scenes b. begins in the dramatist’s mind with a scenario (1) for the amplifying incidents must be fewer than in epic c. is worked out as complication and solution xviii (1) This is the technical point in which tragedies are similar or dissimilar (2) The four typical kinds of tragedy, i.e., (a) those that depend mainly on reversal and recognition, (b) on emotion, (c) on character, (d) on spectacle, show the four elements of interest which the dramatist should seek to combine d. precludes the extensiveness of epic e. involves making the chorus one of the actors (1) not a mere singer of interludes C. The subsidiary element of thought, the rhetorical element in tragedy, includes the effects produced directly by persuasive speech, as distinct from those produced by action xix D. The subsidiary element of diction, to set aside what belongs under delivery, includes letters, syllables, connectives, nouns and verbs (with their inflection), and word-combinations xx 1. Words may be classified as xxi a. single or double b. ordinary or extraordinary (figurative, coined, etc.) c. masculine or feminine 2. Virtue in the choice of words consists in being clear without being colorless xxii a. Though extreme or habitual deviation from ordinary use is a fault, occasional deviation is necessary to distinction b. Though it is a great thing to use variations of diction with propriety, the greatest thing is to be master of metaphor. _The third section defines epic and compares it with tragedy_ (chapters xxiii-xxvi).