[Chapter ii differentiates the epic and the tragic art, which idealize “men in action” by seeking higher types of manhood and exhibiting men’s aspirations, from the comic art, which exaggerates human failings. Chapter iii differentiates the two typical modes of poetic imitation as the narrative and the dramatic. Chapters iv and v, starting from the common impulses toward imitation, toward music, and toward rhythm, summarize the history of tragedy and of comedy. The conclusion is that tragedy differs from epic not only in proceeding by representation instead of narrative, but by being focused on a short period of time, normally twenty-four hours; in a word, by being intensive. Thus we arrive at the famous analysis of the essentials and the elements of tragedy.] A tragedy,[18] then, is an imitation of an action that is (1) serious and, (2) as to size, complete, (3) in language enhanced as may be appropriate to each part, (4) in the form of action, not of narrative, (5) through pity and fear effecting its catharsis of such emotions.... Every tragedy,[19] therefore, must have six constituents, according to which we estimate its quality: plot, character, diction, thought, spectacle, and music. The greatest of these is the plan of the actions (the plot); for tragedy is an imitation not of men, but of action and life ... and the end [for which we live] is a certain form of action, not a quality. By their characters men are what they are; but by their actions they are happy or the reverse. [In a play] therefore they do not act in order to imitate character; they include character for the sake of the actions. Hence the actions and their plot are the end of tragedy; and the end is greatest of all. Furthermore, without action there may not be tragedy; without character there may be.... By stringing together speeches expressive of character and well made as to diction and thought you will not achieve the tragic function. Much rather is it achieved by a tragedy which, however deficient in these, has plot and plan of actions. Besides, those things by which tragedy moves us most, scenes of reversal and of discovery, are parts of the plot. A further proof is that novices in dramaturgy can put a fine point on diction and characterization before they compose deeds; and it is the same with nearly all the early dramatists. The principle and, as it were, the soul of tragedy is plot. Second is character.... Third[20] is thought, i.e., the ability to say what is necessary and appropriate, which in public address is the function of politics and rhetoric.... Characterization is what shows habit of mind.... Thought appears in formal reasoning. Fourth is diction, i.e., the expression of meaning in words, which is essentially the same in verse as in prose.