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AUTHOR: 
 
 MOOR, JAMES 
 
 TITLE: 
 
 ON THE END OF 
 TRAGEDY ACCORDING 
 
 PLACE: 
 
 GLASGOW 
 
 DATE: 
 
 1763 
 
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 Moor, James, 1712-1779 • 
 
 On the end of tragedy according to Aristotle; an 
 essay, in two parts, read to a literary society | 
 in Glasgow ''^ ..---._._ ,«.„ I 
 
 43 p. 
 
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 O F 
 
 A G E D Y, 
 
 ACCORDING TO 
 
 ARISTOTLE^ 
 
 A N E S S A Y, 
 
 IN TWO PARTS; 
 
 \$'>i 
 
 READ TO A LITERARf SOCIETY IN GLASGOW, 
 
 AT THEIR WEEKLY MEETINGS WITHIN 
 
 THE COLLEGE. 
 
 #.,. 
 
 
 By JAMES MOOR LLD. Professor of Greek 
 
 * \v 
 
 IN THE UNIVERSITY OF Glasgow. 
 
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 GLASGOW, 
 
 miNTED BY ROBERT AND ANDREW TOULIS 
 PRINTERS TO THE UNIVERSITY 
 
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 ESSAY 
 
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 ON THE 
 
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 ^ I 
 
 
 N 
 
 O F 
 
 D 
 
 TRAGEDY, 
 
 ACCORDING TO 
 
 ARISTOTLE. 
 
 THERE is nothing in Criti- 
 cism more celebrated than Ari- 
 stotle's definition of Tragedy. Po- 
 ets, Critics, and Commentators, 
 
 \ave made it their particular stu- 
 Jy; and laboured to understand, 
 explain, and illustrate, those parts 
 of it which appear obscure, of 
 !ihese, they declare the last pare 
 of the definition to be, both the 
 most important of all, and, at 
 
 A 
 
2 END OF TRAGEDY, AS 
 
 the same time, the most difficult 
 to understand; that part, to wit, 
 in which Aristotle defines the 
 FINAL end of Tragedy, or the 
 effect it is intended to produce 
 on the audience, this pare of the 
 definition, in the Greek, is in these 
 words ; 
 
 c/a EAg« x) 4>oC5i TTiPcufHcrx ryp rav roi 
 
 that is, according to the Latin 
 translation of Victorius, 
 
 * per misericordiam et metum 
 
 * conficiens hujusmodi pcrturba- 
 ' tionum purgationem ;' 
 
 or, according to Dacier's French 
 translation, i 
 
 ' Tragedie — par le moyen de laj 
 ' Terreur, et de la CompassionJ 
 
 * acheve de purger en nous ces 
 
 * Poetic, vi. 2* 
 
 1 
 
 li 
 
 DEFINED BY ARISTOTLE. 3 ' 
 
 < sortes des passions, et toutes les 
 ' autres semblables.* 
 
 Now the difficulty which they 
 find here is, to explain in what 
 manner Tragedy, by exciting the 
 two passions of Terror and Pity, 
 at the same time refines and pu- 
 rifies them ; or, in what sense we 
 arc to understand that Tragedy 
 proposes to refine and purify 
 these two passions by the very 
 means of exciting them. Thus 
 says Dacier, 
 
 ' En premier lieu il faut voir, 
 ' comment la Tragedie peutpur- 
 ' ger la Terreur et la Compassi- 
 ' on, en les excitant.** 
 This he considers as the grand 
 difficulty, which none of the nu- 
 merous Critics before him had 
 been able to clear. 
 
 • Remarques p. 78. edit. Paris. 410. 1692. 
 
 A 2 
 
 '() 
 
4 END OF TRAGEDY, AS 
 
 , * Voicy; says he, * ce qu'il y a de 
 ' plus important dans la definiti- 
 ' on, et en meme temps, ce qu'il 
 ' y a de plus difficile, car tous les 
 ' efforts que les commentateurs 
 ' ont faits pour I'expliquer, ne 
 *servent qua I'obscurcir. on 
 
 * trouve chez eux plusieurs ex- 
 
 * plications difFerentes j il n'y a 
 
 * que la veritable que Ton n'y 
 ' scjauroittrouver*; then he pro- 
 ceeds to give this veritable expli- 
 cation : and no Critic since, so 
 far as I know, has called it in 
 question, or advanced any thino- 
 new on the subject, they seem 
 indeed, particularly the Abbe du 
 Bos, rather to take the thino- for 
 granted; without either attempt- 
 ing any explication of their own, 
 or adopting that given by Da- 
 
 * Ibid. p. 77. 
 
 ! 
 
 DEFINED BY ARIST^ 
 
 cier ; which is this : 
 
 ' voyons,'says he, 'present- n 
 
 ' comment la Tragedie excite en 
 
 * nous la Tcrreur et la Compas- 
 ' ^xon pour les purger*.' then, 
 after mentioning how it excites 
 these two passions, he subjoins, 
 that it purifies them by render- 
 ing the calamities which it exhi- 
 bits familiar to us ; and, by that 
 means, teaches us not to be too 
 much afraid of them, and not to 
 be too much affected when they 
 happen in real life. ' elle les purge, 
 
 * en nous rendant ces memes mal- 
 
 * heurs familiers ; car elle nous 
 
 * apprend par la a ne les pas trop 
 
 * craindre, et a n'en etre pas trop 
 ' touchez quand ils arrivent veri- 
 
 * tablement.' f 
 
 According to this account, 
 
 ♦ Ibid. pag. 78. t Ibid. p. 79. 
 
f 
 
 T) OF TRAGEDY, AS 
 
 m , of the design of Tragedy, 
 when, in the Oedipus Tyran- 
 Nus of Sophocles, Jocasta hangs 
 herself, and Oedipus, in the fren- 
 zy of horrour, tears out his own 
 eyes, the effect which the poet 
 intended, by this representation, 
 to work upon his audience, was, 
 to familiarize such accidents to 
 them, and prevent their being too 
 much affected when such things 
 happen in real life among them- 
 selves ; that is , not to be too 
 much affected, when, among 
 themselves, any one really hangs 
 himself, or tears out his eyes, and 
 when, at the theatre, we see Ca- 
 to fallen on his sword, the poet 
 proposes to teach us by that, not 
 to be too much affected when 
 any very worthy man among our- 
 selves is driven to stab himself. 
 
