Poetics by Aristotle (reading rainbow books .TXT) 📕

compound, those composed either of a significant and non-significant

element (though within the whole word no element is significant), or of

elements that are both significant. A word may likewise be triple,

quadruple, or multiple in form, like so many Massilian expressions, e.g.

‘Hermo-caico-xanthus who prayed to Father Zeus>.’

Every word is either current, or strange, or metaphorical, or ornamental,

or newly-coined, or lengthened, or contracted, or altered.

By a current or proper word I mean one which is in general use among a

people; by a strange word, one which is in use in another country.

Plainly, therefore, the same word may be at once strange and current, but

not in relation to the same people. The word {sigma iota gamma upsilon nu

omicron nu}, ‘lance,’ is to the Cyprians a current term but to us a

strange one.

Metaphor is the application of an alien name by transference either from

genus to species, or from species to genus, or from species to species,

or by analogy, that is, proportion. Thus from genus to species, as: ‘There

lies my ship’; for lying at anchor is a species of lying. From species to

genus, as: ‘Verily ten thousand noble deeds hath Odysseus wrought’; for

ten thousand is a species of large number, and is here used for a large

number generally. From species to species, as: ‘With blade of bronze drew

away the life,’ and ‘Cleft the water with the vessel of unyielding

bronze.’ Here {alpha rho upsilon rho alpha iota}, ‘to draw away,’ is used

for {tau alpha mu epsilon iota nu}, ‘to cleave,’ and {tau alpha mu

epsilon iota nu} again for {alpha rho upsilon alpha iota},—each being a

species of taking away. Analogy or proportion is when the second term is

to the first as the fourth to the third. We may then use the fourth for

the second, or the second for the fourth. Sometimes too we qualify the

metaphor by adding the term to which the proper word is relative. Thus

the cup is to Dionysus as the shield to Ares. The cup may, therefore, be

called ‘the shield of Dionysus,’ and the shield ‘the cup of Ares.’ Or,

again, as old age is to life, so is evening to day. Evening may therefore

be called ‘the old age of the day,’ and old age, ‘the evening of life,’

or, in the phrase of Empedocles, ‘life’s setting sun.’ For some of the

terms of the proportion there is at times no word in existence; still the

metaphor may be used. For instance, to scatter seed is called sowing: but

the action of the sun in scattering his rays is nameless. Still this

process bears to the sun the same relation as sowing to the seed. Hence

the expression of the poet ‘sowing the god-created light.’ There is

another way in which this kind of metaphor may be employed. We may apply

an alien term, and then deny of that term one of its proper attributes;

as if we were to call the shield, not ‘the cup of Ares,’ but ‘the

wineless cup.’

<An ornamental word …>

A newly-coined word is one which has never been even in local use, but is

adopted by the poet himself. Some such words there appear to be: as

{epsilon rho nu upsilon gamma epsilon sigma}, ‘sprouters,’ for {kappa

epsilon rho alpha tau alpha}, ‘horns,’ and {alpha rho eta tau eta rho},

‘supplicator,’ for {iota epsilon rho epsilon upsilon sigma}, ‘priest.’

A word is lengthened when its own vowel is exchanged for a longer one, or

when a syllable is inserted. A word is contracted when some part of it is

removed. Instances of lengthening are,—{pi omicron lambda eta omicron

sigma} for {pi omicron lambda epsilon omega sigma}, and {Pi eta lambda

eta iota alpha delta epsilon omega} for {Pi eta lambda epsilon iota delta

omicron upsilon}: of contraction,—{kappa rho iota}, {delta omega}, and

{omicron psi}, as in {mu iota alpha / gamma iota nu epsilon tau alpha

iota / alpha mu phi omicron tau episilon rho omega nu / omicron psi}.

An altered word is one in which part of the ordinary form is left

unchanged, and part is re-cast; as in {delta epsilon xi iota-tau epsilon

rho omicron nu / kappa alpha tau alpha / mu alpha zeta omicron nu},

{delta epsilon xi iota tau epsilon rho omicron nu} is for {delta epsilon

xi iota omicron nu}.

[Nouns in themselves are either masculine, feminine, or neuter. Masculine

are such as end in {nu}, {rho}, {sigma}, or in some letter compounded

with {sigma},—these being two, and {xi}. Feminine, such as end in vowels

that are always long, namely {eta} and {omega}, and—of vowels that admit

of lengthening—those in {alpha}. Thus the number of letters in which

nouns masculine and feminine end is the same; for {psi} and {xi} are

equivalent to endings in {sigma}. No noun ends in a mute or a vowel short

by nature. Three only end in {iota},—{mu eta lambda iota}, {kappa

omicron mu mu iota}, {pi epsilon pi epsilon rho iota}: five end in

{upsilon}. Neuter nouns end in these two latter vowels; also in {nu} and

{sigma}.]

The perfection of style is to be clear without being mean. The clearest

style is that which uses only current or proper words; at the same time

it is mean:—witness the poetry of Cleophon and of Sthenelus. That

diction, on the other hand, is lofty and raised above the commonplace

which employs unusual words. By unusual, I mean strange (or rare) words,

metaphorical, lengthened,—anything, in short, that differs from the

normal idiom. Yet a style wholly composed of such words is either a

riddle or a jargon; a riddle, if it consists of metaphors; a jargon, if

it consists of strange (or rare) words. For the essence of a riddle is to

express true facts under impossible combinations. Now this cannot be done

by any arrangement of ordinary words, but by the use of metaphor it can.

