 This topic is not at all marginal. On the contrary, pointing out the mistakes that poets, even the best ones, commit should help us readers tell the difference between good and bad poetry (or at least good and bad passages or scenes in a poem or play), that is, to make us “critical” readers of poetry, or watchers of theater plays. It is the first century AD rhetorician Dio Chrysostom who reports a tradition according to which Aristotle was “at the origin of literary criticism (kritikê)” (Janko 2011, T4). By that, he surely meant primarily the work of scholars such as Aristarchus of Samothrace, which consisted in commenting on Homer’s epics, or of those who commented on Aristophanes; but such kinds of works made sense only if one supposes that discriminating or judging (which is the core meaning of the verb krinein) the qualities and defects of such and such a literary work is what is at stake. And that activity, as we can see from On Poets, was not a domain reserved to the academic happy few. Rather, every educated person could be expected to engage in such critical assessment. In his Protagoras, Plato makes the famous sophist state: 