Θέσις, ἢ ἀπ' ἀρχῆς μέχρι τούτου τοῦ μέρους ὃ ἔσχατόν ἐστιν, μεταβαίνει εἰς εὐτυχίαν.

νύσις, ἡ ἀπὸ τῆς ἀρχῆς τῆς μεταβάσεως μέχρι τέλους.

r kinds of tragedy: 1. πεπλεγμένη, ἧς τὸ ὅλον ἐστὶ περικαὶ ἀναγνώρισις. 2. παθητική· οἷον, οἵ τε Αἴαντες, καὶ νες. 3. ἠθική· οἷον, αἱ Φθιώτιδες και ὁ Πηλεύς. 4. οἷον, Ξόρκιδες καὶ Προμηθεὺς, καὶ ὅσα ἐν ᾅδῃ, with all which the hould be more or less acquainted, for the public now excellence in all the different kinds.

Tragedies are the same or different, not according to the t, but the δέσις and λύσις. Many poets complicate well, -velope badly.]

We must be careful μὴ ποιεῖν ἐποποιΐκον (i. e. πολύ) σύστημα τραγωδίαν.

Moreover, the chorus must be considered as one of the s of the drama, and be a part of the whole, not arbi- introduced.

X. The διανοία has been treated of in the Rhetoric, and les τό, τε ἀποδεικνύναι, καὶ τὸ λύειν, καὶ τὸ πάθη παρασκευ

οἷον, ἔλεον, ἢ φόβον, ἢ ὀργὴν, καὶ ὅσα τοιαῦτα, καὶ ἔτι ως, καὶ σμικρότητα. The poet must therefore draw from came sources as the orator, except that in the drama 3 must appear to be such ἄνευ διδασκαλίας, τὰ δὲ ἐν τῷ ὑπὸ τοῦ λέγοντος παρασκευάζεσθαι, καὶ παρὰ τὸν λόγον σθαι.

The figures of speech concern the actor, rather than the οἷον τί ἐντολὴ, καὶ τί εὐχὴ, καὶ διήγησις, καὶ ἀπειλὴ, καὶ σις, καὶ ἀπόκρισις, καὶ εἴ τι ἄλλο τοιοῦτον.

X. [This chapter is an useless scholium. The proper ons and definitions will be found in the Rhetoric.] XI. 1. A word is either ἁπλοῦν, ὁ μὴ ἐκ σημαινόντων ιται, or διπλοῦν, either ἐκ σημαίνοντος καὶ ἀσήμου, οἱ ἐκ ενόντων. The following are the different kinds.

Ι. κύριον, ᾧ χρῶνται ἕκαστοι.
ΙΙ. γλῶτταν, ᾧ ἕτεροι.

}

Sometimes the same word, in reference to different people, may be both. ΙΙΙ. μεταφορὰ, ὀνόματος ἀλλοτρίου ἐπιφορὰ, ἢ ἀπὸ γένους δος, ἢ ἀπὸ εἴδους ἐπὶ γένος· ἢ ἀπὸ εἴδους ἐπὶ εἶδος, ἢ κατὰ άλογον.

IV. πεποιημένον, ὃ ὅλως μὴ καλούμενον ὑπό τινων, αὐτὸς αι ὁ ποιητής.

10. ν. ἐπεκτεταμένον, ἐὰν φωνήεντι μακροτέρῳ κεχρημένον, ἡ τῷ οἰκείῳ, ἢ συλλαβῇ ἐμβεβλημένῃ.

νι. ἀφῃρημένον, ἂν ἀφῃρημένον ᾖ τι, ἢ αὐτοῦ, ἢ ἐμβεβλημένου. νιι. ἐξηλλαγμένον, ὅταν τοῦ ὀνομαζομένου, τὸ μὲν καταλείπῃ, τὸ δὲ ποιῇ.

[The remainder is both spurious and incorrect.] XXII.—1. The virtues of λέξις are,

σαφῆ εἶναι

ἐκ τῶν κυρίων ὀνομάτων.

