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 1 I    |         verse—which verse, again, may either combine different
 2 II   |        distinct. Such diversities may be found even in dancing,
 3 II   |           and Nomes; here too one may portray different types,
 4 III  |       which each of these objects may be imitated. For the medium
 5 III  |        objects the same, the poet may imitate by narration—in
 6 III  |           person, unchanged—or he may present all his characters
 7 III  |          Athenian, prattein.~This may suffice as to the number
 8 IV   |           question. Be that as it may, Tragedy—as also Comedy—
 9 VI   |       statement is proved, or, it may be, a general truth enunciated.
10 VI   |   elements have been employed, we may say, by the poets to a man;
11 VI   |        cannot be a tragedy; there may be without character. The
12 VI   |          the power of Tragedy, we may be sure, is felt even apart
13 VII  |      certain magnitude; for there may be a whole that is wanting
14 VII  |  necessary, and a magnitude which may be easily embraced in one
15 VII  |     define the matter roughly, we may say that the proper magnitude
16 IX   |       what has happened, but what may happen—what is possible
17 IX   |          happened, the other what may happen. Poetry, therefore,
18 IX   |         have an air of design. We may instance the statue of Mitys
19 XI   |          of the most trivial kind may in a sense be objects of
20 XI   |         of recognition. Again, we may recognize or discover whether
21 XI   |         being between persons, it may happen that one person only
22 XI   |     latter is already known—or it may be necessary that the recognition
23 XIII |       Euripides, faulty though he may be in the general management
24 XIV  |                 XIV~Fear and pity may be aroused by spectacular
25 XIV  |       spectacular means; but they may also result from the inner
26 XIV  |        looked for by the poet. He may not indeed destroy the framework
27 XIV  |      skilful handling.~The action may be done consciously and
28 XIV  |         again, the deed of horror may be done, but done in ignorance,
29 XIV  |           action of the play: one may cite the Alcmaeon of Astydamas,
30 XV   |          each class. Even a woman may be good, and also a slave;
31 XV   |           slave; though the woman may be said to be an inferior
32 XVII |          detail. The general plan may be illustrated by the Iphigenia.
33 XVII |           The mode of recognition may be either that of Euripides
34 XIX  |            concerning Thought, we may assume what is said in the
35 XIX  |            he says, a command. We may, therefore, pass this over
36 XX   |          letter. The sound I mean may be either a vowel, a semivowel,
37 XX   |         one significant sound; it may be placed at either end
38 XX   |          man," for example—but it may dispense even with the verb.
39 XX   |      Cleon." A sentence or phrase may form a unity in two ways—
40 XXI  |          both significant. A word may likewise be triple, quadruple,
41 XXI  |          therefore, the same word may be at once strange and current,
42 XXI  |           fourth to the third. We may then use the fourth for
43 XXI  |           shield to Ares. The cup may, therefore, be called "the
44 XXI  |           evening to day. Evening may therefore be called, "the
45 XXI  |     existence; still the metaphor may be used. For instance, to
46 XXI  |       which this kind of metaphor may be employed. We may apply
47 XXI  |      metaphor may be employed. We may apply an alien term, and
48 XXII |   appropriate use of lengthening, may be seen in Epic poetry by
49 XXII |       which reproduces, as far as may be, familiar speech, the
50 XXII |           by means of action this may suffice.~
51 XXIII|  connected together as the events may be. For as the sea-fight
52 XXIII|          Such is the practice, we may say, of most poets. Here
53 XXIV |         wonderful is pleasing, as may be inferred from the fact
54 XXV  |           sources from which they may be drawn may be thus exhibited.~
55 XXV  |           which they may be drawn may be thus exhibited.~The poet
56 XXV  |       either current terms or, it may be, rare words or metaphors.
57 XXV  |           an error; but the error may be justified, if the end
58 XXV  |        not true to fact, the poet may perhaps reply, "But the
59 XXV  |         In this way the objection may be met. If, however, the
60 XXV  |         of neither kind, the poet may answer, "This is how men
61 XXV  |          tales about the gods. It may well be that these stories
62 XXV  |       said." Again, a description may be no better than the fact: "
63 XXV  |          evil.~Other difficulties may be resolved by due regard
64 XXV  |         the usage of language. We may note a rare word, as in
65 XXV  |  metaphorical; for the best known may be called the only one.~
66 XXV  |          one.~Again, the solution may depend upon accent or breathing.
67 XXV  |            Or again, the question may be solved by punctuation,
68 XXV  |           bronze." This, however, may also be taken as a metaphor.~
69 XXV  |       consider how many senses it may bear in the particular passage.
70 XXV  |           ask in how many ways we may take "being checked there."
71 XXV  |        But the Cephallenian story may perhaps be the true one.
72 XXV  |           yet possible. Again, it may be impossible that there
73 XXV  |          is probable that a thing may happen contrary to probability."~
74 XXVI |                 XXVI~The question may be raised whether the Epic
75 XXVI |          has this same defect. We may compare the opinion that
76 XXVI | histrionic art; for gesticulation may be equally overdone in epic
77 XXVI |           an the epic elements—it may even use the epic meter—
78 XXVI |         more perfectly.~Thus much may suffice concerning Tragic