thing, and it is necessary that these should either be worthy or depraved persons; (for manners nearly always depend on these alone, since all men differ in their manners by vice and virtue;) it is necessary either [to imitate] those who are better than we are, 9 ** For imitation makes the poet, not the metre.’’ Ritter.
10 In dithyrambic or Bacchic hymns, and in the Nomes, which were also a species of hymns to Apollo and other deities, a// the means of imitation were employed together, and throughout: in tragedy and comedy, separately; some of them in one part of the drama, and some in another. In the choral part, however, at least, if no where else, αὐ, melody, rhythm, and words, must probably have been used at once, as in the hymns. Twining.
8. Which name is common to writers on other subjects.
9. But the adherence to metre does not make the poet.
10. Means respect- ively em- ployed by the differ- ent kind: of poetry.
1. Objects of imita- tion either good or bad, as in painting.
2. And imitations different.
1. Imita- tions dif- ferent in the man- ner.
410 ARISTOTLE’S {CHAP. HL.
or those who are worse, or such as are like ourselves!, in the same manner as painters do. For Polygnotus, indeed, painted men more beautiful than they are, but Pauson less so, and Dionysius painted them as they are®. But it is evident that each of the before- mentioned imitations will have these differences; and imitation is different, by imitating different things after this manner. For there may be differences of this kind in dancing, in playing on the flute, on the lyre, and also in orations and mere measure. Thus Homer imitates better men? [than exist], but Cleo- phon men as they are; and Hegemon the Thasian, who first made parodies, and Nicochares, who wrote the Deliad, imitate worse characters. In like man- ner in dithyrambics and the Nomi, [as Timotheus and Philoxenus have imitated the Persians and the Cyclops, | one may imitate‘. By this very same dif- ference, also, tragedy differs from comedy. For the oge seeks to imitate worse, but the other better men tifan are.
CHAP. III.
The third difference of Poetry according to the manner of imitating, THERE is also a third difference of these, consist- ing in the manner in which one may imitate each of 1 Or, ‘‘ those who are commonly found.”
2 Polygnotus and Dionysius lived about Ol. 80; Pauson about Ol. 90. On the following poets see Ritter.
3 Superior, that is, in courage, strength, wisdom, prudence, etc.—in any laudable, useful, or admirable quality, whether such as we denominate moral, or not. If superiority of moral character only were meant, the assertion would be false.—It is necessary to remember here, the wide sense in which the ancients used the terms virtue, vice—good, bad, etc. See note 19.—The difference between moral and poetical perfection of character, is well explained by Dr. Beattie; Essay on Poetry, etc., Part I. ch. 4. The heroes of Homer, as he well observes, are “ finer animals” than we are, (p. 69,) not better men. Twining.
* Ritter would.hrow out the words enclosed in brackets See his note.
CHAP. IIt.* POETIC. All them. For by the same instruments the same things may be imitated, the poet sometimes himself narrating, and sometimes assuming another person [as Homer does ]!; or speaking as the same person with- out any change; or as all imitate [who do so] by deed and action. But imitation consists in these three differences, as we said in the beginning; viz. in the means, the objects, or the manner. Hence, Sophocles will in one respect be the same imitator as Homer, for both of them imitate elevated cha- racters; and in another the same as Aristophanes, for both of them imitate persons engaged in acting; [?whence also it is said that certain persons call their works dramas, because they imitate those who are engaged in doing something. On this account the Dorians lay claim to the invention of tragedy and comedy; of comedy indeed the Megarians, as well those who are natives of Greece, as being invented by them at the time when their government was a democracy, as those of Sicily. For thence was the poet Epicharmus, who was much prior to Chonides and Magnes. But some of those Dorians who inhabit Peloponnesus lay claim to tragedy, making names an evidence. For they allege that they call their villages komai, but the Athenians demoi; as if comedians were not so denominated from komazein, [i. 6. to revel,| but from their wandering through villages, being ignominiously expelled from the cities. The verb poiein also, or to make, is by the Dorians denominated dran, but by the Athenians prattein.]