 1 
 
 I 
 
 1^ 
 
 DEFINED BY ARISTOTLE. J 
 
 But the absurdity of this ex- 
 plication is, I think, too manifest 
 to need being insisted on. no- 
 thing indeed can be more ridi- 
 culous, in my opinion, except 
 what he advances next, for, where- 
 as he sets out with professing to 
 shew how Tragedy purifies or 
 moderates our passions, by the 
 very means of exciting these pas- 
 sions ; he comes at last to con- 
 fess the very contrary; viz. that, 
 indeed, while one is at the the- 
 atre, and his passions raised by 
 the representation, tragedy can- 
 not THEN operate its effect of 
 purifying and refining them; but 
 only does it afterwards; when 
 he goes home, and cools, and be- 
 gins to reflect. ' il est vray,' says 
 he, ' et Aristote en convient, que, 
 ' dans ce moment, elle reveille ec 
 
3 END OF TRAGEDY, AS 
 
 * excite les passions. Mais Ari^ 
 ' stote r a considere dans le 
 
 * fond, et il en a juge par les ef- 
 
 * fees qu' elle produit, apres que 
 ' la representation est finie ♦, car 
 ' il est certain qu alors, tous les 
 ' mouvemens que 1' action avoit 
 
 * excitez etant ralentis, on est 
 ' naturellement dispose a profi- 
 
 ' ter &c. * ' 
 
 I should not have mentioned 
 this explication of Dacier's, as 
 it appears to me so ridiculous, 
 inconsistent, and contradictory, 
 had I met with any better expli- 
 cation of Aristotle's words. 
 
 The celebrated French poet 
 Corneille, who wrote himself so 
 many admired tragedies, could 
 never be reconciled to this noti- 
 on of the End proposed by Tra- 
 
 * Ibid. p. 80. 
 
 / 
 
 DEFINED BY ARISTOTLE. 9 
 
 gedy. he had long studied this 
 part of the definition, given by 
 Aristotle ; but could never un- 
 derstand how tragedy was to pu- 
 rify or correct the passions by ex- 
 citing them ; and therefore he 
 gave it up altogether, at last, as 
 a mcer ivbiin of Aristotle's, so 
 Dacier informs us. ' Ce qui a si 
 ' fort embarasse M. Corneille, 
 ' qu' apres une longue recherche, 
 •il doute si cette purgation dcs 
 ' passmis se fait dans les Trage- 
 ' dies meme qui ont toutes les 
 ' conditions que demande Ari- 
 * stote. J'ay h'len peiir, dit il, que 
 ' le ra'isonnement cie ce Thilosophe 
 ' stir ce point ne soit qiiunc belle 
 ' idee , qui nait jamais son cffet 
 ' dans la vcriti *. And I imagine 
 this explication of Dacier's, had 
 Corneille been alive to see it. 
 
 » Ibid. p. 77. 
 
 B 
 
I O END OF TRAGEDY, AS 
 
 would have contributed very lit- 
 tle to cure him of his scepticism 
 111 this point. Nor would he, I 
 fancy, have been at all better re- 
 conciled to Aristotle, by reading 
 that chapter of Du Bos, which 
 has for its title * ^/e les poeines 
 dramat'tques pur^ent les passions; 
 who does not, indeed, advance a- 
 ny thing ridiculous or inconsi- 
 ' stent, as Dacier has done, he a- 
 dopts this notion as long and 
 commonly received. ' on a dit,' 
 says he, 'dans tous les temps, que 
 ' la Tragcdie purgeoit les passi- 
 * ons.' he mentions one kind of 
 objection, that Tragedy cannot 
 be said to purify the passions, as 
 its aim and end is to excite themj 
 which he treats as trifling. 
 
 * Les ecrivains/ says he, ' qui 
 
 * Reflex. Critiq. part.i. feet. 45. Edit. Paris. 1 7 1 9. 
 
 DEFINED BY ARISTOTLE. I I 
 
 ne veulent pas comprendre com- 
 ment la Tragedie purge les pas- 
 sions, alleguent, pour justifier 
 leur sentiment, que le but dela 
 Traixedie est de les exciter, un 
 peu de reflexion leur auroit faic 
 trouver 1' eclaircissement de 
 cecte ombre de difficulte, s'ils a- 
 voient daigne le chercher.' 
 His answer to this is, that 
 Tragedy excites and cherishes 
 the good passions, but raises ab- 
 horrence at the vicious and wick- 
 ed passions. But he does not at 
 all touch on the chief difficulty, 
 viz. how Tragedy purifies any 
 passion by the means of exciting 
 that very passion. 
 
