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action Aeschylus already apogr Arabs avro avrrj Bywater called character Christ codd Comedy confirm coni conjecture Critical Diction difference dXXd eariv edition effect eirl elements elvai employed Epic poetry example express fact fiev fiev ovv firj fivdov follows Gomperz Hermann imitation incidents irepl irpb Kara kind language Margoliouth mean metaphor metre natural notes objects Odyssey olov ovBev Parisinus 2038 passages persons pity plot poem poet Poetics poetry possible probable produce Professor proper ravra reading recognition Riccardianus 16 roiavra rrjv seel sense single sound speech Spengel Susemihl thing Thought tovto Tragedy tragic translation ttjv Tucker Tyrwhitt Vahlen verse videtur whole
Page 27 - 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.
Page 23 - Tragedy, then, is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative ; through pity and fear effecting the proper purgation of these emotions.
Page 31 - 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.
Page 25 - 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.
Page 23 - Tragedy endeavours, as far as possible, to confine itself to a single revolution of the sun, or but slightly to exceed this limit; whereas the Epic action has no limits of time.
Page 27 - Again, if you string 12 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.
Page 51 - So again with indifferent persons. But when the tragic incident occurs between those who are near or dear to one another — if, for example, a brother kills, or intends to kill, a brother, a son his father, a mother her son, a son his mother, or any other deed of the kind is done — these are the situations to be looked for by the poet.
Page 33 - Unity of plot does not, as some persons think, consist in the unity of the hero. For infinitely various are the incidents in one man's life which cannot be reduced to unity; and so, too, there are many actions of one man out of which we cannot make one action.
Page 7 - Epic poetry and Tragedy, Comedy also and Dithyrambic poetry, and the music of the flute and of the lyre in most of their forms, are all in their general conception modes of imitation. They differ, however, from one another in three respects,— the medium, the objects, the manner or mode of imitation, being in each case distinct.
Page 11 - Since the objects of imitation are men in action, and 1448 a these men must be either of a higher or a lower type (for moral character mainly answers to these divisions, goodness and badness being the distinguishing marks of moral differences), it follows that we must represent men either as better than in real life, or as worse, or as they are.