At the time when he is constructing his Plots, and engaged on the Diction in which they are worked out, the poet should remember (1) to put the actual scenes as far as possible before his eyes. In this way, seeing everything with the vividness of an eye-witness as it were, he will devise what is appropriate, and be least likely to overlook incongruities. This is shown by what was censured in Carcinus, the return of Amphiaraus from the sanctuary; it would have passed unnoticed, if it had not been actually seen by the audience; but on the stage his play failed, the incongruity of the incident offending the spectators. (2) As far as may be, too, the poet should even act his story with the very gestures of his personages. Given the same natural qualifications, he who feels the emotions to be described will be the most convincing; distress and anger, for instance, are portrayed most truthfully by one who is feeling them at the moment. Hence it is that poetry demands a man with special gift for it, or else one with a touch of madness in him; the former can easily assume the required mood, and the latter may be actually beside himself with emotion. (3) His story, again, whether already made or of his own making, he should first simplify and reduce to a universal form, before proceeding to lengthen it out by the insertion of episodes. The following will show how the universal element in Iphigenia, for instance, may be viewed: A certain maiden having been offered in sacrifice, and spirited away from her sacrificers into another land, where the custom was to sacrifice all strangers to the Goddess, she was made there the priestess of this rite. Long after that the brother of the priestess happened to come; the fact, however, of the oracle having for a certain reason bidden him go thither, and his object in going, are outside the Plot of the play. On his coming he was arrested, and about to be sacrificed, when he revealed who he was—either as Euripides puts it, or (as suggested by Polyidus) by the not improbable exclamation, ‘So I too am doomed to be sacrificed, as my sister was’; and the disclosure led to his salvation. This done, the next thing, after the proper names have been fixed as a basis for the story, is to work in episodes or accessory incidents. One must mind, however, that the episodes are appropriate, like the fit of madness in Orestes, which led to his arrest, and the purifying, which brought about his salvation. In plays, then, the episodes are short; in epic poetry they serve to lengthen out the poem. The argument of the Odyssey is not a long one.
A certain man has been abroad many years; Poseidon is ever on the watch for him, and he is all alone. Matters at home too have come to this, that his substance is being wasted and his son’s death plotted by suitors to his wife. Then he arrives there himself after his grievous sufferings; reveals himself, and falls on his enemies; and the end is his salvation and their death. This being all that is proper to the Odyssey, everything else in it is episode.