 Now, after all the pains and 
 labour, which the critics, com- 
 mentators, and poets, have taken 
 about this same purgation des 
 
 B 2 
 
 
I 2 END OF TRAGEDY, AS , 
 
 passions par la Tragedie •, and , 
 nocwidistanding the Abbe du Bos 
 fancies ' que I'on a die dans tous 
 ' ks temps que la Tragedie pur- 
 ' aeoicles passions;' 1 am going 
 to venture to assert, that at least 
 Aristotle never said so; and shall 
 prove, if I am not much mis- 
 taken, that there is not m his 
 words the smallest foundation tor 
 imagining he maintained that 
 this purgation des passions was 
 the proper effect intended to be 
 produced by Tragedy; and that 
 the whole of this specious fancy 
 is no more than a chimera of the 
 moderns, arisen from this, that 
 the words of Aristotle have been 
 totally mistranslated; which these 
 critics, amidst all their study of 
 the passage, have never given 
 themselves the trouble to enquire 
 
 j DEFINED BY ARISTOTLE. I 3 
 
 into; though a very little atten- 
 tion to the propriety of the Greek 
 language would, in this case, have 
 saved them a vast deal of pains, 
 and freed them from a world of 
 embarrassment. 
 
 I mean, that, in the sentence 
 
 hoi EXg« xa/ 4>oC« Trs^cufdo-a. rnv ruv 
 TOiircov TiaJ^ny-OLTOdv xoi^aoaiu, the three 
 last words, TOf^ruv 7ra9>j|uarwf xtxGa^- 
 
 Gtv, have been, each of them, al- 
 together mistaken, for rotouruy 
 does not refer to the preceeding 
 words eXs'y xa/ (po€« ; nor does 7ra- 
 ^Yifj^diTavme^n passions; nor xa9a^- 
 (Tiv a purification or refinement, 
 the mistaking of TraBj^^aTwc has 
 drawn in along with it the mis- 
 take of the other two words, the 
 translators have not attended to 
 the propriety of the language in 
 the different acceptation of the 
 
 i 
 
 / 
 
I 4 END OF TRAGEDY, AS 
 
 two words 7ra9o$ and 7ra9-/^^a. 
 
 Aristotle no where calls 
 che Passions 7raO)ijua?(x. the word 
 which he uniformly uses for the 
 Passions,every where in his works, 
 is TraO/j. thus, in his Ethics to Ni- 
 comachus, B. ii. § 5. >^«Vw ^«' riaB>7, 
 
 aoi, 4>9o!'Oj', XaoctV, 4>/A/a.i', Mro-o?, llo- 
 
 9oK, 'IyM, "EXiov. And, in his E- 
 thics to Eudemus, B. ii. § 2. Xe- 
 
 yw St- IlaGv? f/ei/ ret roiciZra. • 0u^oc, 
 4>oCoy, A/3w, 'ETT/Oyju/aK. but by Tta- 
 
 i^YifjioiTa. is always meant Su fferin j^s, 
 oijCalamltles . in this sense the 
 word is constantly used by all the 
 chief Greek writers. 
 
 Thus Herodotus, in the 
 viii. B. § 136. mentioning that 
 the Persian general understood 
 the Athenians to be the Grecian 
 cate which had chiefly occasi- 
 
 DEFINED by ARISTOTLE 
 
 7 
 
 I 
 
 
 oned all the defeats or Calami- 
 ties of the Persians by sea, expres- 
 ses these defeats or sufferings by 
 
 TraOi^jUa ra. — ret. v.cLra. tw ^dXcLfrcav 
 cvvruyovrcL <7(pi IlaOj^uara xareoya.aot.-' 
 jufj/yj juaA/fo. A^n^'cuHi '/\7tl<fctro. 
 
 SoThugydides, when enu- 
 merating the many dreadful Ca- 
 lamities which befell the Greci- 
 ans, in the course of the Pelo- 
 ponnesian war; Destruction of 
 Men, Devastation of Countries, 
 Desolation of Cities; Famine, 
 Pestilence, Earthquakes; includes 
 them all under the general name 
 of TLcSriixala.*' . and so again, in 
 the fourth book; a terrible civil 
 butchery of some prisoners, which 
 happened at Corcyra, and was 
 continued almost all night long, 
 he calls by the same name of 
 
 B. i. § 33. 
 

 1 I- END OF TRAGEDY, AS 
 
 two words 7ra9o$ and T^Sn^a.. 
 
 Aristotle no where calls 
 the Passions TcoJ^rt^ctlcL. the word 
 which he uniformly uses for the 
 l^assions, every where in his works, 
 is 7ra6>7. thus, in his Ethics to Ni- 
 coniachus, B. ii. § 5. X/yco 3f riaB)?, 
 
 <ro$, 4>9oj'or, XcLodv, <l>/^/ai', MT(TOi, Ho- 
 
 60V, Z)?Xoc, "EKiov. And, in his E- 
 thics to Eudemus, B. ii. § 2. Xf- 
 
 yw ^e riaO/j juec to, Toixura. • Qvyiov, 
 ^'oQov, A/^w, 'E7rSo[u.ia.y, but by rra- 
 
 Bi^juara is always meant Su^rlngs, 
 01 Ca lamities , in this sense the 
 word is constantly used by all the 
 chief Greek writers. 
 
