 Aristotle supposes a temporal and essential filiation between these poetic genres: lyric poetry, both laudative and satiric (which, Aristotle oddly supposes, must have begun before Homer); serious and comic epic; and the genres of tragedy and comedy. The key moment is Homer. It is in Homer that “tragedy and comedy loomed out” (4, 1449a2–3), that is to say that poets saw in Homer’s poems the promises of comedy and tragedy; it is from there that they gave birth to these new genres and developed them (Aeschylus and Sophocles are named for being such developers). But above all, Aristotle adds that once these genres were discovered from Homer, all the poets abandoned lyric and epic poetry, and wrote in these two genres, “because these new genres had more prestige and value than the older ones” (1449a5–6). That is to say, the poets realized that by writing comedies or tragedies instead of epics, they could gain more prestige, and it is because of their value that people immediately became attached to these new genres. But why? Because these genres were entirely dramatic, and involved a fully enactive mimesis and used music (while epics were recited without music, at least in Aristotle’s time), they fully implement our natural instincts for both mimesis and music, and so they were more pleasant. If pleasure is the aim of poetry, it is only reasonable to focus on the most pleasurable genres, tragedy and comedy. (It is true that Aristotle goes back to epic after his treatment of tragedy, in Poetics 23–26, but it is essentially to help better understand tragedy, and to oppose other critics who took epics to be the most paradigmatic genre of poetry).