As to that poetic imitation which
is narrative in form and employs a single metre, the
plot manifestly ought, as in a tragedy, to be constructed
on dramatic principles. It should have for its
subject a single action, whole and complete, with
a beginning, a middle, and an end. It will thus
resemble a living organism in all its unity, and produce
the pleasure proper to it. It will differ in structure
from historical compositions, which of necessity present
not a single action, but a single period, and all
that happened within that period to one person or
to many, little connected together as the events may
be. For as the sea-fight at Salamis and the battle
with the Carthaginians in Sicily took place at the
same time, but did not tend to any one result, so in
the sequence of events, one thing sometimes follows
another, and yet no single result is thereby produced.
Such is the practice, we may say, of most poets.
Here again, then, as has been already observed, the
transcendent excellence of Homer is manifest.
He never attempts to make the whole war of Troy the
subject of his poem, though that war had a beginning
and an end. It would have been too vast a theme,
and not easily embraced in a single view. If,
again, he had kept it within moderate limits, it must
have been over-complicated by the variety of the incidents.
As it is, he detaches a single portion, and admits
as episodes many events from the general story of
the war—such as the Catalogue of the ships
and others—thus diversifying the poem.
All other poets take a single hero, a single period,
or an action single indeed, but with a multiplicity
of parts. Thus did the author of the Cypria and
of the Little Iliad. For this reason the Iliad
and the Odyssey each furnish the subject of one tragedy,
or, at most, of two; while the Cypria supplies materials
for many, and the Little Iliad for eight—the
Award of the Arms, the Philoctetes, the Neoptolemus,
the Eurypylus, the Mendicant Odysseus, the Laconian
Women, the Fall of Ilium, the Departure of the Fleet.