Kinds of words
Words are simple or double. Current, strange, metaphorical, ornamental, coined, lengthened, contracted, altered. The chapter gives the taxonomy of poetic diction — with metaphor the most important.
Summary
Words are of two basic kinds: simple (composed of non-significant elements, like "earth") and double or compound (composed of a significant and non-significant element, or two significant elements). Every word available to the poet is one of eight types: current (in general use among the people), strange (in use in another region), metaphorical, ornamental, newly coined, lengthened, contracted, or altered.
A current word is in common use; a strange word is from another dialect or region. The same word may be simultaneously strange and current — strange in one context, current in another. Metaphor is the application of an alien name by transference: from genus to species ("my ship stands still" — a ship lying at anchor is an instance of standing still); from species to genus ("he has done ten thousand noble deeds" — ten thousand is a large species of number used for the genus of many); from species to species (two species share an attribute, and the name of each is used for the other); or by analogy (A relates to B as C relates to D, so A may be used where D is expected, or D where A is expected).
The proportional metaphor is the most developed: as old age is to life, so evening is to day — so one may call old age the evening of life or evening the old age of day. Aristotle gives other examples: as Dionysus is to wine-bowl, so Ares is to shield — "the shield of Ares" and "the wine-bowl of Dionysus" as metaphors. When one term of the proportion lacks an established word, the poet can supply an invented one. A newly coined word is one the poet has invented without any local use; a lengthened word has a vowel extended or a syllable added; a contracted word has a syllable removed; an altered word has part of its normal form replaced.
- 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...