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 1 I    |          character, emotion, and action, by rhythmical movement.~
 2 II   |          of imitation are men in action, and these men must be either
 3 III  |      such poems, as representing action. For the same reason the
 4 V    |          limit, whereas the Epic action has no limits of time. This,
 5 VI   |      then, is an imitation of an action that is serious, complete,
 6 VI   |         the play; in the form of action, not of narrative; through
 7 VI   |   Tragedy is the imitation of an action; and an action implies personal
 8 VI   |   imitation of an action; and an action implies personal agents,
 9 VI   |          is the imitation of the action—for by plot I here mean
10 VI   | imitation, not of men, but of an action and of life, and life consists
11 VI   |       life, and life consists in action, and its end is a mode of
12 VI   |         and its end is a mode of action, not a quality. Now character
13 VI   |         or the reverse. Dramatic action, therefore, is not with
14 VI   |     thing of all. Again, without action there cannot be a tragedy;
15 VI   |   Tragedy is the imitation of an action, and of the agents mainly
16 VI   |        mainly with a view to the action.~Third in order is Thought—
17 VII  |    Tragedy is an imitation of an action that is complete, and whole,
18 VIII |         which we cannot make one action. Hence the error, as it
19 VIII |        Iliad, to center round an action that in our sense of the
20 VIII |         being an imitation of an action, must imitate one action
21 VIII |         action, must imitate one action and that a whole, the structural
22 IX   | imitation not only of a complete action, but of events inspiring
23 X    |          similar distinction. An action which is one and continuous
24 X    |    without Recognition~A Complex action is one in which the change
25 X    |          result of the preceding action. It makes all the difference
26 XI   |         is a change by which the action veers round to its opposite,
27 XI   |      connected with the plot and action is, as we have said, the
28 XI   |         a destructive or painful action, such as death on the stage,
29 XIV  |         by skilful handling.~The action may be done consciously
30 XIV  |        where it falls within the action of the play: one may cite
31 XV   |          good. Now any speech or action that manifests moral purpose
32 XV   |    seeing all things. Within the action there must be nothing irrational.
33 XVII |          were a spectator of the action, he will discover what is
34 XVII |        his coming is outside the action proper. However, he comes,
35 XVII |         they are relevant to the action. In the case of Orestes,
36 XVIII|      Incidents extraneous to the action are frequently combined
37 XVIII|   combined with a portion of the action proper, to form the Complication;
38 XVIII|        from the beginning of the action to the part which marks
39 XVIII|          whole, and share in the action, in the manner not of Euripides
40 XXI  |        is called sowing: but the action of the sun in scattering
41 XXII |        and imitation by means of action this may suffice.~
42 XXIII|         for its subject a single action, whole and complete, with
43 XXIII|   necessity present not a single action, but a single period, and
44 XXIII|           a single period, or an action single indeed, but with
45 XXIV |         confine ourselves to the action on the stage and the part
46 XXIV |         the former expressive of action. Still more absurd would
47 XXIV |        it should lie outside the action of the play (as, in the
48 XXIV |  elaborated in the pauses of the action, where there is no expression
49 XXVI |          the extravagance of his action, and the same view was held
50 XXVI |          the Opuntian. Next, all action is not to be condemned—any
51 XXVI |          its effect even without action; it reveals its power by
52 XXVI |         an imitation of a single action.~If, then, tragedy is superior