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 1 I    |           into the structure of the plot as requisite to a good poem;
 2 IV   |            till late that the short plot was discarded for one of
 3 V    |          remain unknown. As for the plot, it came originally from
 4 VI   |         failure depends. Hence, the Plot is the imitation of the
 5 VI   |      imitation of the action—for by plot I here mean the arrangement
 6 VI   |       determine its quality—namely, Plot, Character, Diction, Thought,
 7 VI   |      elements as well as Character, Plot, Diction, Song, and Thought.~
 8 VI   |         Hence the incidents and the plot are the end of a tragedy;
 9 VI   |           these respects, yet has a plot and artistically constructed
10 VI   |             scenes—are parts of the plot. A further proof is, that
11 VI   |       before they can construct the plot. It is the same with almost
12 VI   |            all the early poets.~The plot, then, is the first principle,
13 VII  |             proper structure of the Plot, since this is the first
14 VII  |      follows it. A well constructed plot, therefore, must neither
15 VII  |     embraced in one view; so in the plot, a certain length is necessary,
16 VIII |                       VIII~Unity of plot does not, as some persons
17 VIII |             imitated is one, so the plot, being an imitation of an
18 IX   |           poet first constructs the plot on the lines of probability,
19 IX   |             are the worst. I call a plot "episodic" in which the
20 IX   |       competition, they stretch the plot beyond its capacity, and
21 X    |           internal structure of the plot, so that what follows should
22 XI   |       intimately connected with the plot and action is, as we have
23 XI   |             Two parts, then, of the Plot—Reversal of the Situation
24 XIII |             villain be exhibited. A plot of this kind would, doubtless,
25 XIII |        families.~A well-constructed plot should, therefore, be single
26 XIII |           it has a double thread of plot, and also an opposite catastrophe
27 XIV  |            a superior poet. For the plot ought to be so constructed
28 XIV  |    incidents, and the right kind of plot.~
29 XV   |             in the structure of the plot, so too in the portraiture
30 XV   |          that the unraveling of the plot, no less than the complication,
31 XV   | complication, must arise out of the plot itself, it must not be brought
32 XVI  |         what the poet, not what the plot requires. This, therefore,
33 XVII |            XVII~In constructing the plot and working it out with
34 XVII |          This is the essence of the plot; the rest is episode.~
35 XVIII|            best test to take is the plot. Identity exists where the
36 XXIII|         employs a single meter, the plot manifestly ought, as in
37 XXIV |           possibilities. The tragic plot must not be composed of
38 XXIV |             plea that otherwise the plot would have been ruined,
39 XXIV |       ruined, is ridiculous; such a plot should not in the first