Chapter 17

In constructing plots and working them out in language, one should set them before one’s eyes as vividly as possible; for by seeing them thus with the greatest clarity, as though present at the very[Bekker 1455a line 25]events themselves, one would discover what is fitting and be least likely to overlook contradictions.Evidence of this is the fault found with Carcinus. His Amphiaraus was returning from the temple—a detail that escaped the poet because he did not visualize the scene—but on the stage the play failed when the spectators took offense at it.So far as possible, one should also work out the action through one’s own gestures;[Bekker 1455a line 30]for, given the same natural capacities, those who are themselves in the grip of emotion are the most convincing: the man who is distressed conveys distress, and the man who is angry conveys anger, with the greatest truth.Hence poetry belongs to the naturally gifted or to the mad; for the former are readily adaptable, while the latter are transported out of themselves.As for stories, whether inherited or invented, the poet should first[Bekker 1455b][Bekker 1455b line 1]set them out for himself in general outline, and only then introduce episodes and expand them.What I mean by viewing the general outline may be illustrated by the Iphigenia: a certain maiden was sacrificed and vanished unobserved by those who had sacrificed her; she was established in another country, where[Bekker 1455b line 5]it was the custom to sacrifice strangers to the goddess, and she held this priesthood. Some time later it happened that the priestess’s brother came there—the fact that the god’s oracle commanded him to go there, and the purpose for which it did so, lie outside the plot. But when he arrived, was seized, and was about to be sacrificed, he revealed his identity, whether in the manner[Bekker 1455b line 10]of Euripides or as Polyidus devised it, saying, as probability required, that it was apparently fated not only that his sister should be sacrificed but that he too should be; and from this comes his deliverance.After this, once the characters have been given names, the poet should introduce the episodes;but he must see that the episodes are appropriate, as in the case of Orestes, where there are the madness through which he was captured and the[Bekker 1455b line 15]deliverance through purification.In dramas, then, the episodes are brief, whereas epic is lengthened by them.For the story of the Odyssey is not long: a man is abroad for many years, kept under watch by Poseidon and left entirely alone; moreover, affairs at home are in such a state that his[Bekker 1455b line 20]property is being consumed by suitors and his son is being plotted against. He himself arrives after being storm-tossed, reveals his identity to certain persons, and attacks: he is saved, and destroys his enemies.This, then, is the essential story; all the rest consists of episodes.

In constructing plots and working them out in language, the poet should place them before his eyes as vividly as possible. In this way, seeing everything with the utmost clarity, as though he were present at the events[Bekker 1455a line 25]themselves, he will discover what is appropriate, and contradictions will be least likely to escape him.Evidence of this is the fault for which Carcinus was criticized. His Amphiaraus was returning from a temple, something that escaped the poet because he did not visualize it, but the play failed on the stage when the spectators took offense at it.As far as possible, the poet should also work out the action through gestures;[Bekker 1455a line 30]for, given the same natural disposition, those actually experiencing the emotions are the most convincing: the person in distress shows distress, and the angry person displays anger, most truthfully.That is why poetry requires either a naturally gifted or a mad person: the former are readily adaptable, while the latter are capable of ecstasy.As for stories, both those already composed and those the poet is composing himself, he should first set them out[Bekker 1455b][Bekker 1455b line 1]in general outline, and only then introduce episodes and expand them.What I mean by viewing the general outline can be illustrated by the story of Iphigenia. A certain girl was offered in sacrifice and vanished without her sacrificers knowing how; she was established in another country, where[Bekker 1455b line 5]it was customary to sacrifice foreigners to the goddess, and she received this priesthood. Some time later, it happened that the priestess’s brother came there. The fact that the god’s oracle commanded him to go there, and the purpose for which it did so, lie outside the plot. But after arriving and being seized, when he was about to be sacrificed, he disclosed his identity, whether in the way Euripides represented it or in the way Polyidus did, saying, as was probable,[Bekker 1455b line 10]that it was apparently necessary not only for his sister but also for him to be sacrificed; and from this comes his rescue.After this, once the characters have been given names, the poet should introduce the episodes.He must make sure that the episodes are appropriate, as in the case of Orestes: the madness through which he was captured and[Bekker 1455b line 15]his rescue through purification.In dramas, then, the episodes are brief, but epic is lengthened by them.The story of the Odyssey is not long: a man is away from home for many years, constantly watched by Poseidon, and completely alone; moreover, affairs at home are in such a state that[Bekker 1455b line 20]his property is being consumed by suitors and his son is being plotted against. He himself arrives home after suffering through storms, reveals his identity to certain people, and launches an attack. He is saved, and he destroys his enemies.This, then, is the essential story; everything else is episode.