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 1 I    |       the plot as requisite to a good poem; into the number and
 2 II   |        are. The same thing holds good of Dithyrambs and Nomes;
 3 IV   |      actions, and the actions of good men. The more trivial sort
 4 V    |          therefore knows what is good or bad Tragedy, knows also
 5 VII  |       change from bad fortune to good, or from good fortune to
 6 VII  |         fortune to good, or from good fortune to bad.~
 7 IX   |       pieces by their own fault, good poets, to please the players;
 8 XI   |         destined by the poet for good or bad fortune. The best
 9 XI   |    situations that the issues of good or bad fortune will depend.
10 XIII |         man who is not eminently good and just, yet whose misfortune
11 XIII |        should be not from bad to good, but, reversely, from good
12 XIII |       good, but, reversely, from good to bad. It should come about
13 XIII |     opposite catastrophe for the good and for the bad. It is accounted
14 XV   |       most important, it must be good. Now any speech or action
15 XV   | character: the character will be good if the purpose is good.
16 XV   |        be good if the purpose is good. This rule is relative to
17 XV   |       class. Even a woman may be good, and also a slave; though
18 XV   |     common level, the example of good portrait painters should
19 XVIII|       marks the turning-point to good or bad fortune. The Unraveling
20 XVIII|         there have hitherto been good poets, each in his own branch,
21 XXII |      mark of genius, for to make good metaphors implies an eye
22 XXV  |         whether it is poetically good or bad. We must also consider
23 XXV  |        it be to secure a greater good, or avert a greater evil.~
24 XXVI |          causes that make a poem good or bad; the objections of