tions; for even he, by the rhythms of his attitudes, may represent men's characters, as well as what they do and suffer. There is further an art which imitates by language alone, without harmony, in prose or in verse, and if in verse, either in some one or in a plurality of metres. This form of imitation is to this day without a name. We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind o� verse though it is the way with people to tack on ' oct' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscri..____mi_.nately by reason of the metre they write in. Even if a theory of medicine or physical philosophy be put forth in a metrical form, it is usual to describe the writer in this way; ttomer and. _E__mpedocles , h_owe_vr have re_....ally nothing in common apart from their metre; so that, if the one is to be called a poet, the other should be termed a physicist rather than a poet. We should be in the same position also, if the imitation in these instances were in all the metres, like the Centaur (a rhapsody in a medley of all metres) of Chaeremon; and Chaeremon one has to recognize as a poet. So much, then, as to these arts. There are, lastly, certain other arts, which combine all the means enumerated, rhythm, melody, and verse, e.g. Dithyrambic and Noni.._.__c poetry, Tragedy and Comedy; with this difference, however, that the three kinds of means are in some of them all employed together, and in others brought in separately, one after the other. These elements of difference in the above arts I term the means of their imitation.
