Epic and tragedy, comedy also and the [dramatic[13]] art of the dithyramb, and most of the art of the flute and of the lyre are all, taken together, imitations. They differ one from another in three respects: in the means of imitation, in the object, or in the mode [i.e., all are essentially imitation; in imitation they are generally alike, and in imitation they are specifically different]. For as there are those who by colors and outlines imitate various objects in their portrayals, whether by art or by practise, and others who imitate through the voice, so also in the arts mentioned above. All [these] make their imitation by rhythm, by language, and by music, whether singly or in combination. Thus only rhythm and music are used in the art of the flute, of the lyre, and in such other arts, similar in capacity, as that of the pipes. Rhythm itself, without music, [suffices for] the art of the dancers; for by ordered rhythms they imitate both character and emotion and action [i.e., dancing compasses the whole scope of representation]. Words alone, whether prose or verse of whatever kind, are used by an art which is to this day without a name. We have no common name for the mime of Sophron or Xenarchus and the Socratic dialogue. Nor should we have one if the imitation were in trimeters or elegiacs or some other kind of verse.... [For it is not verse, Aristotle goes on to say, that makes poetry, but imitation.] So much for differentiation. There are some arts that use all the means mentioned above, i.e., rhythm, music, and verse, e.g., dithyrambic and nomic poetry and also both tragedy and comedy; but they differ in that the first two use all the means in combination, whereas the latter use now one, now another. Therefore I differentiate these arts by their respective means of imitation. To proceed surely from this opening chapter, it is evidently necessary to grasp what Aristotle means first by imitation, secondly by that nameless art which uses only words, thirdly by classifying the art of poetry with that of music and that of the dance.