g.ve it
a basis of proper names, choosing for the purpose any names that may
occur to them, instead of writing like the old iambic poets about
particular persons. In Tragedy, however, they still adhere to the
historic names; and for this reason: what convinces is the possible;
now whereas we are not yet sure as to the possibility of that which
has not happened, that which has happened is manifestly possible, else
it would not have come to pass. Nevertheless even in Tragedy there are
some plays with but one or two known names in them, the rest being
inventions; and there are some without a single known name, e.g.
Agathon's Anthens, in which both incidents and names are of the poet's
invention; and it is no less delightful on that account. So that one
must not aim at a rigid adherence to the traditional stories on which
tragedies are based. It would be absurd, in fact, to do so, as even
the known stories are only known to a few, though they are a delight
none the less to all.
It i.e.ident from the above that, the poet must be more the poet of
his stories or Plots than of his verses, inasmuch as he is a poet by
virtue of the imitative element in his work, and it is actions that he
imitates.
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