§15.1περὶ δὲ τὰ ἤθη τέτταρά ἐστιν ὧν δεῖ στοχάζεσθαι, ἓν μὲν καὶ πρῶτον, ὅπως χρηστὰ ᾖ.
As for characters, there are four things that one should aim at. The first and most important of these is that they should be good.
§15.2ἕξει δὲ ἦθος μὲν ἐὰν ὥσπερ ἐλέχθη ποιῇ φανερὸν ὁ λόγος ἢ ἡ πρᾶξις προαίρεσίν τινα ἥ τις ἂν ᾖ, χρηστὸν δὲ ἐὰν χρηστήν.
A character will be revealed if, as has been said, the speech or action makes manifest some choice, whatever it may be; and it will be good if the choice is good.
§15.3ἔστιν δὲ ἐν ἑκάστῳ γένει· καὶ γὰρ γυνή ἐστιν χρηστὴ καὶ δοῦλος, καίτοι γε ἴσως τούτων τὸ μὲν χεῖρον, τὸ δὲ ὅλως φαῦλόν ἐστιν.
This is possible in every class; for even a woman can be good, and so can a slave, although perhaps of these the former is inferior, and the latter is completely base.
§15.4δεύτερον δὲ τὸ ἁρμόττοντα·
The second is appropriateness.
ἔστιν γὰρ ἀνδρείαν μὲν τὸ ἦθος, ἀλλ’ οὐχ ἁρμόττον γυναικὶ οὕτως ἀνδρείαν ἢ δεινὴν εἶναι.
For a character can be brave, but it is not appropriate for a woman to be brave in this way or to be formidable.
§15.5τρίτον δὲ τὸ ὅμοιον.
The third is likeness.
τοῦτο γὰρ ἕτερον τοῦ χρηστὸν τὸ ἦθος καὶ ἁρμόττον ποιῆσαι ὡς προείρηται.
For this is different from making the character good and appropriate, as has been said before.
§15.6τέταρτον δὲ τὸ ὁμαλόν.
The fourth is consistency.
κἂν γὰρ ἀνώμαλός τις ᾖ ὁ τὴν μίμησιν παρέχων καὶ τοιοῦτον ἦθος ὑποτεθῇ, ὅμως ὁμαλῶς ἀνώμαλον δεῖ εἶναι.
For even if the person being represented is inconsistent, and such a character is assumed, still he must be consistently inconsistent.
§15.7ἔστιν δὲ παράδειγμα πονηρίας μὲν ἤθους μὴ ἀναγκαίας οἷον ὁ Μενέλαος ὁ ἐν τῷ Ὀρέστῃ, §15.8τοῦ δὲ ἀπρεποῦς καὶ μὴ ἁρμόττοντος ὅ τε θρῆνος Ὀδυσσέως ἐν τῇ Σκύλλῃ καὶ ἡ τῆς Μελανίππης ῥῆσις, §15.9τοῦ δὲ ἀνωμάλου ἡ ἐν Αὐλίδι Ἰφιγένεια· οὐδὲν γὰρ ἔοικεν ἡ ἱκετεύουσα τῇ ὑστέρᾳ.
An example of an unnecessarily bad character is, for instance, Menelaus in the Orestes; of the inappropriate and unsuitable, the lament of Odysseus in Scylla, and the speech of Melanippe; of the inconsistent, Iphigenia in Aulis; for the girl who supplicates is not at all like the one who appears later.
§15.10χρὴ δὲ καὶ ἐν τοῖς ἤθεσιν ὁμοίως ὥσπερ καὶ ἐν τῇ τῶν πραγμάτων συστάσει ἀεὶ ζητεῖν ἢ τὸ ἀναγκαῖον ἢ τὸ εἰκός, ὥστε τὸν τοιοῦτον τὰ τοιαῦτα λέγειν ἢ πράττειν ἢ ἀναγκαῖον ἢ εἰκὸς καὶ τοῦτο μετὰ τοῦτο γίνεσθαι ἢ ἀναγκαῖον ἢ εἰκός.
