artistic ornament, the several kinds being found in separate parts of the
play; in the form of action, not of narrative; through pity and fear
effecting the proper purgation of these emotions. By 'language
embellished,' I mean language into which rhythm, 'harmony,' and song
enter. By 'the several kinds in separate parts,' I mean, that some parts
are rendered through the medium of verse alone, others again with the aid
of song.

Now as tragic imitation implies persons acting, it necessarily follows,
in the first place, that Spectacular equipment will be a part of Tragedy.
Next, Song and Diction, for these are the medium of imitation. By
'Diction' I mean the mere metrical arrangement of the words: as for
'Song,' it is a term whose sense every one understands.

Again, Tragedy is the imitation of an action; and an action implies
personal agents, who necessarily possess certain distinctive qualities
both of character and thought; for it is by these that we qualify actions
themselves, and these--thought and character--are the two natural causes
from which actions spring, and on actions again all success or failure
depends. Hence, the Plot is the imitation of the action: for by plot I
here mean the arrangement of the incidents. By Character I mean that in
virtue of which we ascribe certain qualities to the agents. Thought is
required wherever a statement is proved, or, it may be, a general truth
enunciated. Every Tragedy, therefore, must have six parts, which parts
determine its quality--namely, Plot, Character, Diction, Thought,
Spectacle, Song. Two of the parts constitute the medium of imitation, one
the manner, and three the objects of imitation. And these complete the
list. These elements have been employed, we may say, by the poets to a
man; in fact, every play contains Spectacular elements as well as
Character, Plot, Diction, Song, and Thought.