bow; . . . hence B (the disguised Odysseus) imagined that A would>
recognise the bow which, in fact, he had not seen; and to bring about a
recognition by this means that the expectation A would recognise the bow
is false inference.

But, of all recognitions, the best is that which arises from the
incidents themselves, where the startling discovery is made by natural
means. Such is that in the Oedipus of Sophocles, and in the Iphigenia;
for it was natural that Iphigenia should wish to dispatch a letter. These
recognitions alone dispense with the artificial aid of tokens or amulets.
Next come the recognitions by process of reasoning.



XVII

In constructing the plot and working it out with the proper diction, the
poet should place the scene, as far as possible, before his eyes. In this
way, seeing everything with the utmost vividness, as if he were a
spectator of the action, he will discover what is in keeping with it, and
be most unlikely to overlook inconsistencies. The need of such a rule is
shown by the fault found in Carcinus. Amphiaraus was on his way from the
temple. This fact escaped the observation of one who did not see the
situation. On the stage, however, the piece failed, the audience being
offended at the oversight.

Again, the poet should work out his play, to the best of his power, with
appropriate gestures; for those who feel emotion are most convincing
through natural sympathy with the characters they represent; and one who
is agitated storms, one who is angry rages, with the most life-like