2. And the differ ences of imitation are three.
3. Ety- mology of the drama andclaims to its in- vention.
And thus much concerning the differences of imita- 4 tion, as to their number and quality.
1 But this assertion is not correct, and Ritter shows that the words are spurious.
2 The learned note of Ritter seems to condemn the whole of this passage as spurious.
ait ARISTOTLE’S [cuar. rv.
CHAP. IV.
The Cawses and Progress of Poetry.
a ig Two causes, however, and these physical, appezr 2. of poe- to have produced poetry in general. For to imitate try,and is congenial to men from childhood. And in this oe a. they differ from other animals, that they are most the first, imitative, and acquire the first disciplines through the na- jmitation; and that all men delight in imitations. alg hers But an evidence of this is that which happens in the tion, works [of artists]. For we are delighted on survey- 8, seen in ing very accurate images, the realities of which are ἜΝΗΦΡ ΝΟ painful to the view; such as the forms of the most ofart; contemptible animals, and dead bodies. The cause, τ because however, of this is, that learning is not only most de- o learn is,...4: ever plea- lightful to philosophers, but in like manner to other sant. persons, though they partake of ‘it but in a small delight ie degree. For on this account, men are delighted on images. Surveying images, because it happens that by survey- ing they learn and infer what each particular is; as, that this is an image of that man; since, unless one happen to have seen [the reality], it is not the imi- tation that pleases', but [it is through] either the gag workmanship, or the colour, or some other cause of fromimit- the like kind. But imitation, harmony, and rhythm ation, + being natural to us, (for it is evident that measures harmony, or metres are parts of rhythms,? ) the earliest among rhythm, mankind, making a gradual progress in these things 1 Ritter well reads οὐχὲ μίμημα ἦ μίμημα.
2 “Ruyrnum differs from METRE, inasmuch as RHYTHM is proportion, applied to any motion whatever; METRE is propor- tion, applied to the motion of worDs spoKEN. Thus, in the drumming of a march, or the dancing of a hornpipe, there is rhythm, though no metre; in Dryden’s celebrated Ode there is METRE as well as RHYTHM, because the poet with the rhythm has associated certain words. And hence it follows, that, though ALL METRE is RHYTHM, yet ALL RHYTHM is NOTMETRE.” Har- ris’s Philol. Inquiries, p. 67,—where it is also observed, very truly, that “πὸ English word expresses rhythmus better than the word time.” P. 69, note. Twining.
CHAP. 1V.) POETIC. 413 from the beginning, produced poetry from extempo- raneous efforts. But poetry was divided according to appropriate manners. For men of a more vener- able_character imitated beautiful actions, and the _actions of such men; but the more ignoble imitated the actions of depraved characters, first composing vituperative verses, in the same manner as the others composed hymns-and encomiums. Of the authors, therefore, before Homer, we cannot mention any poem of this kind; though it is probable that there were many such writers. But if we begin from Homer, there are such for instance as his Margites*, and some others, in which, as being suited, the measure is Iambic. Hence, also, the lambic verse is now called, because in this metre they used to Lambize (i. 6. de- fame) each other. Of ancient poets, likewise, some composed heroic poems, and others Iambic. Homer was the greatest of poets on serious subjects, (and this not only because he alone imitated well, but also because he made dramatic imitations,) thus too he first demonstrated the figures of comedy, not dra-.
matically exhibiting invective, but ridicule. For the Margites bears the same analogy to comedy, as the Iliad and Odyssey to tragedy. But when tragedy and comedy had those poets who were na- turally impelled to each kind of poetry, some, instead of writing Iambics, became comic poets, but others, instead of [writing] epic poems, became the authors of tragedies, because these forms [of poetry] are greater and more esteemed than those. To consider, therefore, whether tragedy is now perfect 55 in its species or not, regarded as well with reference to itself as to the theatres, is the business of another treatise. Both tragedy and comedy, there- fore, at first originated from extemporaneous efforts.
