The Poetics translated by S. H. Butcher/Analysis
ARISTOTLE'S POETICS
ANALYSIS OF CONTENTS
I. 'Imitation' (μίμησις) the common principle of the Arts of Poetry, Music, Dancing, Painting, and Sculpture. These Arts distinguished according to the Medium or material Vehicle, the Objects, and the Manner of Imitation. The Medium of Imitation is Rhythm, Language, and 'Harmony' (or Melody), taken singly or combined.
II. The Objects of Imitation.
Higher or lower types are represented in all the Imitative Arts. In Poetry this is the basis of the distinction between Tragedy and Comedy.
III. The Manner of Imitation.
Poetry may be in form either dramatic narrative, pure narrative (including lyric poetry), or pure drama. A digression follows on the name and original home of the Drama.
IV. The Origin and Development of Poetry.
Psychologically, Poetry may be traced to two causes, the instinct of Imitation, and the instinct of 'Harmony' and Rhythm.
Historically viewed, Poetry diverged early in two directions: traces of this twofold tendency are found in the Homeric poems: Tragedy and Comedy exhibit the distinction in a developed form.
The successive steps in the history of Tragedy are enumerated.
V. Definition of the Ludicrous (τὸ γελοῖον), and a brief sketch of the rise of Comedy. Points of comparison between Epic Poetry and Tragedy. (The chapter is fragmentary.)
VI. Definition of Tragedy. Six elements in Tragedy: three external, —namely, Scenic Presentment (ὁ τῆς ὄψεως κόσμος or ὄψις), Lyrical Song (μελοποιία); three internal,— namely, Plot (μῦθος), Character (ἦθος), and Thought (διάνοια). Plot, or the representation of the action, is of primary importance; Character and Thought come next in order.
VII. The Plot must be a Whole, complete in itself, and of adequate magnitude.
VIII. The Plot must be a Unity. Unity of Plot consists not in Unity of Hero, but in Unity of Action.
The parts must be organically connected.
IX. (Plot continued.) Dramatic Unity can be attained only by the observance of Poetic, as distinct from Historic Truth; for Poetry is an expression of the Universal, History of the Particular. The rule of probable or necessary sequence as applied to the incidents. Certain plots condemned for want of Unity.
The best Tragic effects depend on the combination of the Inevitable and the Unexpected.
X. (Plot continued.) Definitions of Simple (ἁπλοῖ) and Complex (πεπλεγμένοι) Plots.
XI. (Plot continued.) Reversal of the Situation (περιμέτεια), Recognition (ἀναγνώρισις), and Tragic or disastrous Incident (πάθος) defined and explained.
XII. The 'quantitative parts' (μέρη κατὰ τὸ ποσόν) of Tragedy defined:—Prologue, Episode, etc. (Probably an interpolation.)
XIII. (Plot continued.) What constitutes Tragic Action. The change of fortune and the character of the hero as requisite to an ideal Tragedy. The unhappy ending more truly tragic than the 'poetic justice' which is in favour with a popular audience, and belongs rather to Comedy.
XIV. (Plot continued.) The tragic emotions of pity and fear should spring out of the Plot itself. To produce them by the Scenery or Stage Spectacle is entirely against the spirit of Tragedy. Examples of Tragic Incidents designed to heighten the emotional effect.
XV. The element of Character (as the manifestation of moral purpose) in Tragedy. Requisites of ethical portraiture. The rule of necessity or probability applicable to Character as to Plot. The 'Deus ex Machina' (a passage out of place here). How Character is idealised.
XVI. (Plot continued.) Recognition: its various kinds, with examples.
XVII. Practical rules for the Tragic Poet:
(1) To place the scene before his eyes, and to act the parts himself in order to enter into vivid sympathy with the
dramatis personae.
(2) To sketch the bare outline of the action before proceeding
to fill in the episodes.
The Episodes of Tragedy are here incidentally contrasted
with those of Epic Poetry.
XVIII. Further rules for the Tragic Poet:
(1) To be careful about the Complication () and Dénuement () of the Plot; especially the Dénouement.
(2) To unite, if possible, varied forms of poetic excellence.
(3) Not to overcharge a Tragedy with details appropriate
to Epic Poetry.
(4) To make the Choral Odes—like the Dialogue—an organic
part of the whole.
XIX. Thought (), or the Intellectual element, and Diction in
Tragedy.
Thought is revealed in the dramatic speeches
composed according to the rules of Rhetoric.
Diction falls largely within the domain of the Art of
Delivery, rather than of Poetry.
XX. Diction, or Language in general. An analysis of the parts of speech, and other grammatical details. (Probably interpolated.)
XXI. Poetic Diction. The words and modes of speech admissible
in Poetry : including Metaphor, in particular.
A passage probably interpolated on the Gender of Nouns.
XXII. (Poetic Diction continued.) How Poetry combines elevation of
language with perspicuity.
XXIII. Epic Poetry. It agrees with Tragedy in Unity of Action: herein
contrasted with History.
XXIV. (Epic Poetry continued.) Further points of agreement with
Tragedy. The points of difference are enumerated and illustrated,
namely, (1) the length of the poem ; (2) the metre;
(3) the art of imparting a plausible air to incredible fiction.
XXV. Critical Objections brought against Poetry, and the principles on which they are to be answered. In particular, an elucidation of the meaning of Poetic Truth, and its difference from common reality.
XXVI. A general estimate of the comparative worth of Epic Poetry and Tragedy. The alleged defects of Tragedy are not essential to it. Its positive merits entitle it to the higher rank of the two.