magnitude of its own. Yet these poems are as perfect as possible in
structure; each is, in the highest degree attainable, an imitation of a
single action.

If, then, Tragedy is superior to Epic poetry in all these respects, and,
moreover, fulfils its specific function better as an art for each art
ought to produce, not any chance pleasure, but the pleasure proper to it,
as already stated it plainly follows that Tragedy is the higher art, as
attaining its end more perfectly.

Thus much may suffice concerning Tragic and Epic poetry in general;
their several kinds and parts, with the number of each and their
differences; the causes that make a poem good or bad; the objections of
the critics and the answers to these objections. * * *