A third difference in these arts is in the manner in which each kind of object is represented. Given both the same means and the same kind of object for imitation, one may either (1) speak at one moment in narrative and at another in an assumed character, as Homer does; or (2) one may remain the same throughout, without any such change; or (3) the imitators may represent the whole story dramatically, as though they were actually doing the things described.
As we said at the beginning, therefore, the differences in the imitation of these arts come under three heads, their means, their objects, and their manner.
So that as an imitator Sophocles will be on one side akin to Homer, both portraying good men; and on another to Aristophanes, since both present their personages as acting and doing. This in fact, according to some, is the reason for plays being termed dramas, because in a play the personages act the story. Hence too both Tragedy and Comedy are claimed by the Dorians as their discoveries; Comedy by the Megarians—by those in Greece as having arisen when Megara became a democracy, and by the Sicilian Megarians on the ground that the poet Epicharmus was of their country, and a good deal earlier than Chionides and Magnes; even Tragedy also is claimed by certain of the Peloponnesian Dorians. In support of this claim they point to the words ‘comedy’ and ‘drama’. Their word for the outlying hamlets, they say, is comae, whereas Athenians call them demes—thus assuming that comedians got the name not from their comoe or revels, but from their strolling from hamlet to hamlet, lack of appreciation keeping them out of the city. Their word also for ‘to act’, they say, is dran, whereas Athenians use prattein.
So much, then, as to the number and nature of the points of difference in the imitation of these arts.