It is clear that the general origin of poetry was due to two causes, each of them part of human nature. Imitation is natural to man from childhood, one of his advantages over the lower animals being this, that he is the most imitative creature in the world, and learns at first by imitation. And it is also natural for all to delight in works of imitation. The truth of this second point is shown by experience: though the objects themselves may be painful to see, we delight to view the most realistic representations of them in art, the forms for example of the lowest animals and of dead bodies. The explanation is to be found in a further fact: to be learning something is the greatest of pleasures not only to the philosopher but also to the rest of mankind, however small their capacity for it; the reason of the delight in seeing the picture is that one is at the same time learning—gathering the meaning of things, e.g. that the man there is so-and-so; for if one has not seen the thing before, one’s pleasure will not be in the picture as an imitation of it, but will be due to the execution or colouring or some similar cause. Imitation, then, being natural to us—as also the sense of harmony and rhythm, the metres being obviously species of rhythms—it was through their original aptitude, and by a series of improvements for the most part gradual on their first efforts, that they created poetry out of their improvisations.
Poetry, however, soon broke up into two kinds according to the differences of character in the individual poets; for the graver among them would represent noble actions, and those of noble personages; and the meaner sort the actions of the ignoble. The latter class produced invectives at first, just as others did hymns and panegyrics. We know of no such poem by any of the pre-Homeric poets, though there were probably many such writers among them; instances, however, may be found from Homer downwards, e.g. his Margites, and the similar poems of others. In this poetry of invective its natural fitness brought an iambic metre into use; hence our present term ‘iambic’, because it was the metre of their ‘iambs’ or invectives against one another. The result was that the old poets became some of them writers of heroic and others of iambic verse. Homer’s position, however, is peculiar: just as he was in the serious style the poet of poets, standing alone not only through the literary excellence, but also through the dramatic character of his imitations, so too he was the first to outline for us the general forms of Comedy by producing not a dramatic invective, but a dramatic picture of the Ridiculous; his Margites in fact stands in the same relation to our comedies as the Iliad and Odyssey to our tragedies. As soon, however, as Tragedy and Comedy appeared in the field, those naturally drawn to the one line of poetry became writers of comedies instead of iambs, and those naturally drawn to the other, writers of tragedies instead of epics, because these new modes of art were grander and of more esteem than the old.
If it be asked whether Tragedy is now all that it need be in its formative elements, to consider that, and decide it theoretically and in relation to the theatres, is a matter for another inquiry.
It certainly began in improvisations—as did also Comedy; the one originating with the authors of the Dithyramb, the other with those of the phallic songs, which still survive as institutions in many of our cities. And its advance after that was little by little, through their improving on whatever they had before them at each stage. It was in fact only after a long series of changes that the movement of Tragedy stopped on its attaining to its natural form. (1) The number of actors was first increased to two by Aeschylus, who curtailed the business of the Chorus, and made the dialogue, or spoken portion, take the leading part in the play. (2) A third actor and scenery were due to Sophocles. (3) Tragedy acquired also its magnitude. Discarding short stories and a ludicrous diction, through its passing out of its satyric stage, it assumed, though only at a late point in its progress, a tone of dignity; and its metre changed then from trochaic to iambic. The reason for their original use of the trochaic tetrameter was that their poetry was satyric and more connected with dancing than it now is. As soon, however, as a spoken part came in, nature herself found the appropriate metre. The iambic, we know, is the most speakable of metres, as is shown by the fact that we very often fall into it in conversation, whereas we rarely talk hexameters, and only when we depart from the speaking tone of voice. (4) Another change was a plurality of episodes or acts. As for the remaining matters, the superadded embellishments and the account of their introduction, these must be taken as said, as it would probably be a long piece of work to go through the details.