8 The character of the hero is handed down to us thus; Tov δ᾽ οὔτ᾽ do σκαπτῆρά θεοὶ θέσαν οὔτ᾽ ἀροτῆρα οὔτ᾽ ἄλλως τε σοφόν, πάσης δ᾽ ἠμάρτανε τέχνης. And again, word’ ἠπίστατο ἔργα, κακῶς δ᾽ ἠπίστατο πάντα. A character not unlike Sir Abel Handy i in Morton’s “ Schor* -ef Reform.”
But as P men ori- ginally produced poetry, 7. which was va- ried ac- cording to suitable manners.
8. No sati- rical poe- try before ‘Homer’s Margites.
9. The old oets thence were ei- ther hero- ic or Iam- bic.
gress of the two styles, upon the introduc- tion of 12. Both at first ex» temporn- neous.
414 ARISTOTLE’S [cHar. rv.
y And tragedy, indeed, originated from those who led Y the dithyramb, but comedy from those who sung the Phallic verses, which even now in many cities re- main in use; and it gradually increased as obvious improvements became known. And tragedy, having experienced many changes, rested when it had are 7 13. Hs- rived at its proper nature.,, Auschylus, also, first im- mou rss dol creased_the numberof players from_one to two4, ove σοὶ tragedy, abridged the functions of the chorus, and made one and then of the players act the chief part®, But Sophocles in- aaa troduced three players into the scene, and added 14, It be- Scenic painting. Further still, the magnitude [of comes tragedy increased] from small fables and ridiculous ape diction, in consequence of having been changed from satyric® composition, it was late before it acquired dignity. The metre also of tragedy, from tetrameter, became Iambic (for at first they used tetrameter in tragedy, because poetry was then satyrical, and more adapted to the dance, but dialogue being adopted, suitable nature herself discovered a suitable metre; for the Sa aa Iambic measure is most of all adapted to conversation. metre, And as an evidence of this, we most frequently speak in Iambics in familiar discourse with each other; but we seldom speak in hexameters, and then only when we depart from that harmony which is adapted to conversation). Again, tragedy is said to have been further adorned, with a multitude of episodes, and other particulars. Let, therefore, thus much said suffice concerning these things; for it would perhaps be a great toil to discuss every particular.
* See my introduction to Aéschylus, p. vii. ed. Bohn.
§ See ibid. note.
6. Satyric, from the share which those fantastic beings called Satyrs, the companions and play-fellows of Bacchus, had in the earliest Tragedy, of which they formed the chorus. Joking and dancing were essential attributes of these rustic semi-deities. Hence the “ludicrous language’’ and the “ dancing genius” of the old Tragedy, to which the Trocuaic or running metre δος spoken of was peculiarly adapted; being no other than ΙΒ: “Jolly mortals, fill your glasses, noble deeds are done by wine.”
The reader will not confound satyric with satiric; nor the Kawah fis. Sepp riarahe, Wrrrur arch Hs clan ea ‘ 15 omar. Ὁ. POETIC 415 CHAP. V.
On Comedy, and its Origin— Difference of Epopee and ragedy.
But comedy is, as we have said, an imitation in- deed of bad characters, yet it does not imitate them according to every vice, [but the ridiculous only;] since the ridiculous is a portion of turpitude. For the ridiculous is a certain error, and turpitude un- attended with pain, and not destructive. Thus, for instance, a ridiculous face is something deformed and distorted without pain. The transitions, therefore, of tragedy, and the causes through which they are produced, are not unknown; but [those of ] comedy have escaped our knowledge, because it was not at first an object of attention. For it was late before the magistrate gave a chorus to comedians!; but prior to that period, the choruses were voluntary. Comedy, however, at length having obtained a certain form, those who are said to have been poets therein are commemorated. But it is unknown who it was that introduced masks or prologues,’ or a multitude of players, and such like particulars. But Epichar- mus and Phormis [were the first] to compose fa- bles; which, therefore, originated from Sicily. But among the Athenians, Crates, rejecting the Iambic?