 Thus Herodotus, in the 
 viii. B. § 136. mentioning that 
 the Persian general understood 
 the Athenians to be the Grecian 
 state which had chiefly occasi- 
 
 - ^ 
 
 defined by ARISTOTLE. 
 
 oned all the defeats or Calami- 
 ties of the Persians by sea, expres- 
 ses these defeats or sufferings by 
 
 7:a.%ixara. — ra. xctra. tyiv ^dKonrcra.v 
 (TwruyovrcL <T(pi YloSyjuara xocTioyoLcra.- 
 
 SoThucydides, when enu- 
 merating the many dreadful Ca- 
 lamities which befell the Greci- 
 ans, in the course of the Pelo- 
 ponnesian war; Destruction of 
 Men, Devastation of Countries, 
 Desolation of Cities; Famine, 
 Pestilence, Earthquakes; includes 
 them all under the general name 
 of naB)7|ua7a*. and so again, in 
 the fourth book; a terrible civil 
 butchery of someprisoners,which 
 happened at Corcyra, and was 
 continued almost all night long, 
 he calls by the same name of 
 
 B. i, § 33. 
 
 L 
 
END OF TRAGEDY, AS 
 
 Tla0)^jua. § 48. — sTTiymToya^ vui rZ 
 TlaBr,[j.art. 
 
 SoDioNYSius of Halicarnas- 
 sus, mendoning the unexpected 
 Calamities which befell Tarqui- 
 nius in his seven years war with 
 the Gabii, calls them by the same 
 
 name; TlcSriiJ.a(ji yaXivroic, h) cLTT^oi- 
 
 loxriroii TTi^ieTnaivf . so also the same 
 historian, in the speech which 
 Coriolanus makes to the embas- 
 sy from the senate; — * were I to 
 ' violate,' says he, *my faith to the 
 ' Volsci, the Gods of Vengeance 
 ' would inflict upon me the great- 
 * est calamities; and make my 
 ' sufferings a warning to others, 
 ' not to violate their faith.' — xa/ 
 
 To/5aAXo/$J. andCalamicies,inflict- 
 ed by the Gods on such account, 
 
 f Antiq. Rom. iv. § 52. J B. viii. § 33. 
 
 DEFINED BY ARISTOTLE. I 7 
 
 would make a very proper sub- 
 ject for Tragedy*; and Trage- 
 dy, by exhibiting such calamides 
 on the stage, would propose for 
 its end and intention, KoLfjx'oen', to 
 remove such calamities out of 
 human life ; and propose to ac- 
 complish that end by excldncy 
 the Pity and Terrour of the au- 
 dience at the representation of 
 them -f-. 
 
 And this appears to me to be, 
 most evidendy, the true and ge- 
 nuine, nay the only possibTe, 
 meaning of Aristotle's words 
 
 * Thus LongJnus, § 9. calls the Calamities wh:"ch 
 befell the Greeks, after the taking of Troy, Aer>^«roc 
 rm iKiuK^^M n:thjuuruv: and tl:ese 'l\/axa Uaf^^- 
 f^xTct were the common subjects cf anciun Tragedy. 
 
 t This is exactly what Mr. Addison aeclarcs to be 
 the end and design of liis Tragedy of Cato ; 
 
 ' From hence let fierce coincnding nations know 
 
 ♦ What dire effects [/wa Ila9;;^«7-a] from civil 
 
 ' discord ilow.' &c. 
 
 c 
 
I 8 END OF TRAGEDY, AS 
 
 rooLyudlcL 
 
 And thus I will venture to as- 
 sert, that Aristotle has, in as 
 plain and precise words, as the 
 Greek language could possibly 
 have enabled him to do, defined 
 that to be the final end and aim 
 of Tragedy, which I believe, every 
 body readily enough apprehends 
 it to be, and even those very Cri- 
 tics themselves, when they are 
 not immediately under the bias 
 and warp of imagination, with 
 which they had been preposses- 
 sed by that false unexamined 
 translation which I have just now 
 been endeavouring to rectify. 
 
 DEFINED BY ARISTOTLE. I ^ 
 
 PART 
 SECOND. 
 
 B U T it may not be improper to 
 illustrate the nice propriety with 
 which Aristotle uses the word 
 xaOa^ci? here; which will at the 
 same time point out the occasi- 
 on of this mistake; first commit- 
 ted by Victorius, in his Latin 
 translation and com^mentary on 
 this part of the definition; and 
 which has ever since been impli- 
 citely followed, without further 
 examination, by all editors, cri- 
 tics, and readers. 
 
 KaHal^u, it is very true, signi- 
 fies often to clean, purge, or pu- 
 rify ; but then this is only a se- 
 condary signification ; arising, 
 indeed, by a very easy and natu- 
 ral transition, from the original, 
 
 C 2 
 
2 END OF TRAGEDY, AS 
 
 which is to remove something en- 
 tirely, for the verb is compound- 
 ed of xara, alon/J, and a^'^w, to take 
 away ; and, when developpcd to 
 the full, h'W xafis.'^w means exact- 
 ly lyu y.cLToi-iav cu^co, going along I 
 
 take axvay ; that is, going along 
 the -whole extent of a thing, I re- 
 move -what IS improper. 
 
 For example; "/.aO<a/pi/ is used 
 bv Homer to si[>;nify the clean- 
 ing of clothes from stains or any 
 foulness, the clothes he calls ^7- 
 jL/iara, the Stains . ^'jtto.. I clean 
 clothes from their stains, expres- 
 sed with tliC syntax completely 
 filed up, and separating the two 
 paves of the compound verb, 
 
 would be this ; xarx ra clbiaTO. 
 ixi' , aTTo ojjToov cw^'iJ Tx si^Tra. but, 
 
 as it is the genius of the Greek 
 Liiiguage to avoid prolixity of 
 
 I 
 
 ■if 
 
 & , 
 
 DEFINED BY ARISTOTLE. 2 1 
 
 words in common and easy ex- 
 pressions, all the three nouns are 
 seldom, if ever, expressed; al- 
 most always one, and most com- 
 monly two, of them are left to 
 be understood, thus, Homer 
 
 would only say ycxHou^a rd outzcl' 
 
 where the Accusative is govern- 
 ed by the simple verb cuoo)' or, 
 ■aoScu^oo ra. e/juara; where the Ac- 
 cusative is governed, not by alocj, 
 but by xocra in the composition 
 with it; or, lastly, he would say, 
 
 OTTO eiyiiruv %x^cum to. duzcl. 
 
