Such, then, are the differences of the arts with respect to the
medium of imitation
POETICS|2
II
Since the objects of imitation are men in action, and these men must
be either of a higher or a lower type (for moral character mainly
answers to these divisions, goodness and badness being the
distinguishing marks of moral differences), it follows that we must
represent men either as better than in real life, or as worse, or as
they are. It is the same in painting. Polygnotus depicted men as
nobler than they are, Pauson as less noble, Dionysius drew them true
to life.
Now it is evident that each of the modes of imitation above
mentioned will exhibit these differences, and become a distinct kind
in imitating objects that are thus distinct. Such diversities may be
found even in dancing, flute-playing, and lyre-playing. So again in
language, whether prose or verse unaccompanied by music. Homer, for
example, makes men better than they are; Cleophon as they are; Hegemon
the Thasian, the inventor of parodies, and Nicochares, the author of
the Deiliad, worse than they are. The same thing holds good of
Dithyrambs and Nomes; here too one may portray different types, as
Timotheus and Philoxenus differed in representing their Cyclopes.
The same distinction marks off Tragedy from Comedy; for Comedy aims at
representing men as worse, Tragedy as better than in actual life.
POETICS|3
III
There is still a third difference- the manner in which each of these
objects may be imitated.
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