name of the metre, and speak of elegiac poets, or epic (that is,
hexameter) poets, as if it were not the imitation that makes the poet,
but the verse that entitles them all indiscriminately to the name. Even
when a treatise on medicine or natural science is brought out in verse,
the name of poet is by custom given to the author; and yet Homer and
Empedocles have nothing in common but the metre, so that it would be
right to call the one poet, the other physicist rather than poet. On the
same principle, even if a writer in his poetic imitation were to combine
all metres, as Chaeremon did in his Centaur, which is a medley composed
of metres of all kinds, we should bring him too under the general term
poet. So much then for these distinctions.

There are, again, some arts which employ all the means above mentioned,
namely, rhythm, tune, and metre. Such are Dithyrambic and Nomic poetry,
and also Tragedy and Comedy; but between them the difference is, that in
the first two cases these means are all employed in combination, in the
latter, now one means is employed, now another.

Such, then, are the differences of the arts with respect to the medium
of imitation.

II

Since the objects of imitation are men in action, and these men must be
either of a higher or a lower type (for moral character mainly answers
to these divisions, goodness and badness being the distinguishing marks
of moral differences), it follows that we must represent men either as
better than in real life, or as worse, or as they are. It is the same
in painting. Polygnotus depicted men as nobler than they are, Pauson as
less noble, Dionysius drew them true to life.

Now it is evident that each of the modes of imitation above mentioned
will exhibit these differences, and become a distinct kind in imitating
objects that are thus distinct. Such diversities may be found even in
dancing, flute-playing, and lyre-playing. So again in language, whether
prose or verse unaccompanied by music. Homer, for example, makes men
better than they are; Cleophon as they are; Hegemon the Thasian, the
inventor of parodies, and Nicochares, the author of the Deiliad, worse
than they are. The same thing holds good of Dithyrambs and Nomes;
here too one may portray different types, as Timotheus and Philoxenus
differed in representing their Cyclopes. The same distinction marks
off Tragedy from Comedy; for Comedy aims at representing men as worse,
Tragedy as better than in act