 To confirm this by examples 
 of each, in the seventh Book of 
 the Odyssey, Nausicaa goes out, 
 with her maids, to wash the 
 clothes of the family ; which the 
 Poet describes at large. 
 they took the clothes in their 
 hands \ &c. 
 
2 2 END OF TRAGEDY, AS 
 — ei[j.aroL Y^?''"''' fXofTo *, cxc. 
 
 and SO, when they had wash' d them, 
 and clean d off every stain, 
 
 they spread them out In order on 
 the sea -shore — 
 
 ^'E^e'im 7c'erai(Ta.v Tra.^'t ^Uva. c/.Xoi X *' 
 
 An example of the second way 
 occurs, in the very same passage, 
 three verses before, in the de- 
 scription of the washing-place ,5^. 
 there, says he, abundance of jiue 
 water flows, to clean any clothes, 
 thoiiql) even very foul ; 
 
 ( out: OCOvl OL eif/.ciTOi tO Wit. J 
 
 An example of the third way 
 occurs in the fourteenth Book of 
 
 *V.^i. tv.93. 1:V.94. »V,86. 
 
 I 
 
 DEFINED BY ARISTOTLE. 23 
 
 the Iliad *, in the description of 
 Juno dressing herself, frst, says 
 the Poet, from her /air skin she 
 clean d of every speck ; 
 
 TtPCOTOU a,7C0 'YPOO5 IfjliOOSi'TO^ 
 
 AvuaroL TtcLvrcL '/.aJimzv 
 
 I shall give one other example 
 from Homer of the first of these 
 three w^ays ; in which , to wit , 
 xaOca^o) is joined with the Accusa- 
 tive of the thing taken away, and 
 signifies to remove quite , or to 
 clear away that thing f . upon the 
 death of Sarpedon, Jupiter sends 
 down Apollo to take care of his 
 body, go down, says he, — and 
 xeXcup£(p}c, cclf-ia. y.a.dr/ooi'' clean away 
 the black gore. 
 
 It is needless to multiply ex- 
 amples in a case so plain; I shall 
 but just mention one more, be- 
 
 * V. 170. t U. TT. 66t. 
 
 ♦ / 
 
2 4 END OF TRAGEDY, AS 
 
 cause it is extremely easy and 
 full, it occurs in the seventh 
 Book of Athenaeus, at the be- 
 
 ■ 
 
 ginning of the thirteenth Chap- 
 ter, and is a quotation from an 
 ancient Physician, Dorio, who 
 wrote a book dc pisc'ibus, in which 
 he mentioned a fish called, from 
 a singular property, TvcL<pivi, or 
 the Fuller. Athenaeus quotes the 
 passage thus. 
 
 ' Dorio, in his book on fishes, 
 
 * says that the decoction got by 
 ' boiUng the Fuller takes out eve- 
 
 ♦ ry kind of stain.' tccIvtcl g-tt/Xo!/ 
 v.cSco.DC-iv. cTTiKo; is, in prose, the 
 proper word for spots or stains 
 on clothes. 
 
 Thus, I hope, I have pretty 
 fully proved that y-a^^xloeiu signi- 
 fies to clear away, or remove en- 
 tirely^ and that this is even its 
 
 
 'It- 
 
 j''^i 
 ,--'i 
 
 DEFINED BY ARISTOTLE. 2^ 
 
 proper and primary signification, 
 consequently, KaBa^c/s must of 
 course signify Removal; and 
 therefore ri 7:cSriU.'XTuv •/.ol^clo'ti^ is an 
 expression not liable, at least, to 
 any imputation of impropriety. 
 
 But I will venture to go far- 
 ther, and to say, that, it is intro- 
 duced here with a nice and beau- 
 tiful propriety, for, the words 
 Y.cL%cu^eiv and %Sa.i)(7ii , from that 
 first and simplest use, which I 
 have been hitherto mentioning ; 
 I mean to express the removal or 
 clearnig away of whatever is a- 
 miss in external zh'in2:s', from that 
 they came soon to be applied 
 to the removal of things amiss 
 ivithin ; whether within the Bo- 
 dy or the Mind, for, as every one 
 knows, they became even voces 
 signatae^ in Medicine, for one 
 
 D 
 
l6 END OF TRAGEDY, AS 
 
 method of removing what Is a- 
 miss in the body, or the cause of 
 bodily disorder, and, from Me- 
 dicine, they came to be used for 
 expressing the removal of what is 
 amiss, or the cause of disorder, In 
 the Mind. Cures of mental dis- 
 order the ancients often attempt- 
 ed by the means of Musick. the 
 high opinion they had of the 
 power of Musick over the hu- 
 man soul is well known, to the 
 cure of Mental disorder, or, which 
 is the same thing, to the remo- 
 val of the causes of Mental dis- 
 order, when accomplished by the 
 power of Musick, they gave pe- 
 culiarly the name of KaOa^a-/$, or, 
 as we might perhaps almost ven- 
 ture to translate it, a tharm ; 
 and,musical compositions of that 
 kind they called /^eA>? /ca9ag?/jca- or, 
 
