Chapter 5
As for Comedy, it is (as has been observed) an imitation of men worse than the average; worse, however, not as regards any and every sort of fault, but only as regards one particular kind, the Ridiculous, which is a species of the Ugly. The Ridiculous may be defined as a mistake or deformity not productive of pain or harm to others; the mask, for instance, that excites laughter, is something ugly and distorted without causing pain.
Though the successive changes in Tragedy and their authors are not unknown, we cannot say the same of Comedy; its early stages passed unnoticed, because it was not as yet taken up in a serious way. It was only at a late point in its progress that a chorus of comedians was officially granted by the archon; they used to be mere volunteers. It had also already certain definite forms at the time when the record of those termed comic poets begins. Who it was who supplied it with masks, or prologues, or a plurality of actors and the like, has remained unknown. The invented Fable, or Plot, however, originated in Sicily, with Epicharmus and Phormis; of Athenian poets Crates was the first to drop the Comedy of invective and frame stories of a general and non-personal nature, in other words, Fables or Plots.
Epic poetry, then, has been seen to agree with Tragedy to this extent, that of being an imitation of serious subjects in a grand kind of verse. It differs from it, however, (1) in that it is in one kind of verse and in narrative form; and (2) in its length—which is due to its action having no fixed limit of time, whereas Tragedy endeavours to keep as far as possible within a single circuit of the sun, or something near that. This, I say, is another point of difference between them, though at first the practice in this respect was just the same in tragedies as in epic poems. They differ also (3) in their constituents, some being common to both and others peculiar to Tragedy—hence a judge of good and bad in Tragedy is a judge of that in epic poetry also. All the parts of an epic are included in Tragedy; but those of Tragedy are not all of them to be found in the Epic.
Κεφάλαιον 5
ἡ δὲ κωμῳδία ἐστὶν ὥσπερ εἴπομεν μίμησις φαυλοτέρων μέν, οὐ μέντοι κατὰ πᾶσαν κακίαν, ἀλλὰ τοῦ αἰσχροῦ ἐστι τὸ γελοῖον μόριον.
τὸ γὰρ γελοῖόν ἐστιν ἁμάρτημά τι καὶ αἶσχος ἀνώδυνον καὶ οὐ φθαρτικόν, οἷον εὐθὺς τὸ γελοῖον πρόσωπον αἰσχρόν τι καὶ διεστραμμένον ἄνευ ὀδύνης.
αἱ μὲν οὖν τῆς τραγῳδίας μεταβάσεις καὶ δι’ ὧν ἐγένοντο οὐ λελήθασιν, ἡ δὲ κωμῳδία διὰ τὸ μὴ σπουδάζεσθαι ἐξ ἀρχῆς ἔλαθεν· καὶ γὰρ χορὸν κωμῳδῶν ὀψέ ποτε ὁ ἄρχων ἔδωκεν, ἀλλ’ ἐθελονταὶ ἦσαν.
ἤδη δὲ σχήματά τινα αὐτῆς ἐχούσης οἱ λεγόμενοι αὐτῆς ποιηταὶ μνημονεύονται. τίς δὲ πρόσωπα ἀπέδωκεν ἢ προλόγους ἢ πλήθη ὑποκριτῶν καὶ ὅσα τοιαῦτα, ἠγνόηται.
τὸ δὲ μύθους ποιεῖν Ἐπίχαρμος καὶ Φόρμις τὸ μὲν ἐξ ἀρχῆς ἐκ Σικελίας ἦλθε,
τῶν δὲ Ἀθήνησιν Κράτης πρῶτος ἦρξεν ἀφέμενος τῆς ἰαμβικῆς ἰδέας καθόλου ποιεῖν λόγους καὶ μύθους.
ἡ μὲν οὖν ἐποποιία τῇ τραγῳδίᾳ μέχρι μὲν τοῦ μετὰ μέτρου λόγῳ μίμησις εἶναι σπουδαίων ἠκολούθησεν· τῷ δὲ τὸ μέτρον ἁπλοῦν ἔχειν καὶ ἀπαγγελίαν εἶναι, ταύτῃ διαφέρουσιν·
ἔτι δὲ τῷ μήκει· ἡ μὲν ὅτι μάλιστα πειρᾶται ὑπὸ μίαν περίοδον ἡλίου εἶναι ἢ μικρὸν ἐξαλλάττειν, ἡ δὲ ἐποποιία ἀόριστος τῷ χρόνῳ καὶ τούτῳ διαφέρει,
καίτοι τὸ πρῶτον ὁμοίως ἐν ταῖς τραγῳδίαις τοῦτο ἐποίουν καὶ ἐν τοῖς ἔπεσιν.
μέρη δ’ ἐστὶ τὰ μὲν ταὐτά, τὰ δὲ ἴδια τῆς τραγῳδίας·
διόπερ ὅστις περὶ τραγῳδίας οἶδε σπουδαίας καὶ φαύλης, οἶδε καὶ περὶ ἐπῶν· ἃ μὲν γὰρ ἐποποιία ἔχει, ὑπάρχει τῇ τραγῳδίᾳ, ἃ δὲ αὐτῇ, οὐ πάντα ἐν τῇ ἐποποιίᾳ.