Greek satyric drama with the satire of Roman origin. See Harris’s Phil. Arrang. p. 460, note. Dacier’s Preface to Ho- race’s Satires. The two words are of different derivations. Twining.
1 This was almost equivalent to the modern “licensing” of plays, but was probably conducted with more taste and less absurdity. The poet was said αἰτεῖν χορὸν, the choragus διόόναι, and, if the piece was approved by the archon, the poet χορὸν ἔλαβε. See Ritter.
2 But this is evidently corrupt. Ritter reads λόγους with Her- mann, understanding those passages which the single actor either recited, or spoke in conversation with the chorus, op- posing λόγοι ὑποκριτῶν to th? ἄσματα κωμῳδῶν.
5 Jambic, i. 6. satirical, and personally so, like the old Iamhé, \\ 1. Come- dy an ime itation of the ridi- culous.
2. Its changes not known.
4. Simi- larity of tragedy to epic poetry.
δ. Their common and dis- tinctive parts, 416 ARISTOTLE’S [CHAP. VE form, first began generally to compose speeches and fables. The epopee, therefore, is an attendant on tragedy, [with the exception of the long metre 4} since through this it is an imitation of worthy cha- racters and actions. But it differs from tragedy i in that it has a simple metre, and is a narration. It also [differs from it] in length. For tragedy is _ especially limited by one period of the sun, or admits but a small variation from this period; but the epopee is not defined within a certain time, and in this it differs; though at first they observed the same conduct with tragedy®, no less than epic po- etry. With respect to the parts, however, [of the epopee and tragedy,] some are the same in both, but others are peculiar to tragedy. Hence he who knows what is a good or bad tragedy, knows the same in respect to epic poetry. For those things which the epopee possesses are to be found in tragedy, but every thing which tragedy contains is not in the epopee.
CHAP. VI.
On the Form and End of Tragedy, and on its six parts, especially the Plot.
. CONCERNING, therefore, imitative poetry in hexameters, and comedy, we shall speak hereafter. Let us now, however, speak concerning tragedy, assuming the definition of its essence as arising from what has i- been already said. Tragedy, therefore, is an imitation of a worthy or illustrious and perfect action, invectives, or lampoons, of which Aristotle speaks above, and from which the Jambie metre, which is not here alluded to, took its name. Twining.
4 The words μέχρι μόνου μέτρου μεγάλου or μετὰ λόγον are thrown out by Ritter, and can have no meaning.
5 On the question of the unities see Twining, note 43, and lay own note on Asch. Eum. 235.
CHAP. VI.] POETIC. 417 possessing magnituda, in pleasing language, using separately the several'species of imitation in tts parts, by men acting, and not through narration, through pity and fear effecting a purification from such like _passions', But by pleasing language, I mean lan- guage possessing rhythm, harmony, and melody. And it uses separately the several species [of imita- tion], because some parts of the tragedy are alone perfected through metres, and others again through melody. But since they produce imitation by act- ing, in the first place the ornament of the spectacle? will be a certain part of the tragedy, and in the next place the melopeia*® and the diction. For by these αἱ they produce imitation. But I call diction, indeed, the composition of the metres; and melopeia that, the whole power of which is apparent. Since, how- ever, [tragedy | is an imitation of action, and action is effected by certain agents, who must needs be per- sons of a certain description both as to their manners and their sentiments‘, (for from these we say that 1 On the different interpretations of this difficult passage, see Twining, note 45. Ritter has followed the views of Les- sing, in a note too full of argument to admit of condensation. Taylor’s note is, as usual, a blundering Neo-Platonic attempt to reconcile the discrepancies of Aristotle and Plato.
