Paragraph

 1 I   |    manner or mode of imitation, being in each case distinct.~For
 2 II  | divisions, goodness and badness being the distinguishing marks
 3 III |        imitated. For the medium being the same, and the objects
 4 III |        to village (kata komas), being excluded contemptuously
 5 IV  |   between him and other animals being that he is the most imitative
 6 IV  |     harmony" and rhythm, meters being manifestly sections of rhythm.
 7 IV  |   iambic or lampooning measure, being that in which people lampooned
 8 V   |         word bad, the ludicrous being merely a subdivision of
 9 VI  |     ornament, the several kinds being found in separate parts
10 VII |            VII~These principles being established, let us now
11 VII |         is confused, the object being seen in an almost imperceptible
12 VIII|   imitated is one, so the plot, being an imitation of an action,
13 VIII|   structural union of the parts being such that, if any one of
14 IX  |       to real names, the reason being that what is possible is
15 IX  |      well-known names, the rest being fictitious. In others, none
16 XI  |         the Lynceus, Lynceus is being led away to his death, and
17 XI  |      depend. Recognition, then, being between persons, it may
18 XII |          Choric song; this last being divided into Parode and
19 XIII|      excite pity and fear, this being the distinctive mark of
20 XIV |          It is shocking without being tragic, for no disaster
21 XV  |       be said to be an inferior being, and the slave quite worthless.
22 XVII|      Piece failed, the audience being offended at the oversight.~
23 XVII|       and, when on the point of being sacrificed, reveals who
24 XVII|    saved.~After this, the names being once given, it remains to
25 XIX |        speech, the subdivisions being: proof and refutation; the
26 XXI |   tamein, again for arusai—each being a species of taking away.
27 XXI |         compounded with S—these being two, PS and X. Feminine,
28 XXII|    style is to be clear without being mean. The clearest style
29 XXII|     with the express purpose of being ludicrous. How great a difference
30 XXIV|      the end must be capable of being brought within a single
31 XXIV|   stirring measures, the latter being akin to dancing, the former
32 XXIV|        has the special merit of being the only poet who rightly
33 XXV |        thus exhibited.~The poet being an imitator, like a painter
34 XXV |       thereby attained (the end being that already mentioned)—
35 XXV |  metaphorically for "many," all being a species of many. So in
36 XXV |      how many ways we may take "being checked there." The true
37 XXVI|          to an inferior public. Being then unrefined, it is evidently