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POETICS
by Aristotle
Translated by S。 H。 Butcher
POETICS｜1
I
I PROPOSE to treat of Poetry in itself and of its various kinds；
noting the essential quality of each； to inquire into the structure of
the plot as requisite to a good poem； into the number and nature of
the parts of which a poem is composed； and similarly into whatever
else falls within the same inquiry。 Following； then； the order of
nature； let us begin with the principles which come first。
Epic poetry and Tragedy； Comedy also and Dithyrambic poetry； and the
music of the flute and of the lyre in most of their forms； are all
in their general conception modes of imitation。 They differ；
however； from one another in three respects… the medium； the
objects； the manner or mode of imitation； being in each case distinct。
For as there are persons who； by conscious art or mere habit；
imitate and represent various objects through the medium of color
and form； or again by the voice； so in the arts above mentioned； taken
as a whole； the imitation is produced by rhythm； language； or
'harmony；' either singly or combined。
Thus in the music of the flute and of the lyre； 'harmony' and rhythm
alone are employed； also in other arts； such as that of the shepherd's
pipe； which are essentially similar to these。 In dancing； rhythm alone
is used without 'harmony'； for even dancing imitates character；
emotion； and action； by rhythmical movement。
There is another art which imitates by means of language alone；
and that either in prose or verse… which verse； again； may either
combine different meters or consist of but one kind… but this has
hitherto been without a name。 For there is no common term we could
apply to the mimes of Sophron and Xenarchus and the Socratic dialogues
on the one hand； and； on the other； to poetic imitations in iambic；
elegiac； or any similar meter。 People do； indeed； add the word 'maker'
or 'poet' to the name of the meter； and speak of elegiac poets； or
epic （that is； hexameter） poets； as if it were not the imitation
that makes the poet； but the verse that entitles them all to the name。
Even when a treatise on medicine or natural science is brought out
in verse； the name of poet is by custom given to the author； and yet
Homer and Empedocles have nothing in common but the meter； so that
it would be right to call the one poet； the other physicist rather
than poet。 On the same principle； even if a writer in his poetic
imitation were to combine all meters； as Chaeremon did in his Centaur；
which is a medley composed of meters of all kinds； we should bring him
too under the general term poet。
So much then for these distinctions。
There are； again； some arts which employ all the means above
mentioned… namely； rhythm； tune； and meter。 Such are Dithyrambic and
Nomic poetry； and also Tragedy and Comedy； but between them originally
the difference is； that in the first two cases these means are all
employed in combination； in the latter； now one means is employed； now
another。
Such； then； are the differences of the arts with respect to the
medium of imitation
POETICS｜2
II
Since the objects of imitation are men in action； and these men must
be either of a higher or a lower type （for moral character mainly
answers to these divisions； goodness and badness being the
distinguishing marks of moral differences）； it follows that we must
represent men either as better than in real life； or as worse； or as
they are。 It is the same in painting。 Polygnotus depicted men as
nobler than they are； Pauson as less noble； Dionysius drew them true
to life。
Now it is evident that each of the modes of imitation above
mentioned will exhibit these differences； and become a distinct kind
in imitating objects that are thus distinct。 Such diversities may be
found even in dancing； flute…playing； and lyre…playing。 So again in
language； whether prose or verse unaccompanied by music。 Homer； for
example； makes men better than they are； Cleophon as they are； Hegemon
the Thasian； the inventor of parodies； and Nicochares； the author of
the Deiliad； worse than they are。 The same thing holds good of
Dithyrambs and Nomes； here too one may portray different types； as
Timotheus and Philoxenus differed in representing their Cyclopes。
The same distinction marks off Tragedy from Comedy； for Comedy aims at
representing men as worse； Tragedy as better than in actual life。
POETICS｜3
III
There is still a third difference… the manner in which each of these
objects may be imitated。 For the medium being the same； and the
objects the same； the poet may imitate by narration… in which case
he can either take another personality as Homer does； or speak in
his own person； unchanged… or he may present all his characters as
living and moving before us。
These； then； as we said at the beginning； are the three
differences which distinguish artistic imitation… the medium； the
objects； and the manner。 So that from one point of view； Sophocles
is an imitator of the same kind as Homer… for both imitate higher
types of character； from another point of view； of the same kind as
Aristophanes… for both imitate persons acting and doing。 Hence； some
say； the name of 'drama' is given to such poems； as representing
action。 For the same reason the Dorians claim the invention both of
Tragedy and Comedy。 The claim to Comedy is put forward by the
Megarians… not only by those of Greece proper； who allege that it
originated under their democracy； but also by the Megarians of Sicily；
for the poet Epicharmus； who is much earlier than Chionides and
Magnes； belonged to that country。 Tragedy too is claimed by certain
Dorians of the Peloponnese。 In each case they appeal to the evidence
of language。 The outlying villages； they say； are by them called
komai； by the Athenians demoi： and they assume that comedians were
so named not from komazein； 'to revel；' but because they wandered from
village to village （kata komas）； being excluded contemptuously from
the city。 They add also that the Dorian word for 'doing' is dran；
and the Athenian； prattein。
This may suffice as to the number and nature of the various modes of
imitation。
POETICS｜4
IV
Poetry in general seems to have sprung from two causes； each of them
lying deep in our nature。 First； the instinct of imitation is
implanted in man from childhood； one difference between him and
other animals being that he is the most imitative of living creatures；
and through imitation learns his earliest lessons； and no less
universal is the pleasure felt in things imitated。 We have evidence of
this in the facts of experience