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1 This takes us back to the beginning of chapter 3, where the various "manners" of representation are distinguished. Homer represents life partly by narration, partly by assuming a character other than his own. Both these "manners" come under the head of "Imitation." When Aristotle says "the poet speaks himself" and "plays a part himself" he refers not to narrative, of which there is a great deal in Homer, but to the "preludes" （cf. φροιμιασάμενος below） in which the poet, invoking the Muse, speaks in his own person. Ridgeway points out that in the whole of the Iliad and Odyssey Homer thus "speaks himself" only 24 lines.
2 “Entertainment” must mean a festival. At the City Dionysia three poets competed, each with three tragedies. By the end of the fifth century only one Satyr play was performed at each festival. But the tragedies were longer than those we possess. It is therefore likely that the nine tragedies together with one Satyr play amounted to about 15,000 lines. The Iliad contains between 16,000 and 17,000 lines.
3 Odyssey 19. Odysseus tells Penelope that he is a Cretan from Gnossus, who once entertained O. on his voyage to Troy. As evidence, he describes O.'s dress and his companions (Hom. Od. 19.164-260). P. commits the fallacy of inferring the truth of the antecedent from the truth of the consequent: “If his story were true, he would know these details; But he does know them; Therefore his story is true.” The artist in fiction uses the same fallacy, e.g.: “If chessmen could come to life the white knight would be a duffer; But he is a most awful duffer （look at him!）; Therefore chessmen can come to life.” He makes his deductions so convincing that we falsely infer the truth of his hypothesis.
4 In Sophocles'Electrathe plot hinges on a false story of Orestes' death by an accident at the Pythian games. Presumably the anachronism shocked Aristotle.
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