One must always seek either the necessary or the probable in the characters just as in the structure of the events, so that it is either necessary or probable that a person of a certain character says or does things of a certain character, and it is either necessary or probable that one thing happens after another.
§15.10bφανερὸν οὖν ὅτι καὶ τὰς λύσεις τῶν μύθων ἐξ αὐτοῦ δεῖ τοῦ μύθου συμβαίνειν, καὶ μὴ ὥσπερ ἐν τῇ Μηδείᾳ ἀπὸ μηχανῆς καὶ ἐν τῇ Ἰλιάδι τὰ περὶ τὸν ἀπόπλουν.
It is clear, therefore, that the resolutions of the plots should also arise from the plot itself, and not as in Medea by a crane (deus ex machina) or in the Iliad the events concerning the departure.
§15.10cἀλλὰ μηχανῇ χρηστέον ἐπὶ τὰ ἔξω τοῦ δράματος, ἢ ὅσα πρὸ τοῦ γέγονεν ἃ οὐχ οἷόν τε ἄνθρωπον εἰδέναι, ἢ ὅσα ὕστερον, ἃ δεῖται προαγορεύσεως καὶ ἀγγελίας· ἅπαντα γὰρ ἀποδίδομεν τοῖς θεοῖς ὁρᾶν.
Rather, the crane should be used for things outside the drama—either for events that happened before, which a human being cannot know, or for those that happen later, which require foretelling and announcement; for we attribute to the gods the power to see all things.
§15.10dἄλογον δὲ μηδὲν εἶναι ἐν τοῖς πράγμασιν, εἰ δὲ μή, ἔξω τῆς τραγῳδίας, οἷον τὸ ἐν τῷ Οἰδίποδι τῷ Σοφοκλέους.
There should be nothing irrational in the events, or if there is, it must be outside the tragedy, like the irrational element in Sophocles' Oedipus.
§15.11ἐπεὶ δὲ μίμησίς ἐστιν ἡ τραγῳδία βελτιόνων ἢ ἡμεῖς, δεῖ μιμεῖσθαι τοὺς ἀγαθοὺς εἰκονογράφους·
Since tragedy is an imitation of people who are better than we are, one should imitate good portrait-painters.
καὶ γὰρ ἐκεῖνοι ἀποδιδόντες τὴν ἰδίαν μορφὴν ὁμοίους ποιοῦντες καλλίους γράφουσιν·
For they, while rendering the individual form and making the portrait like, paint them more beautiful.
οὕτω καὶ τὸν ποιητὴν μιμούμενον καὶ ὀργίλους καὶ ῥᾳθύμους καὶ τἆλλα τὰ τοιαῦτα ἔχοντας ἐπὶ τῶν ἠθῶν τοιούτους ὄντας ἐπιεικεῖς ποιεῖν † παράδειγμα σκληρότητος οἷον τὸν Ἀχιλλέα ἀγαθὸν καὶ Ὅμηρος †.
So too the poet, when imitating people who are irascible or lazy or who have other such traits in their characters, should make them such and yet decent; as, for example, Homer made Achilles good, though a model of harshness.
§15.12ταῦτα δὴ διατηρεῖν, καὶ πρὸς τούτοις τὰ παρὰ τὰς ἐξ ἀνάγκης ἀκολουθούσας αἰσθήσεις τῇ ποιητικῇ· καὶ γὰρ κατ’ αὐτὰς ἔστιν ἁμαρτάνειν πολλάκις·
One must observe these things, and in addition to these, the effects which of necessity accompany poetic art and are related to the senses; for in respect of these too it is often possible to make mistakes.
εἴρηται δὲ περὶ αὐτῶν ἐν τοῖς ἐκδεδομένοις λόγοις ἱκανῶς.
But enough has been said about them in the published writings.