The structure of the first chapters of the Poetics, before Aristotle embarks on the discussion of tragedy proper, is clear enough: chapters 1-3 set forth a triple classification of the kinds of mimesis, based on the Platonic method of diaí resiv (in this case according to the means, the object, and the modes of mimesis respectively), while chapters 4 and 5 discuss the origins and the development of the major poetical genres. 1 More specifically, the first part of chapter 4 (a chapter 'der interessantesten, gehaltsreichsten, aber auch schwierigsten der Poetik', as Gudeman has observed) expounds the two underlying causes of poetry: (i) man's natural tendency towards mimesis and (ii) his innate affection for rhythm and harmony. 2 Speaking of the natural instinct of mimesis, Aristotle stresses from the outset that this constitutes man's distinctive feature, which sets him apart from all other species: man is since early childhood the mimetic being par excellence, and he develops his earliest understanding through mimesis. 3 Aristotle then proceeds to underline a second feature that distinguishes humans from other animals: 'all humans find pleasure in mimetic objects'. At this point he continues as follows (1448b12): shmeĩ on de`tou´tou to`sumbaĩ non eÒ pì tw n eØ rgwn. a× ga`r auÒ ta`luphrw v oÖ rw men, tou´twn ta`v ei Ò ko´nav ta`v má lista hÒ kribwme´nav caí romen qewroũntev, oi Fon qhrí wn te morwa`v tw n a Ò timota´twn kaì nekrw n. ai Ø tion de`kaì tou´tou, oÓ ti manqa´nein ouÒ mo´non toĩ v wilosó woiv hÓ diston aÒ llà kaì toĩ v aØ lloiv oÖ moí wv, aÒ ll' eÒ pì bracu`koinwnoũsin auÒ toũ. dia`gà r toũto caí rousi tà v ei Ò ko´nav oÖ rw ntev, oÓ ti sumbaí nei qewroũntav manqá nein kaì sullogi´zesqai tí eÓ kaston, oi Fon oÓ ti ou Ftov eÒ keĩ nov. eÒ peì eÒ a`n mh tu´c} proewrakẃ v, ouÒ c } F mí mhma poih sei th n h Ö donh`n a Ò lla`dia`th`n a Ò pergasí an h Õ th`n croia`n h Õ dia`toiau´thn aØ llhn ai Ò tí an. The content of the quoted passage is, in general terms, unambiguous. First, Aristotle presents an 'empirical verification' (eÒ pì tw n eØ rgwn) of the fact that the pleasure felt in things imitated is universal: mimetic works with an unpleasant content still offer pleasure, and this in their own right, not only on account of their workmanship. Second, he underscores the natural cause which explains both the pleasure drawn from imitations * I wish to express my gratitude to A. Schmitt, V. Liapis, and Th. K. Stephanopoulos, who read an earlier draft of this paper and offered a number of useful comments. Thanks are also due to the anonymous referee, whose careful comments improved this paper.