και μὴ ταπεινήν.

and such will be ἡ τοῖς ξενικοὶς χρωμένη, i. e. γλώτταις, μεταφο ραῖς, καὶ πᾶσι τοῖς παρὰ τὸ κύριον. But too great a use of such words will produce an enigma or barbarism, for the very notion of an enigma is τὸ λέγοντα ὑπάρχοντα ἀδύνατα συνάψαι.

4. Both effects are produced by a judicious use of αἱ ἐπεκ· τάσεις καὶ ἀποκοπαὶ, καὶ ἐξαλλαγαὶ τῶν ὀνομάτων.

9. But a judicious use of metaphors is the greatest excel. lence of all, for it cannot be derived from another, and is a sign τῆς εὐφυΐας, τὸ γὰρ εὖ μεταφερειν, τὸ ὅμοιον θεωρεῖν ἐστι.

10. τὰ διπλᾶ are best suited to dithyrambs.

γλῶτται, to heroic verse.

μεταφοραὶ, to Iambic.

Iambic should

But heroic verse admits of all these kinds. approach as much as possible to the diction of common life. XXIII. In narrative and hexameter verse, the story ought to be dramatically constructed, as in tragedy, i. e. it should be περὶ μίαν πρᾶξιν ὅλην καὶ τελείαν, ἔχουσαν ἀρχὴν καὶ μέσον καὶ τέλος, ἵν', ὥσπερ ζῶον ἓν ὅλον, ποιῇ τὴν οἰκείαν ἡδονὴν, differing from history, which treats of events of one time, not of one action.

3. Hence the excellent management of Homer in not attempting to bring the whole war into his poem, but only taking one part, filling it out with episodes.

XXIV. The epic poem snould also agree with the tragic as to its kinds [simple or complicated, moral or disastrous?]. Its parts are also the same, except μελοποιΐα and ὄψις, for it must have περιπετείαι, ἀναγνωρίσεις, παθήματα, διανοίαι, and

λέξις, suitably arranged, as in Homer, ἡ μὲν Ιλιάς, ἁπλοῦν καὶ παθητικόν· ἡ δὲ Οδύσσεια, πεπλεγμένον. ἀναγνώρισις γὰρ διόλοι καὶ ἠθική. πρὸς δὲ τούτοις λέξει καὶ διανοίᾳ πάντας ὑπερβεβληκε. 3. It also differs in length.

4. For it has the advantage of being extended by narrative of many simultaneous actions, which increase the ὄγκος τοῖ ποιήματος, and also by different episodes.

5. Heroic is the established metre of narrative poetry, for it is στασιμώτατον καὶ ὀγκωδέστατον, but the Iambic and Trochaic κινητικὰ, τὸ μὲν, ὀρχηστικόν, τὸ δὲ, πρακτικόν.

6. A mixture of these metres is absurd.

7. Like Homer, the poet should know when it is fitting for him to speak in person.

8. The θαυμαστὸν is necessary in tragedy, but in epopee even τὸ ἄλογον is admitted, which is most wonderful, διὰ το μὴ ὁρᾷν εἰς τὸν πράττοντα.

9. And Homer has chiefly taught other poets ψευδῆ λέγειν ὡς δεῖ, which is by a παραλογισμός on the part of the hearer.

10. And the poet should prefer αδύνατα καὶ εἰκότα, μᾶλλον ἢ δυνατὰ καὶ ἀπίθανα· τούς τε λόγους μὴ συνίστασθαι ἐκ μερῶν ἀλόγων, ἀλλὰ μάλιστα μὲν μηδὲν ἔχειν ἄλογον· εἰ δὲ μὴ, ἔξω τοῦ μυθεύματος, as dipus ignorance as to the manner of Laius' death.

11. And the diction should be most studied in the idle parts of the poem, where there are neither manners nor sentiment. For these latter are obscured by over-fine diction. XXV. and XXVI. [Very doubtful. As these two chap ters are quite unintelligible, except in reference to the examples quoted, it is of little use to analyse them.]

THE END.

Agatho, remark of, 163; lines from, Anomalies, an element of the en-