342 Aristotle's treatise on poetry. least, be confined to such as are without the Tragedy itself; as in the (Edipus of Sophocles. Since Tragedy is an imitation of what is best, we should follow the example of skilful portrait-painters ; who, while they express the pecu- liar lineaments, and produce a likeness, at the same time improve upon the original. And thus, too, the poet, when he imitates the manners of passionate or indolent men, or any others of a similar kind, should repre- sent them under a favourable aspect; as Achilles is drawn by Agathon, and by Homer. These things the poet should keep in view : and, be- sides these, whatever relates to those senses which have a necessary connexion with poetry : for here, also, he may often err. But of this enough has been said in the treatises ah'eady published. Cap. XIX. Of the other subjects enough has now been said. We are next to and 3.^i"- ^ Consider the diction and the sentiments (Scavotas). For what concerns the sentiments, we refer to the principles laid down in the books on Rhetoric; for to that subject they more properly belong. The sentiments include whatever is the object of speech; as, for instance, to prove, to refute, to move the passions — pity, terror, anger, and the like; to amplify, or to diminish. But it is evident, that, with respect to the things themselves also, when the poet would make them appear pitiable, or terrible, or great, or probable, he must draw from the same sources; with this difference only, that in the drama these things must appear to be such, without being shown to be such; whereas in oratory, they must be made to appear so by the speaker, and in con- sequence of what he says; otherwise, what need of an orator, if they already appear so, in themselves, and not by reason of his eloquence ? With respect to diction, one mode of considering the subject is that which treats of the figures of speech; such as commanding, en- treating, relating, menacing, interrogating, answering, and the like. But this belongs properly to the art of acting, and to the professed masters of that kind. The poet^s knowledge or ignorance of these things cannot any way materially affect the credit of his art. For who will suppose there is any justice in the cavil of Protagoras, that in the words, "The wrath, O goddess, sing," the poet, where he intended a prayer, had expressed a command ? for he insists, that to say, do this, or do it not, is to command. This subject, therefore, we pass over as be- longing to an art distinct from that of poetry. r* * -;:- -js- * n Cap. XX. L J 1 The whole of this chapter, which consists of clumsy, grammatical definitions, is a scholium which has got into the text. As it is by no means a good specimen of the kind, it may safely be neglected by any student of Aristotle, and is therefore omitted here.— J. W. D.