Such is the riddle:—‘A man I saw who on another man had glued the bronze

by aid of fire,’ and others of the same kind. A diction that is made up

of strange (or rare) terms is a jargon. A certain infusion, therefore, of

these elements is necessary to style; for the strange (or rare) word, the

metaphorical, the ornamental, and the other kinds above mentioned, will

raise it above the commonplace and mean, while the use of proper words

will make it perspicuous. But nothing contributes more to produce a

clearness of diction that is remote from commonness than the lengthening,

contraction, and alteration of words. For by deviating in exceptional

cases from the normal idiom, the language will gain distinction; while,

at the same time, the partial conformity with usage will give

perspicuity. The critics, therefore, are in error who censure these

licenses of speech, and hold the author up to ridicule. Thus Eucleides,

the elder, declared that it would be an easy matter to be a poet if you

might lengthen syllables at will. He caricatured the practice in the very

form of his diction, as in the verse: ‘{Epsilon pi iota chi alpha rho eta

nu / epsilon iota delta omicron nu / Mu alpha rho alpha theta omega nu

alpha delta epsilon / Beta alpha delta iota zeta omicron nu tau alpha},

or, {omicron upsilon kappa alpha nu gamma / epsilon rho alpha mu

epsilon nu omicron sigma / tau omicron nu / epsilon kappa epsilon iota nu

omicron upsilon /epsilon lambda lambda epsilon beta omicron rho omicron

nu}. To employ such license at all obtrusively is, no doubt, grotesque;

but in any mode of poetic diction there must be moderation. Even

metaphors, strange (or rare) words, or any similar forms of speech, would

produce the like effect if used without propriety and with the express

purpose of being ludicrous. How great a difference is made by the

appropriate use of lengthening, may be seen in Epic poetry by the

insertion of ordinary forms in the verse. So, again, if we take a strange

(or rare) word, a metaphor, or any similar mode of expression, and

replace it by the current or proper term, the truth of our observation

will be manifest. For example Aeschylus and Euripides each composed the

same iambic line. But the alteration of a single word by Euripides, who

employed the rarer term instead of the ordinary one, makes one verse

appear beautiful and the other trivial. Aeschylus in his Philoctetes

says: {Phi alpha gamma epsilon delta alpha iota nu alpha <delta> eta

mu omicron upsilon sigma alpha rho kappa alpha sigma / epsilon rho

theta iota epsilon iota / pi omicron delta omicron sigma}.

Euripides substitutes {Theta omicron iota nu alpha tau alpha iota}

‘feasts on’ for {epsilon sigma theta iota epsilon iota} ‘feeds on.’

Again, in the line, {nu upsilon nu delta epsilon mu /epsilon omega nu

/ omicron lambda iota gamma iota gamma upsilon sigma tau epsilon

kappa alpha iota / omicron upsilon tau iota delta alpha nu omicron sigma

kappa alpha iota alpha epsilon iota kappa eta sigma, the difference

will be felt if we substitute the common words, {nu upsilon nu / delta

epsilon mu epsilon omega nu mu iota kappa rho omicron sigma tau

epsilon kappa alpha iota alpha rho theta epsilon nu iota kappa

omicron sigma kappa alpha iota alpha epsilon iota delta gamma sigma}.

Or, if for the line, {delta iota phi rho omicron nu / alpha epsilon iota

kappa epsilon lambda iota omicron nu / kappa alpha tau alpha theta

epsilon iota sigma / omicron lambda iota gamma eta nu tau epsilon tau

rho alpha pi epsilon iota sigma omicron lambda iota gamma eta nu tau

epsilon / tau rho alpha pi epsilon zeta alpha nu),} We read, {delta iota

phi rho omicron nu mu omicron chi theta eta rho omicron nu kappa

alpha tau alpha theta epsilon iota sigma mu iota kappa rho alpha nu

tau epsilon / tau rho alpha pi epsilon zeta alpha nu}.

Or, for {eta iota omicron nu epsilon sigma / beta omicron omicron omega

rho iota nu, eta iota omicron nu epsilon sigma kappa rho alpha zeta

omicron upsilon rho iota nu}

Again, Ariphrades ridiculed the tragedians for using phrases which no one

would employ in ordinary speech: for example, {delta omega mu alpha tau

omega nu alpha pi omicron} instead of {alpha pi omicron delta omega

mu alpha tau omega nu}, {rho epsilon theta epsilon nu}, {epsilon gamma

omega delta epsilon nu iota nu}, {Alpha chi iota lambda lambda

epsilon omega sigma / pi epsilon rho iota} instead of (pi epsilon rho

iota / ‘Alpha chi iota lambda lambda epsilon omega sigma}, and the like.

It is precisely because such phrases are not part of the current idiom

that they give distinction to the style. This, however, he failed to see.

It is a great matter to observe propriety in these several modes of

expression, as also in compound words, strange (or rare) words, and so

forth. But the greatest thing by far is to have a command of metaphor.

This alone cannot be imparted by another; it is the mark of genius, for

to make good metaphors implies an eye for resemblances.

Of the various kinds of words, the compound are best adapted to

Dithyrambs, rare words to heroic poetry, metaphors to iambic. In heroic

poetry, indeed, all these varieties are serviceable. But in iambic verse,

which reproduces, as far as may be, familiar speech, the most appropriate

words are those which are found even in prose. These