 DEFINED BY ARISTOTLE. IJ 
 
 when the Indisposition of mind,to 
 be removed by Musick, had any 
 connection with religious opini- 
 on or ceremony, they were cal- 
 led \iiM li^a.. thus, among the an- 
 cients, the violent emotions of 
 Enthusiasm were charmed away, 
 and the mind composed to tran- 
 quillity, by these hi^oi y-iM. and, 
 on the contrary, in the celebra- 
 tion of some of their sacred ce- 
 remonies, or o^yia., which were 
 performed with a high degree of 
 rdiffloiis furor, the ordinary state 
 of sedateness and tranquillity of 
 mind was considered as an indis- 
 position, or inability, for these 
 religious duties; which was there- 
 fore removed, and the mind 
 wrought up to the proper degree 
 of sacred frenzy, by that kind of 
 the /spa ixiXn which they called 
 
 D 2 
 
2 8 END OF TRAGEDY, AS 
 
 from thence 'O^y/af/m. and,when 
 the ceremonies were over, this 
 frenzy was, again, in its turn, re- 
 moved, and the mind recompo- 
 sed, and calmed, by an opposite 
 kind of the U^% yLiXn, called 'eH- 
 ooy/a^T/ca. the REMOVAL or cure 
 effected by the charm of the Mu- 
 sic was, equally in both cases, cal- 
 led KaOa^cr/r whether a passion 
 was removed to make way for 
 tranquillity, by the yii'Kvi 'ESc^y/a- 
 ^ixd- or tranquillity was removed 
 to make way for a passion, by the 
 
 The proper meaning and ac- 
 ceptation of the word Koida^an 
 v/ould have been easily known, 
 had the whole three books of A- 
 ristotle on Poetry been preser- 
 ved ; for, in the last chapter of 
 of his books on Government, he 
 
 DEFINED BY ARISTOTLE. 29 
 
 expressly tells us so. • Musick,* 
 says he, ' is to be employed not 
 ' for the sake of one advantage 
 
 * only, but of several; even both 
 ' for Educatioti and for Charm, 
 ' at present,' adds he, ' I but just 
 
 * mention the word charm, Ka- 
 
 * 8a^(7/$, being to explain it more 
 ' clearly again, in the books on 
 ' Poetry.' his words are these. 
 
 di-m ym^ax oe/f, aXXa xa/ TcXeioyau 
 •ya'o/i'. xj yoi.0 TTOuoeiai evixiv, xj xaSao- 
 £r£w$. t/ ol Xiyoixiv rrtv KaSaoa/j', vw 
 ix\v o-TrXcji;, ttolXiv 3g ev roii ttspI tto/j?- 
 
 rmi 'E^y.iv XcL(pi<fii^ov , But that 
 part of the Poetics is entirely 
 lost; nor does the word occur a- 
 ny where, in what remains, ex- 
 cept in this definition of Trage- 
 dy. But, however, that the true 
 meaning of it is this which I have 
 
3 O END OF TRAGEDY, AS 
 
 here given, may, I think, be made 
 out from some passages in the 
 three last Chapters on Govern- 
 ment ; in which he considers the 
 
 several uses of Musick in a com- 
 monwealth, especially for the e- 
 ducation of youth, these passa- 
 ges I shall now quote. 
 
 He considers three chief uses 
 of Musick ; 
 
 T. in Education ; Uculeiai sw/.iv. 
 11. in Preparation for Religious 
 
 Worship; KaBaocrfwj 'evixiv. 
 
 TIL as contributing to Enjoy- 
 ment and Happiness in Life ; 
 
 TTPos ^ia.yuyy]v [scil, tk ;S/«.] * 
 
 He embraces a correspondent di- 
 vision of the different kinds of 
 yisXvi, as given by some of the Phi- 
 losophers before him, into ra. 'H6/- 
 
 xa, ra JJoa'/dixa., and to. E^Sacr/af //ca 
 » VIII. 7. t »'^i<i- 
 
 DEFINED BY ARISTOTLE. 3 I 
 
 respectively proper for Educati- 
 on, for Civil Life, and for the Ce- 
 remonies of Religion, he recom- 
 mends the most moral as fittest 
 for Education, -^^i^^m, — 7:00$ fxh 
 
 cui*. but, for the improvement of 
 Civil life, besides the y-iXn Tr^axTixa. 
 peculiarly adapted to that end, 
 he advises those who find them- 
 selves under the power of any of 
 the more violent passions, to em- 
 ploy likewise Performers in one 
 kind of the euQ^mafixd, to wit the 
 Ij-iXyj 'E'Eo^ytcL<fixoi, which, original- 
 ly, were intended only for re- 
 moving the violent religious pas- 
 sions. ' for,' says he, ' all passi- 
 ' ons are alike in this respect, dif- 
 ' fering only in degree.' t5 ^e ^r- 
 
 Toy dia(pUei x) ra fxaKXov. * for ex- 
 
 • Ibid. 
 
3 2 END OF TRAGEDY, AS 
 
 • ample/ says he, ' Tity and Ter- 
 < ror ; and likewise Enthusiasm ; 
 ' for this too is a passionate e- 
 ' motion by which some are pos- 
 
 ' sessed.' oiov, "eXso$, )^ $o€o$* 'In cl 
 
 'E^9«(r/ao-iuo$ • %cli ya^ wtto rtwrrii rn^, 
 
 therefore what removes the one, 
 (he means) will also remove the 
 other. ' and,' continues he, * we 
 ' see from the sacred Musick — 
 
 ' Ix II Twy ^liouv jjLiXuy o^WjU£i/, that 
 
 ' those possessed by Enthusiasm, 
 ' when they employ that kind of 
 ' musick which is adapted to re- 
 ' move the orgiastic passion, rol>- 
 
