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

由于物体的仿制是男性，在行动上，而这些男人必须

要么的较高或较低的类型（品德为主

这些答案都是师，善，恶作为

识别标志的道德差异） ，因此，我们必须

代表男性要么作为总比在现实生活中，还是更坏，或作为

他们的影响。它是一样的画。波力诺塔斯描绘男人

崇高的比，他们是pauson那么高尚，狄奥尼修斯设计了它们的真实

生命。

现在很明显，每一种模式仿制以上

提到将展出这些分歧，并成为一个独特的实物

在模仿对象，从而显着。这些差异可能

发现即使是在跳舞，长笛扮演，并lyre公平的。再次，在

语言，无论是散文或韵文举目无亲的音乐。荷马，为

举例来说，让男人不如他们; cleophon因为他们;霸主

该thasian ，发明人的仿拟，并nicochares ，作者

该deiliad ，不如他们的影响。同样的事情持良好的

dithyrambs和nomes ;这里也可以描绘出不同的类型，作为

蒂莫托伊斯和philoxenus不同，在代表各自的库克洛普斯。

同样的区分标志小康悲剧喜剧;喜剧的目的

代表男性作为更糟的是，悲剧总比在现实生活中。