Chapter 21 of 26

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.

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All 26 chapters — click to jump
  1. Chapter 1The foundational claim: all the arts are modes of imitation, differing in medium, object, and manner. Aristotle surveys flute...
  2. Chapter 2The objects of imitation are always people in action — but of higher or lower moral type. Tragedy imitates the better; comedy the...
  3. Chapter 3The third dimension of difference: narrative versus dramatic manner. Homer narrates; Sophocles presents characters directly in...
  4. Chapter 4Two instincts — imitation and harmony — gave rise to all poetry. Aristotle traces the historical development from improvisation to...
  5. Chapter 5Comedy imitates inferior but non-wicked types; the ludicrous is the painless ugly. Epic agrees with tragedy in elevated characters...
  6. Chapter 6The famous definition: tragedy is the imitation of a serious, complete action of a certain magnitude, accomplishing through pity...
  7. 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...
  8. 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...
  9. Chapter 9Poetry is more philosophical than history because it tells not what happened but what could happen — the universal rather than the...
  10. Chapter 10Plots are either simple — continuous change without reversal or recognition — or complex, where the change is accompanied by...
  11. Chapter 11Reversal: the action veers to its opposite. Recognition: ignorance gives way to knowledge. In Oedipus both happen in the same...
  12. Chapter 12The quantitative parts of a tragedy: prologue, parode, episode, stasimon, exode, and (sometimes) kommos. A technical anatomy of...
  13. Chapter 13The tragic protagonist must be intermediate — not wholly good, not wicked — falling through hamartia (error or misjudgment) rather...
  14. Chapter 14Pity and fear produced from the plot itself are better than those produced by spectacle. The worst deeds involve enemies harming...
  15. Chapter 15Four rules for tragic character: good, appropriate to type, realistic, consistent. Character, like plot, must follow necessity or...
  16. Chapter 16Six forms of recognition, from recognition by tokens (least artistic) to recognition arising from the incidents themselves (best)....
  17. Chapter 17Three practical rules: visualise the scene before writing; work with gesture as you compose; sketch the general outline before...
  18. Chapter 18Every tragedy has complication and unraveling. Four kinds of tragedy: complex, pathetic, ethical, spectacular. A tragedy should...
  19. Chapter 19Two paragraphs pointing toward what remains. Thought (the ability to say what is pertinent and possible in given circumstances) is...
  20. Chapter 20The elements of language from letter to sentence: letter, syllable, connecting word, noun, verb, inflexion, sentence. The most...
  21. Chapter 21The taxonomy of poetic words: current, strange, metaphorical, coined, lengthened, contracted, altered. Metaphor receives the...
  22. Chapter 22Clear without being mean: the standard for poetic diction. Strange words, metaphors, and compound words provide elevation; current...
  23. Chapter 23Epic must have a single action — whole, complete, unified — not the whole Trojan War but one action within it. Homer grasped this...
  24. Chapter 24Epic's special capacity: simultaneous actions and more room for the wonderful. Homer alone understood the epic poet's proper role...
  25. Chapter 25Five sources of critical objection to poetry — the impossible, the irrational, the morally harmful, the contradictory, the...
  26. 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...

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