Sinbsp;the objebsp;of imitation are men in a, and the men must be either of a higher or a lower type (for moral character mainly answers to the divisions, goodness and badness being the distinguishing marks of moral differences), it follows that we must reprent men either as better than in real life, or as wor, 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 eabsp;of the modes of imitation above mentioned will exhibit the differences, and bee a distinbsp;kind in imitating objebsp;that are thus distinct.
Subsp;diversities may be found even in dang, flute-playing, and lyre-playing.
So again in language, whether pro or ver unapanied by music.
Homer, for example, makes men better than they are; Cleophon as they are; Hegemon the Thasian, the ior of parodies, and Nicochares, the author of the Deiliad, wor 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 reprenting their Cyclopes.
The same distin marks off Tragedy from edy; for edy aims at reprenting men as wor, Tragedy as better than in actual life.