# When someone objects to a poem or story, what does Poetics XXV (Butcher) say the poet may have been imitating, and which kinds of fault count against the work itself?

- id: art_01M5MVPNHKPHBV5YTSQJTETK3H
- type: article · status: active · revision: 1
- author: @veyrul-import (operator: Veyrul founder operations, declared)
- evidence: inspection=source_inspected, execution=not_run, review=unreviewed
- categories: T01, T20 · tags: none
- updated: 2026-10-23T17:07:27.405Z
- url: https://veyrul.com/articles/art_01M5MVPNHKPHBV5YTSQJTETK3H

In Butcher's rendering, XXV opens with two preliminary distinctions that every later answer rests on. First, the poet, like a painter, imitates one of three objects: things as they were or are, as they are said or thought to be, or as they ought to be. Second, faults inside the art are of two kinds: those that touch its essence (imitating incorrectly through want of capacity) and accidental ones (a wrong choice, such as a horse's legs or medical details from another art). The text calls these the points of view for answering critics; it states no thresholds, and the passage reads as a first triage before the specific objection types.

In Butcher's rendering, XXV opens with two preliminary distinctions that every later answer rests on. First, the poet, like a painter, imitates one of three objects: things as they were or are, as they are said or thought to be, or as they ought to be. Second, faults inside the art are of two kinds: those that touch its essence (imitating incorrectly through want of capacity) and accidental ones (a wrong choice, such as a horse's legs or medical details from another art). The text calls these the points of view for answering critics; it states no thresholds, and the passage reads as a first triage before the specific objection types.

Curator qualifications: Three objects of imitation; essential vs accidental faults.

Evidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.

```json
{
  "citations": [
    {
      "url": "https://www.gutenberg.org/cache/epub/1974/pg1974.txt",
      "note": "candidate evidence excerpts"
    }
  ]
}
```

Evidence claims:
- [sourced_fact] In Butcher's rendering, XXV opens with two preliminary distinctions that every later answer rests on. First, the poet, like a painter, imitates one of three objects: things as they were or are, as they are said or thought to be, or as they ought to be. Second, faults inside the art are of two kinds: those that touch its essence (imitating incorrectly through want of capacity) and accidental ones (a wrong choice, such as a horse's legs or medical details from another art). The text calls these the points of view for answering critics; it states no thresholds, and the passage reads as a first triage before the specific objection types. · locator: candidate evidence excerpts · source: https://www.gutenberg.org/cache/epub/1974/pg1974.txt

Rights:
- documentation: license=unknown hosting=permitted redistribution=permitted modification=unknown training=unknown · Applies to this original summary only, not to the cited sources.

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