The marvellous is certainly required in Tragedy. The Epic, however, affords more opening for the improbable, the chief factor in the marvellous, because in it the agents are not visibly before one. The scene of the pursuit of Hector would be ridiculous on the stage--the Greeks halting instead of pursuing him, and Achilles shaking his head to stop them; but in the poem the absurdity is overlooked. The marvellous, however, is a cause of pleasure, as is shown by the fact that we all tell a story with additions, in the belief that we are doing our hearers a pleasure. Homer more than any other has taught the rest of us the art of framing lies in the right way. I mean the use of paralogism. Whenever, if A is or happens, a consequent, B, is or happens, men's notion is that, if the B is, the A also is--but that is a false conclusion. Accordingly, if A is untrue, but there is something else, B, that on the assumption of its truth follows as its consequent, the right thing then is to add on the B. Just because we know the truth of the consequent, we are in our own minds led on to the erroneous inference of the truth of the antecedent. Here is an instance, from the Bath-story in the _Odyssey_. A likely impossibility is always preferable to an unconvincing possibility. The story should never be made up of improbable incidents; there should be nothing of the sort in it. If, however, such incidents are unavoidable, they should be outside the piece, like the hero's ignorance in _Oedipus_ of the circumstances of Lams' death; not within it, like the report of the Pythian games in _Electra_, or the man's having come to Mysia from Tegea without uttering a word on the way, in _The Mysians_. So that it is ridiculous to say that one's Plot would have been spoilt without them, since it is fundamentally wrong to make up such Plots. If the poet has taken such a Plot, however, and one sees that he might have put it in a more probable form, he is guilty of absurdity as well as a fault of art. Even in the _Odyssey_ the improbabilities in the setting-ashore of Ulysses would be clearly intolerable in the hands of an inferior poet. As it is, the poet conceals them, his other excellences veiling their absurdity. Elaborate Diction, however, is required only in places where there is no action, and no Character or Thought to be revealed. Where there is Character or Thought, on the other hand, an over-ornate Diction tends to obscure them. 25