Poetics by Aristotle (reading rainbow books .TXT) ๐
But most important of all is the structure of the incidents. For Tragedy is an imitation, not of men, but of an action and of life, and life consists in action, and its end is a mode of action, not a quality. Now character determines men's qualities, but it is by their actions that they are happy or the reverse. Dramatic action, therefore, is not with a view to the representation of character: character comes in as subsidiary to the actions. Hence the incidents and the plot are the end of a tragedy; and the end is the chief thing of all. Again, without action there cannot be a tragedy; there may be without character. The tragedies of most of
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succeeded by Tragedians, since the drama was a larger and higher form of
art.
Whether Tragedy has as yet perfected its proper types or not; and whether
it is to be judged in itself, or in relation also to the audience,โthis
raises another question. Be that as it may, Tragedyโas also Comedy โ
was at first mere improvisation. The one originated with the authors of
the Dithyramb, the other with those of the phallic songs, which are still
in use in many of our cities. Tragedy advanced by slow degrees; each new
element that showed itself was in turn developed. Having passed through
many changes, it found its natural form, and there it stopped.
Aeschylus first introduced a second actor; he diminished the importance
of the Chorus, and assigned the leading part to the dialogue. Sophocles
raised the number of actors to three, and added scene-painting. Moreover,
it was not till late that the short plot was discarded for one of greater
compass, and the grotesque diction of the earlier satyric form for the
stately manner of Tragedy. The iambic measure then replaced the trochaic
tetrameter, which was originally employed when the poetry was of the
Satyric order, and had greater affinities with dancing. Once dialogue had
come in, Nature herself discovered the appropriate measure. For the
iambic is, of all measures, the most colloquial: we see it in the fact
that conversational speech runs into iambic lines more frequently than
into any other kind of verse; rarely into hexameters, and only when we
drop the colloquial intonation. The additions to the number of โepisodesโ
or acts, and the other accessories of which tradition; tells, must be
taken as already described; for to discuss them in detail would,
doubtless, be a large undertaking.
VComedy is, as we have said, an imitation of characters of a lower type,
not, however, in the full sense of the word bad, the Ludicrous being
merely a subdivision of the ugly. It consists in some defect or ugliness
which is not painful or destructive. To take an obvious example, the
comic mask is ugly and distorted, but does not imply pain.
The successive changes through which Tragedy passed, and the authors of
these changes, are well known, whereas Comedy has had no history, because
it was not at first treated seriously. It was late before the Archon
granted a comic chorus to a poet; the performers were till then
voluntary. Comedy had already taken definite shape when comic poets,
distinctively so called, are heard of. Who furnished it with masks, or
prologues, or increased the number of actors,โthese and other similar
details remain unknown. As for the plot, it came originally from Sicily;
but of Athenian writers Crates was the first who, abandoning the โiambicโ
or lampooning form, generalised his themes and plots.
Epic poetry agrees with Tragedy in so far as it is an imitation in verse
of characters of a higher type. They differ, in that Epic poetry admits
but one kind of metre, and is narrative in form. They differ, again, in
their length: for Tragedy endeavours, as far as possible, to confine
itself to a single revolution of the sun, or but slightly to exceed this
limit; whereas the Epic action has no limits of time. This, then, is a
second point of difference; though at first the same freedom was admitted
in Tragedy as in Epic poetry.
Of their constituent parts some are common to both, some peculiar to
Tragedy, whoever, therefore, knows what is good or bad Tragedy, knows
also about Epic poetry. All the elements of an Epic poem are found in
Tragedy, but the elements of a Tragedy are not all found in the Epic
poem.
VIOf the poetry which imitates in hexameter verse, and of Comedy, we will
speak hereafter. Let us now discuss Tragedy, resuming its formal
definition, as resulting from what has been already said.
Tragedy, then, is an imitation of an action that is serious, complete,
and of a certain magnitude; in language embellished with each kind of
artistic ornament, the several kinds being found in separate parts of the
play; in the form of action, not of narrative; through pity and fear
effecting the proper purgation of these emotions. By โlanguage
embellished,โ I mean language into which rhythm, โharmony,โ and song
enter. By โthe several kinds in separate parts,โ I mean, that some parts
are rendered through the medium of verse alone, others again with the aid
of song.
Now as tragic imitation implies persons acting, it necessarily follows,
in the first place, that Spectacular equipment will be a part of Tragedy.
Next, Song and Diction, for these are the medium of imitation. By
โDictionโ I mean the mere metrical arrangement of the words: as for
โSong,โ it is a term whose sense every one understands.
