 There are two series of requirements for a plot to be a good plot. One series involves the qualities of the plots, which includes totality, unity and generality (or: universality); the second one involves the turning points of the plot, which include the reversal of circumstances, the recognition, and the sufferings. But both series are based on what a proper consumption of tragedy requires: the first series is about our being involved in a plot; the second series, about what creates the emotions of pity and fear. Producing the pleasure that comes from the emotions of pity and fear is the aim of tragedy, but in order to achieve this, the poet must create a plot the hearers can immerse themselves in; as we would say, a theater audience must “believe” in the story that is unfolding and in the characters who make up the story. Otherwise, they would just lose attention and interest, which would prevent any strong emotional involvement. One such requirement is that of “the fitting size”. In the case of gazing at a beautiful animal, whether in reality or in a picture, our admirative enjoyment cannot hold if the animal or the picture is so big that it cannot be grasped in one glimpse, or if it is too minute to be seen at our ease. The case of a tragic plot is similar: a proper size is needed to make the whole play “easy to remember” (6, 1450b34–51a6). One must be able to remember the important features and events the full time we watch it, which is a sine qua non condition for our being unflaggingly attentive and attracted to the plot.