI | of more or less skilful treatment. Thus in the recognition
1177 XIX | One branch of the inquiry treats of the Modes of Utterance.
1178 XXI | A word may likewise be triple, quadruple, or multiple
1179 XXV | he turned his gaze to the Trojan plain, he marveled at the
1180 XXVI | concisely told and appear truncated; or, if it conforms to the
1181 XXII | sarkas esthiei podos.~The tumor which is eating the flesh
1182 I | mentioned—namely, rhythm, tune, and meter. Such are Dithyrambic
1183 XXV | says: "Often indeed as he turned his gaze to the Trojan plain,
1184 XVIII | the part which marks the turning-point to good or bad fortune.
1185 XXV | should be sought under the twelve heads above mentioned.~
1186 XXVI | flute-players twist and twirl, if they have to represent "
1187 XXVI | movements. Bad flute-players twist and twirl, if they have
1188 XXIV | each of his poems has a twofold character. The Iliad is
1189 XVI | sister." So, again, in the Tydeus of Theodectes, the father
1190 XVI | or the little ark in the Tyro by which the discovery is
1191 XXI | peperi, "pepper"; five end in U. Neuter nouns end in these
1192 V | consists in some defect or ugliness which is not painful or
1193 II | whether prose or verse unaccompanied by music. Homer, for example,
1194 VI | term whose sense every one understands.~Again, Tragedy is the imitation
1195 IV | would, doubtless, be a large undertaking.~
1196 XII | the Parode is the first undivided utterance of the Chorus:
1197 XIII | plays, many of which end unhappily. It is, as we have said,
1198 IX | necessity; and it is this universality at which poetry aims in
1199 V | other similar details remain unknown. As for the plot, it came
1200 | unless
1201 | unlike
1202 | unlikely
1203 XIII | for pity is aroused by unmerited misfortune, fear by the
1204 XXV | be immortal, and things unmixed before mixed."~Or again,
1205 XXIV | thing is untrue, it is quite unnecessary, provided the second be
1206 XXIV | poem the absurdity passes unnoticed. Now the wonderful is pleasing,
1207 XVIII | poets tie the knot well, but unravel it Both arts, however, should
1208 XV | but valor in a woman, or unscrupulous cleverness is inappropriate.
1209 XXIV | where the first thing is untrue, it is quite unnecessary,
1210 XIV | done—and that wittingly or unwittingly. But of all these ways,
1211 XXI | water with the vessel of unyielding bronze." Here arusai, "to
1212 XXV | passage about the arms: "Upright upon their butt-ends stood
1213 XXV | In addition to which, we urge that the irrational sometimes
1214 XXII | clearest style is that which uses only current or proper words;
1215 | using
1216 IX | received legends, which are the usual subjects of Tragedy. Indeed,
1217 XVII | seeing everything with the utmost vividness, as if he were
1218 XVIII | like Aeschylus, either fail utterly or meet with poor success
1219 XIX | command under the idea that he utters a prayer? For to tell some
1220 V | V~Comedy is, as we have said,
1221 XXII | poetry, indeed, all these varieties are serviceable. But in
1222 XXIII | over-complicated by the variety of the incidents. As it
1223 XXIV | relieving the story with varying episodes. For sameness of
1224 XI | change by which the action veers round to its opposite, subject
1225 XXV | as they ought to be. The vehicle of expression is language—
1226 XXIV | it is, the absurdity is veiled by the poetic charm with
1227 XX | group of words consists of verbs and nouns—"the definition
1228 XXI | From species to genus, as: "Verily ten thousand noble deeds
1229 IX | of plots rather than of verses; since he is a poet because
1230 XXI | Cleft the water with the vessel of unyielding bronze." Here
1231 VI | VI~Of the poetry which imitates
1232 VII | VII~These principles being established,
1233 VIII | VIII~Unity of plot does not,
1234 III | of language. The outlying villages, they say, are by them called
1235 XXV | irrational sometimes does not violate reason; just as "it is probable
1236 XXV | better, attained without violating the special rules of the
1237 XIII | not be the spectacle of a virtuous man brought from prosperity
