πνοϲ, in general a common word in Greek tragedy, is a cardinal theme in the Heracles. In the first half of the play the glorious saving Labours of the warrior Hero with his bow, club and other weaponry are retrospectively evoked and further enacted. Repeated emphasis on this kind of ‘noble toil’ accords with the heroic definition of ρετ, which traditionally βανει διμχθω–8 the first strophe of the long First Stasimon in honour of Heracles ends with: μνῆϲαι ϲτεφνωμα μ– χθων (...) δι' ελογαϲ θλω γενναων δ' ρετα πνων τοῖϲ θανοϲιν γαλμα. Heracles par excellence merits the title πολπονοϲ and for their individual greatness. πολυ- can mean either ‘much-’, so that it suffices for Amphitryon at 1190ff. to mention a single especially grand and godlike Labour: AM.μϲ μϲ δε γνοϲ πολπονοϲ, π δρυ γιγαντοφνον λθεν ϲν θεο- ϲι Φλεγραον ϲ πεδον ϲπιϲτϲ This we may call the ‘epic’ view of the hero and of the πνοι performed by him cw ϲν θεοϲ. πνοϲ is normally martial in the Iliad.4 Note also, however, that the terminal ϲπιϲτϲ adds an allusion to the kind of martial ρετ most admired by 5th-century Athenians. (shrink)

It is now generally agreed that in Aristotle's Poetics, ch. 13 means ‘mistake of fact’. The moralizing interpretation favoured by our Victorian forebears and their continental counterparts was one of the many misunderstandings fostered by their moralistic society, and in our own enlightened erais revealed as an aberration. In challenging this orthodoxy I am not moved by any particular enthusiasm for Victoriana, nor do I want to revive the view that means simply ‘moral flaw’ or ‘morally wrong action’. I shall (...) try to show that the word has a range of applications, from ‘ignorance of fact’ at one end to ‘moral defect’, ‘moral error’, at the other, and that the modern orthodoxy, though not as clearly wrong as the moralizing interpretation it displaced, restricts Aristotle's meaning in a way he did not intend, and does lessthan justice to his analysis of classical drama. (shrink)