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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。
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。
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 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＇ recognize
the bow which； in fact； he had not seen； and to bring about a
recognition by this means… the expectation that A would recognize
the bow… is false inference。
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。
POETICS｜17
XVII
In constructing the plot and working it out with the proper diction；
the poet should place the scene； as far as possible； before his
eyes。 In this way； seeing everything with the utmost vividness； as
if he were a spectator of the action； he will discover what is in
keeping with it； and be most unlikely to overlook inconsistencies。 The
need of such a rule is shown by the fault found in Carcinus。
Amphiaraus was on his way from the temple。 This fact escaped the
observation of one who did not see the situation。 On the stage；
however； the Piece failed； the audience being offended at the
oversight。
Again； the poet should work out his play； to the best of his
power； with appropriate gestures； for those who feel emotion are
most convincing through natural sympathy with the characters they
represent； and one who is agitated storms； one who is angry rages；
with the most lifelike reality。 Hence poetry implies either a happy
gift of nature or a strain of madness。 In the one case a man can
take the mould of any character； in the other； he is lifted out of his
proper self。
As for the story； whether the poet takes it ready made or constructs
it for himself； he should first sketch its general outline； and then
fill in the episodes and amplify in detail。 The general plan may be
illustrated by the Iphigenia。 A young girl is sacrificed； she
disappears mysteriously from the eyes of those who sacrificed her； she
is transported to another country； where the custom is to offer up
an strangers to the goddess。 To this ministry she is appointed。 Some
time later her own brother chances to arrive。 The fact that the oracle
for some reason ordered him to go there； is outside the general plan
of the play。 The purpose； again； of his coming is outside the action
proper。 However； he comes； he is seized； and； when on the point of
being sacrificed； reveals who he is。 The mode of recognition may be
either that of Euripides or of Polyidus； in whose play he exclaims
very naturally： 'So it was not my sister only； but I too； who was
doomed to be sacrificed'； and by that remark he is saved。
After this； the names being once given； it remains to fill in the
episodes。 We must see that they are relevant to the action。 In the
case of Orestes； for example； there is the madness which led to his
capture； and his deliverance by means of the purificatory rite。 In the
drama； the episodes are short； but it is these that give extension
to Epic poetry。 Thus the story of the Odyssey can be stated briefly。 A
certain man is absent from home for many years； he is jealously
watched by Poseidon； and left desolate。 Meanwhile his home is in a
wretched plight… suitors are wasting his substance and plotting
against his son。 At length； tempest…tost； he himself arrives； he makes
certain persons acquainted with him； he attacks the suitors with his
own hand； and is himself preserved while he destroys them。 This is the
essence of the plot； the rest is episode。
POETICS｜18
XVIII
Every tragedy falls into two parts… Complication and Unraveling
or Denouement。 Incidents extraneous to the action are frequently
combined with a portion of the action proper； to form the
Complication； the rest is the Unraveling。 By the Complication I mean
all that extends from the beginning of the action to the part which
marks the turning…point to good or bad fortune。 The Unraveling is that
which extends from the beginning of the change to the end。 Thus； in
the Lynceus of Theodectes； the Complication consists of the
incidents presupposed in the drama； the seizure of the child； and then
again 。。。 ＇the U