2 Decoration—literally, the decoration of the spectacle, or sight. In other places it is called the spectacle, or sight only —déiyis. It comprehends scenery, dresses—the whole visible apparatus of the theatre. I do not know any single English word that answers fully to the Greek word. Twining. — 3 Melopeia—liiterally, the making, or the composition, of the Music; as we use Epopeia, or according to the French termina- tion, which we have naturalized, Epopee, to signify epic poetry, ‘or epic-making, in general.—I might have rendered it, at once, the music; but that it would have appeared ridiculous to ob- serve, of a word so familiar to us, even that “‘its meaning is obvious.’? Twining. 5 og * Dianoia—é.avoia, in a general way, may be defined to be διεξοδικὴ τοῦ λόγου éveoyeia, i. 6. the discursive energy of rea~ son. But accurately speaking, it is that power of soul which reasons scientifically, deriving the principles of its reasoning from sntellect. This latter definition, however, pertains to it, so far as it is not influenced in its reasonings by imagination and false opinions. Tay Lor, who objects to translating it “sentiments.” I prefer following Twining, understanding sentiments not exe 3. Its lane guage, and dif- ferent manners of imita- tion: 5. Two causes of action, senti- ments, and meral habit.
418 ARISTOTLE'S CHAP. YI.
6. Defini- _ tion of fa- ble, man- ners, and senti- ment, 7. Six parts in every tra- βοάν.
8. Some tragic po- ets use all these parts, 9. Trage- dy an imi- tation of actions. 10. What consti- tutes cha-. racter. Manner not the end of traedy; 1. but action.
actions derive their quality, ) hence there are naturally two causes of actions, sentiments and moral habit, and through these actions all men obtain or fail of the object of their wishes. But a fable, indeed, is an imitation of action; for I mean by a fable here, the composition of incidents. By manners, I mean those things according to which we say that agents are persons of a certain character; and by sentiment, that through which those who speak demonstrate any thing, or explain their meaning. It is necessary, therefore, that the parts of every tragedy should be six, from which the tragedy derives its quality. But these are, fable and manners, diction and sentiment, spectacle and melépmia. Of these parts, however, two pertain to the means by which they imitate; one, to the manner; and three, to the objects®. And be- sides these, there are no other. [Not a few [tragic poets |, therefore, as I may say, use all these parts’. | For every tragedy has scenic apparatus, manners, and a fable, and melody, and, in a similar manner, sentiment. But the greatest of these is the combina- tion of the incidents. For tragedy is an imitation not of men, but of actions, [of life, and of felicity. For infelicity consists in action, and the end is a certain action, and not a quality’.] Men, however, are per- sons of a certain character, according to their man- ‘ners; but aecording to their actions, they are happy, _or the contrary. The end of tragedy, therefore, does not consist in imitating manners, but it embraces manners on account of actions; so that the action and the fable are the end of tragedy. But the end is the greatest of all things. Moreover, without ac- tion, tragedy cannot exist; but it may exist without pressed, (γνώμαι, cf. Rhet. ii. 21,) but in the mind, and form- ing the mainspring of action.
5 i. 6. λέξις and μελοποιία are the means or instruments, ὄψις the manner, μῦθος, ἤθη, and dtavoia, the objects.
6 An evident interpolation. See Ritter.
7 Thus stands the text, as freed from the additions made by Aldus, or other Italian critics. But the whole passage is pro- bably an interpolation, as Ritter seems to have clearlv showy, See his judicious note.