 ' T«$, orav yommrcu roii 'EHo^y/agi- 
 
 ' (Ti rw •I'^X^''' [xiXidi, we see them, 
 says he,* grow co?77posed and caim, 
 
 * KoSifOLixsm, as having met with a 
 
 * Cure, and a Charm, w$7re§ Ur^ei- 
 
 + Ibid. -• 
 
 DEFINED BY ARISTOTLE. 3 3 
 
 ' as Tw^ovrac, -/.a) Ka^^doaiUi. Now,' 
 
 continues he, ' those who are un- 
 der the passions of Pity and 
 Terror must needs feci the ve- 
 ry same effect from such mu- 
 sick; TO cLuro dvj rodro a.vcLyy.cuQv 
 
 C>?T/)c«$: and, upon the whole,' 
 adds he, * likewise those who are 
 possessed by any of the passi- 
 ons; y-cu ri^$ oXui I\Sr,riyAi,' and 
 
 likewise any of the rest of man- 
 
 .kind, as far as any thing of a 
 
 .like kind affects them, though 
 
 in some inferior depree ; t8<^ 11 
 
 aXX'Hi, xaB oVoj- £-^ci.?\? et ri ruy roi' 
 
 iruv has'f. ( Guch I take to be 
 the meaning of these last words; 
 fq;r" example, men affected with 
 spleen, vapours, low spirits, and 
 the like,) he goes on. * I'bese, 
 * all of them,' says he, • miisi reel 
 
3 4 END OF TRAGEDY, AS 
 
 a certain Charm, and find a re- 
 lief accompanied with a plea^ 
 
 sure; x) vroiai ylyvecJcu riiu KaOa^- 
 
 civ, x) xi:<p!(i(^ou jujB' Yih'.Tii. and, in 
 like manner,' continues he, ' that 
 kind of the civil musick called ^ 
 IjlsX'/i xa9ap/x(x,' (for example, for 
 removing weariness, listlessness, 
 fatigue, lassitude, effects which 
 he had a little before mention- 
 ed,) ' affords a harmless joy to 
 mankind. ' Ojuo/w? ^f m} rd y.iXn, 
 
 rd KoBdoriyia, vrawp^e/ ^a^^" a.CXa- 
 
 Q roic, ayOoaTTo/^. Therefore,' adds 
 he, * it is THEN we ought to go 
 to the theatre, to be present at 
 the disputes for the prize of 
 Musick, When the contend- 
 ino- Musicians perform in these 
 kinds of harmonies, and in this 
 kind of composition, ^/o rali ^eV 
 
 t- 
 
 {' 
 
 S'' 
 
 I fi 
 
 DEFINED BY ARISTOTLE. 3 J 
 ♦ y.i7 a.yj:-m^yii.v'6(, a.ymi<^i';. . 
 
 This passage, I think, fully 
 proves the one kind of KaSa^o-/^, 
 the charm for calming and allay- 
 ing the passions ; which is not in- 
 deed disputed. I have given it 
 here at large, only because I take 
 it to be the very passage, by mis- 
 understanding which, along with 
 mistaking TtcL^uara. for passions, 
 Victorius first was led into a false 
 translation of the definition of 
 Tragedy, in which he has been 
 followed ever since, for Aristotle 
 happens to mention here the ex- 
 pressions QioiTeof, and rnv ^£xrDKr;y 
 
 y-MiaYtv, and, in the next sentence, 
 ffictrm ; which has led Victorius 
 into the mistake of imagining 
 that Aristotle was speaking of 
 the Musick in the Chorus of 
 
 E 2 
 
JS^'^' 
 
 3 6 END OF TRAGEDY, AS 
 
 Tragedy, and of the audience at 
 the dramatical exhibitions;vvhere- 
 as he is really meaning the con- 
 tests for the prize of Musick, 
 which were quite distinct'and dif- 
 ferent entertainments , though 
 likewise exhibited on the The- 
 atre. The Musick-Theatre at A- 
 thens was accounted the most 
 magnificent building in Greece. 
 Another cause of mistake in 
 Victorias is, that Aristotle, while 
 speaking here of the charm for 
 calming the passions, specifies the 
 same two.Pity and Terror, which 
 occur in the definition of trage- 
 dy, where it is intended, on the 
 contrary, to niise these two pas- 
 sions,, by that ofber KaBa^a/^ or 
 abarm of an opposite kind of Mu- 
 sick; which Victorius had for- 
 got, but which is just as distinct- 
 
 *■ 
 
 I * 
 
 DEFINED BY ARISTOTLE. 37 
 
 ly pointed out as the former, in 
 other places of the same three 
 chapters of his IToX/T/jca ; which I 
 shall now quote. 
 
 To prove the power of Mu- 
 sick over the Mind, he appeals to 
 the compositions of the Musici- 
 an Olympus ; * for these,' says 
 he, * as is universally acknow- 
 leged, possess men's minds with 
 Enthusiasm ; and Enthusiasm 
 is a moral passion of the mind. 
 
 — CYlAOl/ 0£ 8^ YiXl^OL^ Old TCdV (J* 
 
 Xv^jLTC^ yiiKG)V. rauurcL yao, oixoXoYd'' 
 le euQwioi(T[jio$f t8 tt^.o^ TYiV \vyYiv 
 
 In another place, he maintains, 
 that, among the several kinds of 
 Harmony, that called the Phry- 
 gian has the same tendency as 
 
 • Polit, iii, 5. 
 