1238 VIII | presence or absence makes no visible difference, is not an organic
1239 XXVI | and these produce the most vivid of pleasures. Further, it
1240 V | performers were till then voluntary. Comedy had already taken
1241 XX | but "he walks" or "he has walked" does connote time, present
1242 XX | idea of "when"; but "he walks" or "he has walked" does
1243 III | revel," but because they wandered from village to village (
1244 XXV | it incorrectly] through want of capacity, the error is
1245 XVII | wretched plight—suitors are wasting his substance and plotting
1246 XVII | many years; he is jealously watched by Poseidon, and left desolate.
1247 XXI | the life," and "Cleft the water with the vessel of unyielding
1248 VII | have been regulated by the water-clock—as indeed we are told was
1249 XXVI | length, it must seem weak and watery. [Such length implies some
1250 XXIV | the pursuit, and Achilles waving them back. But in the Epic
1251 XIII | the best because of the weakness of the spectators; for the
1252 XVI | lyre, recalls the past and weeps; and hence the recognition.~
1253 XIII | men of such families.~A well-constructed plot should, therefore,
1254 XXV | Cretans use the word eueides, "well-flavored" to denote a fair face.
1255 IX | there are only one or two well-known names, the rest being fictitious.
1256 XXV | not have met him when he went to Lacedaemon. But the Cephallenian
1257 | wherever
1258 XX | significant. For "man" or "white" does not express the idea
1259 | whoever
1260 XXII | normal idiom. Yet a style wholly composed of such words is
1261 XXIV | for its chief effects, has wider scope in Epic poetry, because
1262 XXV | allege that Odysseus took a wife from among themselves, and
1263 XXI | the cup of Ares," but "the wineless cup".~A newly-coined word
1264 XVI | natural that Iphigenia should wish to dispatch a letter. These
1265 XIII | in what he writes by the wishes of his audience. The pleasure,
1266 XVI | which, from poverty of wit, is most commonly employed—
1267 XXII | the same time it is mean—witness the poetry of Cleophon and
1268 XIV | done or not done—and that wittingly or unwittingly. But of all
1269 IX | cause and effect. The tragic wonder will then be greater than
1270 XIII | competition, such plays, if well worked out, are the most tragic
1271 XVII | constructing the plot and working it out with the proper diction,
1272 VIII | of Odysseus—such as his wound on Parnassus, or his feigned
1273 XIV | Astydamas, or Telegonus in the Wounded Odysseus. Again, there is
1274 XI | the stage, bodily agony, wounds, and the like.~
1275 XIX | Sing, goddess, of the wrath, he gives a command under
1276 I | same principle, even if a writer in his poetic imitation
1277 XIII | poet is guided in what he writes by the wishes of his audience.
1278 XXV | the failure is due to a wrong choice—if he has represented
1279 XXI | noble deeds hath Odysseus wrought"; for ten thousand is a
1280 I | the mimes of Sophron and Xenarchus and the Socratic dialogues
1281 XXV | are, very possibly, what Xenophanes says of them. But anyhow, "
1282 XI | XI~Reversal of the Situation
1283 XII | XII~The parts of Tragedy which
1284 XIII | XIII~As the sequel to what has
1285 XIV | XIV~Fear and pity may be aroused
1286 XIX | XIX~It remains to speak of Diction
1287 XV | XV~In respect of Character
1288 XVI | XVI~What Recognition is has
1289 XVII | XVII~In constructing the plot
1290 XVIII | XVIII~Every tragedy falls into
1291 XX | XX~Language in general includes
1292 XXI | XXI~Words are of two kinds,
1293 XXII | XXII~The perfection of style
1294 XXIII | XXIII~As to that poetic imitation
1295 XXIV | XXIV~Again, Epic poetry must
1296 XXV | XXV~With respect to critical
1297 XXVI | XXVI~The question may be raised
1298 XVII | absent from home for many years; he is jealously watched
1299 | Yes
1300 XVII | illustrated by the Iphigenia. A young girl is sacrificed; she
1301 XXVI | the same relation as the younger to the elder actors. So
1302 XXV | denote a fair face. Again, zoroteron de keraie, "mix the drink
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