[28] The verb here translated _make_ corresponds to the noun _poet_. The insistence brought about by the repetition will be made clear by rendering the words italicized _creator_ and _create_, or, to revive an older use, _maker_ and _make_. [29] ix. 1451 b. [30] ix. 1451 b. [31] ix. 1452 a. [32] περιπέτεια. [33] ἀναγνώρισις. [34] xi. 1452 b. [35] Both Butcher and Bywater so interpret; but Butcher’s rendering “tragic incident” seems hardly to meet the context. Bywater’s rendering “suffering” seems preferable if we may venture to interpret it as meaning, more generally than Bywater suggests, the working out of the plot to its full emotional expression. So taken, it corresponds to the climax of pity and fear, as “reversal” and “recognition” correspond to the preceding complication. [36] xii. 1452 b. This has been challenged as an interpolation. It is at least meager and, as it were, impatient, as is the corresponding section in the _Rhetoric_ (III. xiii. 1414 b) on the formal parts of an oration. [37] διπλοῦν. The context seems to show that this means _divided_ in interest and issue, insufficiently focused. Aristotle does not mean that the plot should not be complicated; for at the opening of this chapter he says that the plot of the perfect tragedy is not simple, but complicated (μὴ ἁπλῆν ἀλλὰ πεπλεγμένην). What he adds here is that the complication should not be such as to divide our sympathy. The plot should not, indeed, be simple; but it should be single. [38] xiii. 1453 a. [39] xv. [40] xiv. 1453 b. ἐξ αὐτῆς τῆς συστάσεως τῶν πραγμάτων. [41] See the tabular view, page 136. [42] I follow Bywater’s note, pages 227-228. [43] 1454 b. [44] ἀναγνώρισις. 1454 b. “This and the next two chapters form a sort of Appendix; they discuss a series of special points and rules of construction which had been omitted in the sketch of the general theory of the μῦθος.” Bywater, page 233. I am not convinced of an interruption here. What seems to me the bearing of this chapter and the following on the discussion of consistency from Chapter xiii on is indicated in the tabular view on page 136. [45] 1455 a. [46] xvii. 1455 a. [47] xvii. 1455 b. [48] xviii. 1455 b. [49] xviii. 1456 a. [50] xviii. 1456 a. [51] Page 138. As to whether xx is an interpolation, see Bywater. [52] xxii. 1459 a. [53] xxiii. 1459 a. [54] A most striking exemplification of this is _Paradise Lost_. [55] Sainte-Beuve, _Étude sur Virgile_, vii. page 151, disputes the superiority of drama to epic. [56] The most familiar instances are certain plays of Ibsen. Of plays recently on the stage, Bernstein’s _Voleur_, Mirbeau’s _Les affaires sont les affaires_, Besier’s _Don_, Kenyon’s _Kindling_, show that this type of dramatic movement is not confined to any particular school. Of plays that on the contrary dispense with this and rely mainly on characterization the most familiar to Americans is the dramatization of _Rip Van Winkle_ used by Joseph Jefferson.