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 1 I    |         come first.~Epic poetry and Tragedy, Comedy also and Dithyrambic
 2 I    |          and Nomic poetry, and also Tragedy and Comedy; but between
 3 II   |          same distinction marks off Tragedy from Comedy; for Comedy
 4 II   |          representing men as worse, Tragedy as better than in actual
 5 III  |         claim the invention both of Tragedy and Comedy. The claim to
 6 III  |           belonged to that country. Tragedy too is claimed by certain
 7 IV   |             Iliad and Odyssey do to tragedy. But when Tragedy and Comedy
 8 IV   |             do to tragedy. But when Tragedy and Comedy came to light,
 9 IV   |         higher form of art.~Whether Tragedy has as yet perfected its
10 IV   |        question. Be that as it may, Tragedy—as also Comedy—was at first
11 IV   |          use in many of our cities. Tragedy advanced by slow degrees;
12 IV   |           for the stately manner of Tragedy. The iambic measure then
13 V    |    successive changes through which Tragedy passed, and the authors
14 V    |             Epic poetry agrees with Tragedy in so far as it is an imitation
15 V    |         again, in their length: for Tragedy endeavors, as far as possible,
16 V    |             freedom was admitted in Tragedy as in Epic poetry.~Of their
17 V    |           to both, some peculiar to Tragedy: whoever, therefore knows
18 V    |           knows what is good or bad Tragedy, knows also about Epic poetry.
19 V    |           an Epic poem are found in Tragedy, but the elements of a Tragedy
20 V    |      Tragedy, but the elements of a Tragedy are not all found in the
21 VI   |       hereafter. Let us now discuss Tragedy, resuming its formal definition,
22 VI   |         what has been already said.~Tragedy, then, is an imitation of
23 VI   |         equipment will be a part of Tragedy. Next, Song and Diction,
24 VI   |             one understands.~Again, Tragedy is the imitation of an action;
25 VI   |             truth enunciated. Every Tragedy, therefore, must have six
26 VI   |     structure of the incidents. For Tragedy is an imitation, not of
27 VI   |           the plot are the end of a tragedy; and the end is the chief
28 VI   |            action there cannot be a tragedy; there may be without character.
29 VI   |            of emotional interest in Tragedy—Peripeteia or Reversal of
30 VI   |           as it were, the soul of a tragedy; Character holds the second
31 VI   |         outline of a portrait. Thus Tragedy is the imitation of an action,
32 VI   |            poetry. For the power of Tragedy, we may be sure, is felt
33 VII  |             most important thing in Tragedy.~Now, according to our definition
34 VII  |         according to our definition Tragedy is an imitation of an action
35 IX   |           are the usual subjects of Tragedy. Indeed, it would be absurd
36 IX   |      natural continuity.~But again, Tragedy is an imitation not only
37 XI   |           which, by our definition, Tragedy represents. Moreover, it
38 XII  |                    XII~The parts of Tragedy which must be treated as
39 XII  |           separate parts into which Tragedy is divided—namely, Prologue,
40 XII  |            is that entire part of a tragedy which precedes the Parode
41 XII  |            is that entire part of a tragedy which is between complete
42 XII  |            is that entire part of a tragedy which has no choric song
43 XII  |            and actors. The parts of Tragedy which must be treated as
44 XIII |        means the specific effect of Tragedy will be produced.~A perfect
45 XIII |         will be produced.~A perfect tragedy should, as we have seen,
46 XIII |         more alien to the spirit of Tragedy; it possesses no single
47 XIII |      suffered something terrible. A tragedy, then, to be perfect according
48 XIII |       second rank comes the kind of tragedy which some place first.
49 XIV  |         strangers to the purpose of Tragedy; for we must not demand
50 XIV  |           for we must not demand of Tragedy any and every kind of pleasure,
51 XIV  |             furnish the subjects of tragedy. It was not art, but happy
52 XV   |            outside the scope of the tragedy. Such is the irrational
53 XV   |             Sophocles.~Again, since Tragedy is an imitation of persons
54 XVIII|                         XVIII~Every tragedy falls into two parts—Complication
55 XVIII|             There are four kinds of Tragedy: the Complex, depending
56 XVIII|        excellence.~In speaking of a tragedy as the same or different,
57 XVIII|            an Epic structure into a tragedy—by an Epic structure I mean
58 XVIII|        instance, you were to make a tragedy out of the entire story
59 XVIII|             as to that of any other tragedy. They are, therefore, sung
60 XIX  |         Thought, the other parts of Tragedy having been already discussed.
61 XXII |          the ornamental.~Concerning Tragedy and imitation by means of
62 XXIII|           manifestly ought, as in a tragedy, to be constructed on dramatic
63 XXIII|          furnish the subject of one tragedy, or, at most, of two; while
64 XXIV |          must have as many kinds as Tragedy: it must be simple, or complex,
65 XXIV |            Epic poetry differs from Tragedy in the scale on which it
66 XXIV |           we can see the reason. In Tragedy we cannot imitate several
67 XXIV |            wonderful is required in Tragedy. The irrational, on which
68 XXVI |            they perform the Scylla. Tragedy, it is said, has this same
69 XXVI |            who do not need gesture; Tragedy, to an inferior public.
70 XXVI | representing degraded women. Again, Tragedy like Epic poetry produces
71 XXVI |            single action.~If, then, tragedy is superior to epic poetry
72 XXVI |             it plainly follows that tragedy is the higher art, as attaining