Parts of language
A technical chapter on the elements of language: letter, syllable, connecting word, noun, verb, inflexion, sentence. The most granular analysis in the Poetics.
Summary
Language in general includes: the Letter (an indivisible sound capable of forming part of a group of sounds — not every indivisible sound, only those usable in combination), the Syllable (a non-significant sound composed of a mute and a vowel), the Connecting word (a non-significant sound that enables the union of significant sounds), the Noun (a composite significant sound without temporal marking), the Verb (a composite significant sound with temporal marking), the Inflexion (the modification of noun or verb for case, number, or mode of delivery), and the Sentence or Phrase (a composite significant sound of which some parts are themselves significant).
Letters divide into vowels (audible alone), semivowels (audible only with another sound), and mutes (not audible alone, requiring a vowel to become audible). The investigation of specific differences among letters — how the tongue, lips, and breath are used — belongs to metrics and phonology rather than to poetics. Syllables are non-significant and combine a mute with a vowel. Connecting words neither cause nor hinder the union of significant sounds; they can appear at either end or in the middle of a sentence. A noun is significant but does not mark time — "man" or "white" says nothing about when.
A verb marks time: "he walks" implies a present moment, "he walked" a past. Inflexion belongs both to nouns and verbs and marks relations (cases in nouns), number (singular/plural), and mode. A sentence is the final unit: a composite significant sound whose parts are at least partly significant. A definition of man (a rational animal) consists of significant parts, even if it is not built from verbs and nouns. This grammatical taxonomy underpins the analysis of diction that follows in the next two chapters.
- Chapter 1The foundational claim: all the arts are modes of imitation, differing in medium, object, and manner. Aristotle surveys flute...
- Chapter 2The objects of imitation are always people in action — but of higher or lower moral type. Tragedy imitates the better; comedy the...
- Chapter 3The third dimension of difference: narrative versus dramatic manner. Homer narrates; Sophocles presents characters directly in...
- Chapter 4Two instincts — imitation and harmony — gave rise to all poetry. Aristotle traces the historical development from improvisation to...
- Chapter 5Comedy imitates inferior but non-wicked types; the ludicrous is the painless ugly. Epic agrees with tragedy in elevated characters...
- Chapter 6The famous definition: tragedy is the imitation of a serious, complete action of a certain magnitude, accomplishing through pity...
- Chapter 7A plot must be a complete whole with beginning, middle, and end — and of a certain magnitude: not so small it cannot be perceived...
- Chapter 8One paragraph, a single correction: unity of plot is not unity of hero. Homer told not the life of Achilles but one action within...
- Chapter 9Poetry is more philosophical than history because it tells not what happened but what could happen — the universal rather than the...
- Chapter 10Plots are either simple — continuous change without reversal or recognition — or complex, where the change is accompanied by...
- Chapter 11Reversal: the action veers to its opposite. Recognition: ignorance gives way to knowledge. In Oedipus both happen in the same...
- Chapter 12The quantitative parts of a tragedy: prologue, parode, episode, stasimon, exode, and (sometimes) kommos. A technical anatomy of...
- Chapter 13The tragic protagonist must be intermediate — not wholly good, not wicked — falling through hamartia (error or misjudgment) rather...
- Chapter 14Pity and fear produced from the plot itself are better than those produced by spectacle. The worst deeds involve enemies harming...
- Chapter 15Four rules for tragic character: good, appropriate to type, realistic, consistent. Character, like plot, must follow necessity or...
- Chapter 16Six forms of recognition, from recognition by tokens (least artistic) to recognition arising from the incidents themselves (best)....
- Chapter 17Three practical rules: visualise the scene before writing; work with gesture as you compose; sketch the general outline before...
- Chapter 18Every tragedy has complication and unraveling. Four kinds of tragedy: complex, pathetic, ethical, spectacular. A tragedy should...
- Chapter 19Two paragraphs pointing toward what remains. Thought (the ability to say what is pertinent and possible in given circumstances) is...
- Chapter 20The elements of language from letter to sentence: letter, syllable, connecting word, noun, verb, inflexion, sentence. The most...
- Chapter 21The taxonomy of poetic words: current, strange, metaphorical, coined, lengthened, contracted, altered. Metaphor receives the...
- Chapter 22Clear without being mean: the standard for poetic diction. Strange words, metaphors, and compound words provide elevation; current...
- Chapter 23Epic must have a single action — whole, complete, unified — not the whole Trojan War but one action within it. Homer grasped this...
- Chapter 24Epic's special capacity: simultaneous actions and more room for the wonderful. Homer alone understood the epic poet's proper role...
- Chapter 25Five sources of critical objection to poetry — the impossible, the irrational, the morally harmful, the contradictory, the...
- Chapter 26The final verdict: tragedy is the superior form. It has all the elements of epic plus music and spectacle; it is more unified and...