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rhythm； 'harmony' and song enter。 By 'the several kinds in separate
parts；' I mean； that some parts are rendered through the medium of
verse alone； others again with the aid of song。
Now as tragic imitation implies persons acting； it necessarily
follows in the first place； that Spectacular equipment will be a
part of Tragedy。 Next； Song and Diction； for these are the media of
imitation。 By 'Diction' I mean the mere metrical arrangement of the
words： as for 'Song；' it is a term whose sense every one understands。
Again； Tragedy is the imitation of an action； and an action
implies personal agents； who necessarily possess certain distinctive
qualities both of character and thought； for it is by these that we
qualify actions themselves； and these… thought and character… are
the two natural causes from which actions spring； and on actions again
all success or failure depends。 Hence； the Plot is the imitation of
the action… for by plot I here mean the arrangement of the
incidents。 By Character I mean that in virtue of which we ascribe
certain qualities to the agents。 Thought is required wherever a
statement is proved； or； it may be； a general truth enunciated。
Every Tragedy； therefore； must have six parts； which parts determine
its quality… namely； Plot； Character； Diction； Thought； Spectacle；
Song。 Two of the parts constitute the medium of imitation； one the
manner； and three the objects of imitation。 And these complete the
fist。 These elements have been employed； we may say； by the poets to a
man； in fact； every play contains Spectacular elements as well as
Character； Plot； Diction； Song； and Thought。
But most important of all is the structure of the incidents。 For
Tragedy is an imitation； not of men； but of an action and of life； and
life consists in action； and its end is a mode of action； not a
quality。 Now character determines men's qualities； but it is by
their actions that they are happy or the reverse。 Dramatic action；
therefore； is not with a view to the representation of character：
character comes in as subsidiary to the actions。 Hence the incidents
and the plot are the end of a tragedy； and the end is the chief
thing of all。 Again； without action there cannot be a tragedy； there
may be without character。 The tragedies of most of our modern poets
fail in the rendering of character； and of poets in general this is
often true。 It is the same in painting； and here lies the difference
between Zeuxis and Polygnotus。 Polygnotus delineates character well；
the style of Zeuxis is devoid of ethical quality。 Again； if you string
together a set of speeches expressive of character； and well
finished in point of diction and thought； you will not produce the
essential tragic effect nearly so well as with a play which； however
deficient in these respects； yet has a plot and artistically
constructed incidents。 Besides which； the most powerful elements of
emotional interest in Tragedy… Peripeteia or Reversal of the
Situation； and Recognition scenes… are parts of the plot。 A further
proof is； that novices in the art attain to finish of diction and
precision of portraiture before they can construct the plot。 It is the
same with almost all the early poets。
The plot； then； is the first principle； and； as it were； the soul of
a tragedy； Character holds the second place。 A similar fact is seen in
painting。 The most beautiful colors； laid on confusedly； will not give
as much pleasure as the chalk outline of a portrait。 Thus Tragedy is
the imitation of an action； and of the agents mainly with a view to
the action。
Third in order is Thought… that is； the faculty of saying what is
possible and pertinent in given circumstances。 In the case of oratory；
this is the function of the political art and of the art of
rhetoric： and so indeed the older poets make their characters speak
the language of civic life； the poets of our time； the language of the
rhetoricians。 Character is that which reveals moral purpose； showing
what kind of things a man chooses or avoids。 Speeches； therefore；
which do not make this manifest； or in which the speaker does not
choose or avoid anything whatever； are not expressive of character。
Thought； on the other hand； is found where something is proved to be
or not to be； or a general maxim is enunciated。
Fourth among the elements enumerated comes Diction； by which I mean；
as has been already said； the expression of the meaning in words；
and its essence is the same both in verse and prose。
Of the remaining elements Song holds the chief place among the
embellishments
The Spectacle has； indeed； an emotional attraction of its own；
but； of all the parts； it is the least artistic； and connected least
with the art of poetry。 For the power of Tragedy； we may be sure； is
felt even apart from representation and actors。 Besides； the
production of spectacular effects depends more on the art of the stage
machinist than on that of the poet。
POETICS｜7
VII
These principles being established； let us now discuss the proper
structure of the Plot； since this is the first and most important
thing in Tragedy。
Now； according to our definition Tragedy is an imitation of an
action that is complete； and whole； and of a certain magnitude； for
there may be a whole that is wanting in magnitude。 A whole is that
which has a beginning； a middle； and an end。 A beginning is that which
does not itself follow anything by causal necessity； but after which
something naturally is or comes to be。 An end； on the contrary； is
that which itself naturally follows some other thing； either by
necessity； or as a rule； but has nothing following it。 A middle is
that which follows something as some other thing follows it。 A well
constructed plot； therefore； must neither begin nor end at
haphazard； but conform to these principles。
Again； a beautiful object； whether it be a living organism or any
whole composed of parts； must not only have an orderly arrangement
of parts； but must also be of a certain magnitude； for beauty
depends on magnitude and order。 Hence a very small animal organism
cannot be beautiful； for the view of it is confused； the object
being seen in an almost imperceptible moment of time。 Nor； again；
can one of vast size be beautiful； for as the eye cannot take it all
in at once； the unity and sense of the whole is lost for the
spectator； as for instance if there were one a thousand miles long。
As； therefore； in the case of animate bodies and organisms a certain
magnitude is necessary； and a magnitude which may be easily embraced
in one view； so in the plot； a certain length is necessary； and a
length which can be easily embraced by the memory。 The limit of length
in relation to dramatic competition and sensuous prese