Still, through all this variety, runs what he discerned as a common controlling method, the method of suggestion. In this fundamental _Gulliver’s Travels_ and the _Sentimental Journey_ and _The Lady of the Lake_, to take examples as different as possible, belong together; and together they belong apart from _Othello_. Thirdly, what is the significance of grouping all these forms of poetic art with music and dancing? Painting, which even in Aristotle’s day was a fine art, is mentioned only as an analogy from another group. Singing, or chanting, also is only mentioned for analogy, perhaps because it is not creative. Architecture may have been omitted as being primarily at that time a useful art; but sculpture was both a fine art and, perhaps most obviously of all arts, imitative. Though we need not assume that Aristotle intended here a comprehensive classification of the arts, it is clear that he intended to group poetic art with the arts of music and dancing. Nor is his principle of division far to seek. Clearly he regards poetic as one of the arts of movement in time, and as distinct from the static arts of line and color, balance, mass, and pose. True, music and dance entered largely into early Greek drama and were still present in the drama of Aristotle’s time; but that fact does not explain the grouping together of “epic, tragedy, comedy, dithyramb, flute-playing, and lyre-playing,” with the later inclusion of dancing. Aristotle does not say that these occur together; and the mention of epic precludes any such interpretation. He says that they are alike. He saw all poetic art, especially drama, as primarily an art of movement. What is implied here in the opening chapter is carried out consistently, in doctrine and in terms, through the whole book. No one should deny a certain fundamental likeness among all the arts; but the likeness is not in technic except among those arts which have like “means” of expression, such as “rhythm, language, and music.” Modern application of terms from architecture and painting to drama and story has spread no little confusion. Aristotle will have us think along right lines; and, as in his _Rhetoric_, the first chapter is the most important of all. We are to think of poetic composition not as structure, but as movement.