Conceptions and attitudes of mind such as these constitute what we may call the classical faith in matters of art and poetry; a faith which is never perhaps fully accepted in any age, yet, unlike others, is never forgotten but lives by being constantly criticized, re-asserted, and rebelled against. For the fashions of the ages vary in this direction and that, but they vary for the most part from a central road which was struck out by the imagination of Greece. G. M ARISTOTLE ON THE ART OF POETRY 1 Our subject being Poetry, I propose to speak not only of the art in general but also of its species and their respective capacities; of the structure of plot required for a good poem; of the number and nature of the constituent parts of a poem; and likewise of any other matters in the same line of inquiry. Let us follow the natural order and begin with the primary facts. Epic poetry and Tragedy, as also Comedy, Dithyrambic poetry, and most flute-playing and lyre-playing, are all, viewed as a whole, modes of imitation. But at the same time they differ from one another in three ways, either by a difference of kind in their means, or by differences in the objects, or in the manner of their imitations. I. Just as form and colour are used as means by some, who (whether by art or constant practice) imitate and portray many things by their aid, and the voice is used by others; so also in the above-mentioned group of arts, the means with them as a whole are rhythm, language, and harmony--used, however, either singly or in certain combinations. A combination of rhythm and harmony alone is the means in flute-playing and lyre-playing, and any other arts there may be of the same description, e.g. imitative piping. Rhythm alone, without harmony, is the means in the dancer's imitations; for even he, by the rhythms of his attitudes, may represent men's characters, as well as what they do and suffer. There is further an art which imitates by language alone, without harmony, in prose or in verse, and if in verse, either in some one or in a plurality of metres. This form of imitation is to this day without a name. We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in. Even if a theory of medicine or physical philosophy be put forth in a metrical form, it is usual to describe the writer in this way; Homer and Empedocles, however, have really nothing in common apart from their metre; so that, if the one is to be called a poet, the other should be termed a physicist rather than a poet. We should be in