cuar. vi. | POETIC. 419 manners. For most modern tr:gedies are without manners; and in short, many poets are such as among painters Zeuxis is when compared with Poly- gnotus. For Polygnotus, indeed, painted the man- ners. of the good; but the pictures of Zeuxis are without manners. Further still, if any one place in a continued series moral speeches, sayings, and senti- ments well framed, he will not produce that which is the work of tragedy; but that will be much more a tragedy, which uses these things as subordinate, and which contains a fable and combination of incidents. Add to this, that the greatest parts by which fable allures the soul, are the revolutions and discoveries. Again, it is likewise an evidence of this, that those who attempt to write tragedies, acquire the power of expressing a thing in tragic diction and manners ac- curately, before they can compose a fable, as was the case with nearly all the first poets. The fable, therefore, is the principal part, and as it were the soul of tragedy; but the manners are next in rank®. [Just as in painting, if any one were to spread the most beauti- ful pigments on promiscuously, he would not please the view so much as by outlining an image with white colour only. Tragedy also is an imitation of action, and on this account, especially, [an imitation] of agents. But the sentiments rank third. And by them [I mean] the power of explaining what is inherent in the subject, and adapted to it, which is the pecu- liar province of politics? and rhetoric. For the an- cient poets represent those whom they introduce as speaking politically; but those of the present day, rhetorically. But the manners are, whatever shows what the deliberate choice is. Hence those speeches are without manners, in which there is altogether ® The rest of this chapter is condemned by Ritter as an in- terpolation.
9 The reader, here, must not think of our modern politics. —The political, or civil art, or science, was, in Aristotle’s view, of wide extent and high importance. It comprehended ethics and eloguence, or the art of public speaking; every thing, in short, that concerned the well-being of a state.—See note 57. Twining.
12. Prvof, revolu- tion and discovery cause most pleadiction.
19. Melo- peia and spectacle, the latter least pertaining to art, 420 ARISTOTLE’S [cHAP. VA nothing that the speaker may choose or avoid'®. But sentiment is that through which they show that a cersc - κι diction 1s interpretation by the means of words, and which also has the same power in verse and prose. But of the remaining five, the melopeeia is the great- est of the embellishments. But the scenic decora- tion is alluring indeed; yet it is most inartificial, and is in the smallest degree akin to poetry. For the power of tragedy remains, even when unaccom- panied with scenic apparatus and players. And further still, the art of the mechanic possesses more power in constructing the scenic apparatus than that of the poet. | CHAP. VII. On the Requisites and Length of Tragic Action.
Turse things being defined, let us in the next place show what the combination of the incidents ought to be, since this is the first and greatest part of tragedy. But it is granted to us, that tragedy is the imitation of a perfect and whole action, and of one which pos-_ sesses a certain magnitude; for there may be a whole which has no magnitude. But a whole is that which has a beginning, middle, and.end. And the begin- ning is that which necessarily is not itself posterior to another thing; but another thing is naturally ex- pected to follow it. On the contrary, the end is that which is itself naturally adapted to be posterior to an- other thing, either from necessity, or for the most part; but after this there is nothing else, But the middle is that which is itself after another thing, and after which there is something else. Hence, it is necessary that those who compose fables properly, should neither 10 These words are differently placed in some editions.
CHAP. VII.} POETIC. 425 begin them casually, nor end the:n casually, but should employ the above-mentioned forms [of beginning, middle, and end]. Further still, since that which is 4. Magni.
beautiful, whether it be an animal, or any thing else tude and ig ee: order the which is composed frorn certain parts, ought not only constitu.
to have these parts arranged, but a magnitude also ents of which is not casual. For the beautiful consists in beauty.
magnitude and order. Hence, neither can any very small animal be beautiful; for the survey of it is confused, since it is effected in a time nearly insensible. Nor yet a very large animal; for it is not surveyed at once, but its subsistence as one and a whole escapes the view of the spectators; such as if, for instance, it should be an animal of ten thousand stadia in length. Hence, as in bodies and in animals 5. Magni it is necessary there should be magnitude; but such at ol as can easily be seen; thus also in fables, there to plots; should be length, but this such as can easily be re-_ membered’, The definition, however, of the length 6. Istly, with reference to contests* and the senses, does not ΕΝ fall under the consideration of art. For if it were hibitions.