Again, Tragedy is the imitation of an action; and an action implies
personal agents, who necessarily possess certain distinctive qualities
both of character and thought; for it is by these that we qualify actions
themselves, and theseโthought and characterโare the two natural causes
from which actions spring, and on actions again all success or failure
depends. Hence, the Plot is the imitation of the action: for by plot I
here mean the arrangement of the incidents. By Character I mean that in
virtue of which we ascribe certain qualities to the agents. Thought is
required wherever a statement is proved, or, it may be, a general truth
enunciated. Every Tragedy, therefore, must have six parts, which parts
determine its qualityโnamely, Plot, Character, Diction, Thought,
Spectacle, Song. Two of the parts constitute the medium of imitation, one
the manner, and three the objects of imitation. And these complete the
list. These elements have been employed, we may say, by the poets to a
man; in fact, every play contains Spectacular elements as well as
Character, Plot, Diction, Song, and Thought.
But most important of all is the structure of the incidents. For Tragedy
is an imitation, not of men, but of an action and of life, and life
consists in action, and its end is a mode of action, not a quality. Now
character determines menโs qualities, but it is by their actions that
they are happy or the reverse. Dramatic action, therefore, is not with a
view to the representation of character: character comes in as subsidiary
to the actions. Hence the incidents and the plot are the end of a
tragedy; and the end is the chief thing of all. Again, without action
there cannot be a tragedy; there may be without character. The tragedies
of most of our modern poets fail in the rendering of character; and of
poets in general this is often true. It is the same in painting; and here
lies the difference between Zeuxis and Polygnotus. Polygnotus delineates
character well: the style of Zeuxis is devoid of ethical quality. Again,
if you string together a set of speeches expressive of character, and
well finished in point of diction and thought, you will not produce the
essential tragic effect nearly so well as with a play which, however
deficient in these respects, yet has a plot and artistically constructed
incidents. Besides which, the most powerful elements of emotional:
interest in Tragedy Peripeteia or Reversal of the Situation, and
Recognition scenesโare parts of the plot. A further proof is, that
novices in the art attain to finish: of diction and precision of
portraiture before they can construct the plot. It is the same with
almost all the early poets.
The Plot, then, is the first principle, and, as it were, the soul of a
tragedy: Character holds the second place. A similar fact is seen in
painting. The most beautiful colours, laid on confusedly, will not give
as much pleasure as the chalk outline of a portrait. Thus Tragedy is the
imitation of an action, and of the agents mainly with a view to the
action.
Third in order is Thought,โthat is, the faculty of saying what is
possible and pertinent in given circumstances. In the case of oratory,
this is the function of the Political art and of the art of rhetoric: and
so indeed the older poets make their characters speak the language of
civic life; the poets of our time, the language of the rhetoricians.
Character is that which reveals moral purpose, showing what kind of
things a man chooses or avoids. Speeches, therefore, which do not make
this manifest, or in which the speaker does not choose or avoid anything
whatever, are not expressive of character. Thought, on the other hand, is
found where something is proved to be. or not to be, or a general maxim
is enunciated.
Fourth among the elements enumerated comes Diction; by which I mean, as
has been already said, the expression of the meaning in words; and its
essence is the same both in verse and prose.
Of the remaining elements Song holds the chief place among the
embellishments.
The Spectacle has, indeed, an emotional attraction of its own, but, of
all the parts, it is the least artistic, and connected least with the art
of poetry. For the power of Tragedy, we may be sure, is felt even apart
from representation and actors. Besides, the production of spectacular
effects depends more on the art of the stage machinist than on that of
the poet.
VIIThese principles being established, let us now discuss the proper
structure of the Plot, since this is the first and most important thing
in Tragedy.
Now, according to our definition, Tragedy is an imitation of an action
that is complete, and whole, and of a certain magnitude; for there may be
a whole that is wanting in magnitude. A whole is that which has a
beginning, a middle, and an end. A beginning is that which does not
itself follow anything by causal necessity, but after which something
naturally is or comes to be. An end, on the contrary, is that which
itself naturally follows some other thing, either by necessity, or as a
rule, but has nothing following it. A middle is that which follows
something as some other thing follows it. A well constructed plot,
therefore, must neither begin nor end at haphazard, but conform to these
principles.
Again, a beautiful object, whether it be a living organism or any whole
composed of parts, must not only have an orderly arrangement of parts,
but must also be of a certain magnitude; for beauty depends on magnitude
and order. Hence a very small animal organism cannot be beautiful; for
the view of it is confused, the object being seen in an almost
imperceptible moment of time. Nor, again, can one of vast size be
beautiful; for as the eye cannot take it all in at once, the unity and
sense of the whole is lost for the spectator; as for instance if there
were one a thousand miles long. As, therefore, in the case of animate
bodies and organisms a certain magnitude is necessary, and a magnitude
which may be easily embraced in one view; so in the plot, a certain
length is necessary, and a length which can be easily embraced by the
memory. The limit of length in relation to dramatic competition and
sensuous presentment, is no part of artistic theory. For had it been the
rule for a hundred tragedies to compete together, the performance would
have been regulated by the water-clock,โas indeed we are told was
formerly done. But the limit as fixed by the nature of the drama itself
is this: the greater the length, the more beautiful will the piece be by
reason of its size, provided that the whole be perspicuous. And to define
the matter roughly, we may say that the proper magnitude is comprised
within such limits, that the
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