Paragraph

 1 II  |           objects of imitation are men in action, and these men
 2 II  |           men in action, and these men must be either of a higher
 3 II  |     follows that we must represent men either as better than in
 4 II  |      painting. Polygnotus depicted men as nobler than they are,
 5 II  |          Homer, for example, makes men better than they are; Cleophon
 6 II  |        Comedy aims at representing men as worse, Tragedy as better
 7 IV  |        only to philosophers but to men in general; whose capacity,
 8 IV  |       limited. Thus the reason why men enjoy seeing a likeness
 9 IV  |            and the actions of good men. The more trivial sort imitated
10 IV  |          and the praises of famous men. A poem of the satirical
11 VI  |            is an imitation, not of men, but of an action and of
12 VI  |           Now character determines men’s qualities, but it is by
13 XIII|     Thyestes, or other illustrious men of such families.~A well-constructed
14 XV  |          the poet, in representing men who are irascible or indolent,
15 XX  |         beginning of a sentence—as men, etoi, de.~A Noun is a composite
16 XX  |          one or many, as "man" or "men"; or the modes or tones
17 XXIV|            a second is or becomes, men imagine that, if the second
18 XXV |        Sophocles said that he drew men as they ought to be; Euripides,
19 XXV |           may answer, "This is how men say the thing is." applies
20 XXV |            rare word, as in oureas men proton, "the mules first [
21 XXV | metaphorical, as "Now all gods and men were sleeping through the
22 XXV |            didomen) de hoi, and to men hou (ou) kataputhetai ombro.~
23 XXV |    impossible that there should be men such as Zeuxis painted. "