requisite to perform a hundred tragedies, [as is said to have been the case more than once’, | the performance ought to be regulated by a clepsydra. But the 7. 2ndly, definition [of the length of the fable] according to the se to innature of the thing, is this, that the fable is always Value, more beautiful the greater it is, if at the same time it is perspicuous. Simply defining the thing, however, we may say, [that a fable has an appropriate magnitude, | when the time of its duration is such as to_ render it probable that there can be a transition from prosperous to adverse, or from adverse to prosperous ortune, according to the necessary or probabie order 1 The unity here spoken of, it must be remembered, is not absolute and simple, but relative and compound, unity; a unity consisting of different parts, the relation of which to each other, and to the whole, is easily perceived at one view. On this depends the perception of beauty in form.—In objects tco extended, you may be said to have parts, but no whole: in Yery minute objects the whole, but no parts. Twining.
2 j. e. to its representation at the dramatic contests.
8 These words are condemned by Ritter.
1. On dramatic unity, 2. Previ- vious mis- concep- tions on the sub- ject.
3. Con- duct of Homer.
4. Appli- cation of unity to the plot.
of things as they take place. This is a sufficient definition of magnitude, CHAP. VIII, On the Unity of the Fable.
TueE fable, however, is one, not as some suppose, if one person is the subject of it; for many things which are infinite in kind happen [to one manj, from a certain number of which no one event arises, Thus, also, there are many actions of one man, from which no one action is produced. Hence all those poets appear to have erred who have written the Heracleid, and Theseid, and such like poems. For they suppose that because Hercules was one person, it was fit that the fable should be one. Homer, how- ever, as he excelled in other things, appears likewise to have seen this clearly, whether from art, or from nature. For in composing the Odyssey, he has not related every thing which happened to Ulysses; such as the being wounded in Parnassus!, and pretending to be insane? at the muster of the Greeks; one of which taking place, it was not necessary or probable that the other should happen; but he composed the Odyssey, as also his Iliad, upon one® action. It is requisite, therefore, that as in other imitative arts one imitation’ is the imitation of one thing, thus, 1 This incident is, however, related, and at considerable length, in the xixth book of the Odyssey, (v. 563 of Pope’s translation,) but digressively, and incidentally; it made no essential part of his general plan. Twining.
2 A ridiculous story.—‘“‘ To avoid going to the Trojan war, Ulysses pretended to be mad; and, to prove his insanity, went to plough with an oz and a horse; but Palamedes, in order to detect him, laid his infant son, Telemachus, in the way of the plough; upon which Ulysses immediately stopped, and there- by proved himself to be in his right senses.” —(Hyginus, ete.) Twining.
* i. e. one imitative work. Thus ome picture represents, ὃ CHAP. IX.J; POETIC. 493 also, [in tragedy, ] the fable, since it is an imitation of action, should be the imitation of one action, and of the whole of this, and that the parts of the trans-_ actions should be so arranged, that.any one of them _ being transposed, or taken away, the whole would _ become different and changed. For that which when present or not present produces no sensible [difference], is not a part of the fable*, CHAP, IX.
On the difference between History and Poetry, and how his- torical matter should be used in Poetry.
Bor it is evident from what has been said, that it is 1. The not the province of a poet to relate things which poet does have happened, but such as might have happened, DotTelate and such things as are possible according to proba- events, bility, or which would necessarily have happened!. For an historian and ἃ poet do not differ from each 92, fortien other, because the one writes in verse and the other he would i clash with in prose; for the history of Herodotus might be he nisto- written in verse, and yet it would be no less a history rian.
should represent, but one thing;—a single object, or a single action, etc. So, every poem (the Orlando Furioso as much as the Iliad) is one imitation—one imitative work, and should imitate one action, in Aristotle’s sense of unity, like the poems of Homer; not a number of actions unconnected with each other, or connected merely by their common relation to one Φ person, as in the Theseids, etc., or to one time, as in the poem of Ariosto; or, by their resemblance merely, as in the Me- tamorphoses of Ovid. Twining.