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to produce a cleanness 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：
Epicharen eidon Marathonade badizonta；
I saw Epichares walking to Marathon；
or；
ouk an g'eramenos ton ekeinou elleboron。
Not if you desire his hellebore。
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：
phagedaina d'he mou sarkas esthiei podos。
The tumor which is eating the flesh of my foot。
Euripides substitutes thoinatai； 'feasts on；' for esthiei； 'feeds on。'
Again； in the line；
nun de m'eon oligos te kai outidanos kai aeikes；
Yet a small man； worthless and unseemly；
the difference will be felt if we substitute the common words；
nun de m'eon mikros te kai asthenikos kai aeides。
Yet a little fellow； weak and ugly。
Or； if for the line；
diphron aeikelion katatheis oligen te trapezan；
Setting an unseemly couch and a meager table；
we read；
diphron mochtheron katatheis mikran te trapezan。
Setting a wretched couch and a puny table。
Or； for eiones booosin； 'the sea shores roar；' eiones krazousin；
'the sea shores screech。'
Again； Ariphrades ridiculed the tragedians for using phrases which
no one would employ in ordinary speech： for example； domaton apo；
'from the house away；' instead of apo domaton； 'away from the
house；' sethen； ego de nin； 'to thee； and I to him；' Achilleos peri；
'Achilles about；' instead of peri Achilleos； 'about Achilles；' 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 are the current or proper； the metaphorical； the ornamental。
Concerning Tragedy and imitation by means of action this may
suffice。
POETICS｜23
XXIII
As to that poetic imitation which is narrative in form and employs a
single meter； the plot manifestly ought； as in a tragedy； to be
constructed on dramatic principles。 It should have for its subject a
single action； whole and complete； with a beginning； a middle； and
an end。 It will thus resemble a living organism in all its unity；
and produce the pleasure proper to it。 It will differ in structure
from historical compositions； which of necessity present not a
single action； but a single period； and all that happened within
that period to one person or to many； little connected together as the
events may be。 For as the sea…fight at Salamis and the battle with the
Carthaginians in Sicily took place at the same time； but did not
tend to any one result； so in the sequence of events； one thing
sometimes follows another； and yet no single result is thereby
produced。 Such is the practice； we may say； of most poets。 Here again；
then； as has been already observed； the transcendent excellence of
Homer is manifest。 He never attempts to make the whole war of Troy the
subject of his poem； though that war had a beginning and an end。 It
would have been too vast a theme； and not easily embraced in a
single view。 If； again； he had kept it within moderate limits； it must
have been over…complicated by the variety of the incidents。 As it
is； he detaches a single portion； and admits as episodes many events
from the general story of the war… such as the Catalogue of the
ships and others… thus diversifying the poem。 All other poets take a
single hero； a single period； or an action single indeed； but with a
multiplicity of parts。 Thus did the author of the Cypria and of the
Little Iliad。 For this reason the Iliad and the Odyssey each furnish
the subject of one tragedy； or； at most； of two； while the Cypria
supplies materials for many； and the Little Iliad for eight… the Award
of the Arms； the Philoctetes； the Neoptolemus； the Eurypylus； the
Mendicant Odysseus； the Laconian Women； the Fall of Ilium； the
Departure of the Fleet。
POETICS｜24
XXIV
Again； Epic poetry must have as many kinds as Tragedy： it must be
simple； or complex； or 'ethical；'or 'pathetic。' The parts also； with
the exception of song and spectacle； are the same； for it requires
Reversals of the Situation； Recognitions； and Scenes of Suffering。
Moreover； the thoughts and the diction must be artistic。 In all
these respects Homer is our earliest and sufficient model。 Indeed each
of his poems has a twofold character。 The Iliad is at once simple
and 'pathetic；' and the Odyssey complex （for Recognition scenes run
through it）； and at the same time 'ethical。' Moreover； in diction
and thought they are supreme。
Epic poetry differs from Tragedy in the scale on which it is
constructed； and in its meter。 As regards scale or