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 1 I   |         for even dancing imitates character, emotion, and action, by
 2 II  |           a lower type (for moral character mainly answers to these
 3 III |           imitate higher types of character; from another point of view,
 4 IV  |       according to the individual character of the writers. The graver
 5 VI  |     distinctive qualities both of character and thought; for it is by
 6 VI  | themselves, and these—thought and character—are the two natural causes
 7 VI  |  arrangement of the incidents. By Character I mean that in virtue of
 8 VI  |         its quality—namely, Plot, Character, Diction, Thought, Spectacle,
 9 VI  |   Spectacular elements as well as Character, Plot, Diction, Song, and
10 VI  |        action, not a quality. Now character determines men’s qualities,
11 VI  |          to the representation of character: character comes in as subsidiary
12 VI  |      representation of character: character comes in as subsidiary to
13 VI  |     tragedy; there may be without character. The tragedies of most of
14 VI  |          fail in the rendering of character; and of poets in general
15 VI  | Polygnotus. Polygnotus delineates character well; the style of Zeuxis
16 VI  |         of speeches expressive of character, and well finished in point
17 VI  |            the soul of a tragedy; Character holds the second place.
18 VI  |     language of the rhetoricians. Character is that which reveals moral
19 VI  |   whatever, are not expressive of character. Thought, on the other hand,
20 XIII|          There remains, then, the character between these two extremes—
21 XIII|      great error or frailty, in a character either such as we have described,
22 XV  |                  XV~In respect of Character there are four things to
23 XV  |        kind will be expressive of character: the character will be good
24 XV  |      expressive of character: the character will be good if the purpose
25 XV  |           inappropriate. Thirdly, character must be true to life: for
26 XV  |         motiveless degradation of character, we have Menelaus in the
27 XV  |       Menelaus in the Orestes; of character indecorous and inappropriate,
28 XV  |         too in the portraiture of character, the poet should always
29 XV  |          Thus a person of a given character should speak or act in a
30 XV  |          or have other defects of character, should preserve the type
31 XVII|         can take the mould of any character; in the other, he is lifted
32 XXIV|           his poems has a twofold character. The Iliad is at once simple
33 XXIV|        qualities, but each with a character of his own.~The element
34 XXIV|         there is no expression of character or thought. For, conversely,
35 XXIV|         thought. For, conversely, character and thought are merely obscured
36 XXV |           similarly, depravity of character, are justly censured when