32
The censures they bring are of five kinds; that things are either impossible or irrational or harmful or inconsistent or contrary to artistic correctness. The solutions must be studied under the heads specified above, twelve in number.i.e., any expression that is criticized should be considered with reference to (1) things as they were; (2) things as thy are; (3) things as they are said to be; (4) things as they seem to be; (5) things as they ought to be. Further, we should consider whether (6) a rare word or (7) a metaphor is used; what is the right (8) accent and (9) punctuation; also where there may be (10) ambiguity and what is (11) the habitual use of the phrase; also we may refer to (12) the proper standard of correctness in poetry as distinct from other arts.
1
The question may be raised whether the epic or the tragic form of representation is the better.
2
If the better is the less vulgar and the less vulgar is always that which appeals to the better audience, then obviously the art which makes its appeal to everybody is eminently vulgar.Aristotle first states the popular condemnation of tragedy on the ground that it can be and often is spoilt by the stupid vulgarity of actors. So might spectators of certain productions of Shakespeare in their haste condemn the poet. The refutation of this view begins at 6.
3
And indeed actors think the audience do not understand unless they put in something of their own, and so they strike all sorts of attitudes, as you see bad flute-players whirling about if they have to do the Discus, or mauling the leader of the chorus when they are playing the Scylla.Cf. Aristot. Poet. 15.8
4
So tragedy is something like what the older school of actors thought of their successors, for Mynniscus used to call Callippides the monkey, because he overacted, and the same was said of Pindarus.Mynniscus acted for Aeschylus: Callippides belonged to the next generation, end of fifth century. Pindarus is unknown.