3 8 END OF TRAGEDY, AS 
 
 the flute among the other musi- 
 cal instruments, ^x^ ^M "^^"^ ^' 
 
 TTiQ cwXoi iv TOti ooyafO/5 f . for both, 
 
 says he, have a tendency to raise 
 the passions, and those both of 
 the religious and aV/7 kind, af/- 
 
 <po}, ydo, ocyioL<^iy.oi, '/.cu TTOi^'/iracL. and 
 
 therefore, in a third place, he dis- 
 approves of the use of the Flute 
 in Education. * The Flute,' says 
 ' he, * is not an instrument fit for 
 ' improving the manners; but, 
 
 * rather, for raising the religious 
 
 ' passions ; «x 'e<^iv o aoXoi yj^)r/ior aX- 
 ' Xa, juaXXof, ooy/a^/xoi/. SO that, 
 
 continues he, * the use of it should 
 ' be appropriated to those occa- 
 ' sions, where the entertainment 
 ' is meant as a charm, rather than 
 
 * a piece of education, oi^n vr^k 
 
 f Ibid. c. 7. 
 
 DEFINED BY ARISTOTLE. 39 
 
 ' 0/5 y\ ^ico^'ia. KctOaoo'/j' juaXXoi/ Iwdrou, 
 
 This is that other kind of Ka- 
 6a^(7/5 I mentioned, quite oppo- 
 site to the former, and which is, 
 I think, fully and plainly made 
 out by this passage. 
 
 Let us now apply the forego- 
 ing account to the use of the 
 word KaOa^o-/$ in the Definition of 
 Tragedy. 
 
 Tragedy, says Aristotle, is an 
 imitation, Xoyw nhfTfjisyco-f . this first 
 part of the definition is also the 
 first of which he gives an expla- 
 nation; By pleasurable languaae, 
 says he, I mean that which has 
 rythmus, harmony, and tune; — 
 
 ^odixoi', xa/, do^oyla.1', xa/ jug'Xoj. Soon 
 * Ibid. c. 6. t Poetic, c. 6. 
 
40 END OF TRAGEDY, AS 
 
 after this, he enumerates the six 
 several parts of Tragedy ; the 
 Fable, the Manners, the Diction, 
 the Sentiments, the Scenery, and 
 the Musick. after explaining the 
 first four, he takes next the Mu- 
 sick; and says, that of all the 
 helps to make tragedy a plea- 
 surable entertainment, the Mu- 
 sick is by far the greatest, yi ya- 
 
 XoTtoitcL ixeyi^Qv tuv i^cuaf^cLTUi'. The 
 
 Scenery he omits as foreign to 
 the Poet's Art. it is indeed, says 
 
 he, engaging; n ^l o^|/J$, -l^yy^a-ycoyixou 
 
 uh' but then, adds he, it is the 
 most inartificial of all, and has 
 not the least connection with the 
 
 poetical parts. u-nyj^rcLTOv \s, Xj 
 r,xi<fOL o'aeiov rr,i TioiriTrKr,';, Aristotle 
 
 had before expressed the same 
 high opinion of the pleasure of 
 Musick, in those chapters of the 
 
 I 
 
 DEFINED BY ARISTOTLE. 4 1 
 
 noX/7/xa, already quoted. * Musick,' 
 says he there, * is naturally one 
 of the sources of pleasure, n ^^ 
 
 (jLVaiycYj (pvaei ruv ri^v(Jixiv(jOv e<^}, and 
 
 there seems,' adds he, * to be 
 a kindred-relation between the 
 soul and harmony; xal m mm 
 
 (Tvyyeyeict Tcui aouovlcu^, ehcu. for 
 
 which reason,' he subjoins, ' ma- 
 ny of the Philosophers main- 
 tain, some that the soul is har- 
 mony, others that it has har- 
 mony *,' 
 There is not, however, the 
 least explication of the ^fXo7ro/ia, 
 nor of the effect of it in Trage- 
 dy, in any part of the Poetics 
 now extant, it is highly probable 
 he had treated of it copiously in 
 those pares now lost; where, as 
 he cells us, he had clearly explain- 
 
 ♦ • • • • ^ 
 
 Till, 5. in hne. 
 
42 
 
 TRAGEDY, AS 
 
 ed the term Ka0a^<r/5. but, from 
 what has been here collected out 
 of him, I think it may fairly be 
 concluded, that the cause why he 
 introduced it into the definition 
 was this. Tragedy proposes to 
 attain its end by exciting the two 
 passions of Pity and Terror, the 
 fjeXorroii'a, in the Chorus, contri- 
 butes exceedingly ,by its engaging 
 and commanding iniiuence,to ex- 
 cite these two passions. Passions 
 excited by Musick are said, as I 
 have shown, to be excited xaBaV 
 o-e/, Iry a charm, and thus, says 
 Aristotle, Tragedy, by calling in 
 Musick to its aid in excitino; Vi- 
 ty and Terror, proposes to charm 
 away, out of human life, such ca- 
 lamities as are exhibited in the 
 Drama. In this view I think the 
 propriety and beauty of the ex- 
 
 
 J~ X A% ''^ %J- jL "'--^ A hid. ^ , --^ \ 
 
 43 
 pression are evident. 
 
 As to the last word of this 
 definition, viz. Trgooirouo-a, when I 
 translate it proposes to accom- 
 plishy and not accomplishes, the 
 translation is perfectly literal; 
 and the modesty of the manner 
 of expression depends upon the 
 propriety with which the present 
 tense is here used, according to 
 a very frequent acceptation of 
 that tense in the Greek Lan- 
 guage; and which may always be 
 readily understood by recollect- 
 ing some of the familiar expres- 
 sions often used in our own lan- 
 guage ; as, when we say, / -write 
 this post ; meaning, I propose to 
 -write this post. 
 
 EN D. 
 
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