Diction Term Analysis

Let us discuss the art of poetry in general and its species—the effect which each species of poetry has and the correct way to construct plots if the composition is to be of high quality, as well as the number and nature of its component parts, and any other questions that arise within the same field of enquiry. We should begin, as it natural, by taking first principles first.

So tragedy as a whole necessarily has six component parts, which determine the tragedy’s quality. The medium of imitation comprises two parts, the mode one, and object three; and there is nothing apart from these.

The most important quality in diction is clarity, provided there is no loss of dignity. The clearest diction is that based on current words; but that lacks dignity (as can be seen from the poetry of Cleophon, and that of Sthenelus). By contrast, diction that is distinguished and out of the ordinary when it makes use of exotic expressions—by which I mean non-standard words, metaphor, lengthening, and anything contrary to current usage. […] So what is needed is some kind of mixture of these two things: one of them will make the diction of the ordinary and avoid a loss of dignity (i.e. non-standard words, metaphor, ornament and other categories I mentioned earlier), while current usage will contribute clarity.

Homer deserves praise for many reasons, but above all because he alone among poets is not ignorant of what he should do in his own person. The poet in person should say as little as possible; that is not what makes him an imitator. Other poets perform in person throughout, and imitate little and seldom; but after a brief preamble Homer introduces a man or a woman or some other character—and none of them are characterless: they have character.

Tragedy has everything epic does (and it can even make use of its verse-form), and additionally it has a major component part music and spectacle; this is a source of intense pleasure. […] Also, the end of imitation is attained in shorter length; what is more concentrated is more pleasant than what is watered down by being more extended in time ( I mean, for example, if one were to turn Sophocles’ Oedipus into as many lines as the Iliad has).