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 1 I    |       add the word "maker" or "poet" to the name of the meter,
 2 I    |       imitation that makes the poet, but the verse that entitles
 3 I    |      out in verse, the name of poet is by custom given to the
 4 I    |       be right to call the one poet, the other physicist rather
 5 I    |    other physicist rather than poet. On the same principle,
 6 I    |     too under the general term poet.~So much then for these
 7 III  |      the objects the same, the poet may imitate by narration—
 8 III  |   Megarians of Sicily, for the poet Epicharmus, who is much
 9 V    |    granted a comic chorus to a poet; the performers were till
10 VI   |  machinist than on that of the poet.~
11 IX   |        not the function of the poet to relate what has happened,
12 IX   |  probability or necessity. The poet and the historian differ
13 IX   | already apparent: for here the poet first constructs the plot
14 IX   |       clearly follows that the poet or "maker" should be the
15 IX   |       of verses; since he is a poet because he imitates, and
16 IX   | subject, he is none the less a poet; for there is no reason
17 IX   |    quality in them he is their poet or maker.~Of all plots and
18 XI   |        persons destined by the poet for good or bad fortune.
19 XIII |   proceed to consider what the poet should aim at, and what
20 XIII |        the spectators; for the poet is guided in what he writes
21 XIV  |       and indicates a superior poet. For the plot ought to be
22 XIV  |   since the pleasure which the poet should afford is that which
23 XIV  |        to be looked for by the poet. He may not indeed destroy
24 XV   |  portraiture of character, the poet should always aim either
25 XV   |     more beautiful. So too the poet, in representing men who
26 XV   |       These then are rules the poet should observe. Nor should
27 XVI  |        invented at will by the poet, and on that account wanting
28 XVI  |   himself, and saying what the poet, not what the plot requires.
29 XVII |        the proper diction, the poet should place the scene,
30 XVII |      the oversight.~Again, the poet should work out his play,
31 XVII |     for the story, whether the poet takes it ready made or constructs
32 XVIII|      scenes laid in Hades. The poet should endeavor, if possible,
33 XVIII|        be mastered.~Again, the poet should remember what has
34 XVIII|      far from answering to the poet’s expectation. The proof
35 XIX  |       serious censure upon the poet’s art. For who can admit
36 XXI  |    Hence the expression of the poet "sowing the god-created
37 XXI  |     use, but is adopted by the poet himself. Some such words
38 XXII |      be an easy matter to be a poet if you might lengthen syllables
39 XXIV |        merit of being the only poet who rightly appreciates
40 XXIV |       should take himself. The poet should speak as little as
41 XXIV |      Odyssey.~Accordingly, the poet should prefer probable impossibilities
42 XXIV |        apparent if an inferior poet were to treat the subject.
43 XXIV |    poetic charm with which the poet invests it.~The diction
44 XXV  |     may be thus exhibited.~The poet being an imitator, like
45 XXV  |     which are accidental. If a poet has chosen to imitate something, [
46 XXV  |      matters which concern the poet’s own art. If he describes
47 XXV  |       is not true to fact, the poet may perhaps reply, "But
48 XXV  |        be of neither kind, the poet may answer, "This is how
49 XXV  |         he killed]," where the poet perhaps employs oureas not
50 XXV  |     while at the same time the poet says: "Often indeed as he
51 XXV  |         and, assuming that the poet has said whatever they happen
52 XXV  |       by reference to what the poet says himself, or to what
53 XXVI |       the story adopted by the poet has a strict unity, it must