Types of Recognition

What Recognition is has been already explained. We will now enumerate its kinds.

We have already explained what recognition is. Now we will list its kinds.

First, the least artistic form, which, from poverty of wit, is most commonly employed recognition by signs. Of these some are congenital,—such as 'the spear which the earth-born race bear on their bodies,' or the stars introduced by Carcinus in his Thyestes. Others are acquired after birth; and of these some are bodily marks, as scars; some external tokens, as necklaces, or the little ark in the Tyro by which the discovery is effected. Even these admit of more or less skilful treatment. Thus in the recognition of Odysseus by his scar, the discovery is made in one way by the nurse, in another by the swineherds. The use of tokens for the express purpose of proof—and, indeed, any formal proof with or without tokens—is a less artistic mode of recognition. A better kind is that which comes about by a turn of incident, as in the Bath Scene in the Odyssey.

First, the least artistic form is recognition by signs. It is also the most commonly used, because writers lack ingenuity. Some signs are present from birth, such as 'the spear which the earth-born race bear on their bodies,' or the stars introduced by Carcinus in his Thyestes. Other signs are acquired after birth. Some of these are bodily marks, such as scars. Others are external objects, such as necklaces or the little ark in the Tyro that leads to the discovery. Even these signs can be used with more or less skill. For example, Odysseus is recognized by his scar in one way by the nurse and in another by the swineherds. Using tokens expressly as proof is a less artistic form of recognition. Indeed, any formal proof, with or without tokens, is less artistic. A better form of recognition comes about through a turn of events, as in the Bath Scene in the Odyssey.

Next come the recognitions invented at will by the poet, and on that account wanting in art. For example, Orestes in the Iphigenia reveals the fact that he is Orestes. She, indeed, makes herself known by the letter; but he, by speaking himself, and saying what the poet, not what the plot requires. This, therefore, is nearly allied to the fault above mentioned:—for Orestes might as well have brought tokens with him. Another similar instance is the 'voice of the shuttle' in the Tereus of Sophocles.

Next come recognitions that the poet makes up at will. These lack artistry for that reason. For example, in Iphigenia, Orestes reveals that he is Orestes. She makes herself known through the letter. But he simply speaks for himself, saying what the poet requires, not what the plot requires. This is therefore much like the fault mentioned above. Orestes might just as well have brought tokens with him. Another similar example is the 'voice of the shuttle' in Sophocles' Tereus.

The third kind depends on memory when the sight of some object awakens a feeling: as in the Cyprians of Dicaeogenes, where the hero breaks into tears on seeing the picture; or again in the 'Lay of Alcinous,' where Odysseus, hearing the minstrel play the lyre, recalls the past and weeps; and hence the recognition.

The third kind depends on memory, when seeing something awakens a feeling. For example, in the Cyprians of Dicaeogenes, the hero bursts into tears when he sees the picture. Similarly, in the 'Lay of Alcinous,' Odysseus hears the minstrel play the lyre, remembers the past, and weeps. This leads to recognition.

The fourth kind is by process of reasoning. Thus in the Choephori: 'Some one resembling me has come: no one resembles me but Orestes: therefore Orestes has come.' Such too is the discovery made by Iphigenia in the play of Polyidus the Sophist. It was a natural reflection for Orestes to make, 'So I too must die at the altar like my sister.' So, again, in the Tydeus of Theodectes, the father says, 'I came to find my son, and I lose my own life.' So too in the Phineidae: the women, on seeing the place, inferred their fate:—'Here we are doomed to die, for here we were cast forth.' Again, there is a composite kind of recognition involving false inference on the part of one of the characters, as in the Odysseus Disguised as a Messenger. A said (that no one else was able to bend the bow;... hence B (the disguised Odysseus) imagined that A would) recognise the bow which, in fact, he had not seen; and to bring about a recognition by this means that the expectation A would recognise the bow is false inference.

The fourth kind of recognition comes through reasoning. For example, in the Choephori: 'Someone who looks like me has come. No one looks like me except Orestes. Therefore Orestes has come.' Iphigenia makes a similar discovery in the play by Polyidus the Sophist. It was natural for Orestes to reflect, 'So I too must die at the altar like my sister.' Similarly, in the Tydeus of Theodectes, the father says, 'I came to find my son, and I lose my own life.' In the Phineidae, the women see the place and infer their fate: 'We are doomed to die here, because we were cast out here.' There is also a combined kind of recognition that involves a false inference by one of the characters. An example occurs in the Odysseus Disguised as a Messenger. A said (that no one else could bend the bow;... so B, the disguised Odysseus, imagined that A would) recognize the bow, which A had not in fact seen. Recognition brought about this way depends on the false inference that A would recognize the bow.

But, of all recognitions, the best is that which arises from the incidents themselves, where the startling discovery is made by natural means. Such is that in the Oedipus of Sophocles, and in the Iphigenia; for it was natural that Iphigenia should wish to dispatch a letter. These recognitions alone dispense with the artificial aid of tokens or amulets. Next come the recognitions by process of reasoning.

But of all recognitions, the best arise from the events themselves, when the startling discovery happens naturally. Such recognitions occur in Sophocles’ Oedipus and in the Iphigenia. In the latter, it was natural for Iphigenia to want to send a letter. Only these recognitions do without artificial devices such as tokens or amulets. Next best are recognitions reached through reasoning.