ἐπεὶ δ’ ἐγγὺς φαινόμενα τὰ πάθη (30) ἐλεεινά ἐστιν,
τὰ δὲ μυριοστὸν ἔτος γενόμενα ἢ ἐσόμενα (31) οὔτε ἐλπίζοντες οὔτε μεμνημένοι ἢ ὅλως οὐκ ἐλεοῦσιν ἢ οὐχ (32) ὁμοίως,
ἀνάγκη τοὺς συναπεργαζομένους σχήμασι καὶ φωναῖς (33) καὶ ἐσθῆσι καὶ ὅλως ὑποκρίσει ἐλεεινοτέρους εἶναι
(ἐγγὺς (34) γὰρ ποιοῦσι φαίνεσθαι τὸ κακόν, πρὸ ὀμμάτων ποιοῦντες ἢ (35) ὡς μέλλοντα ἢ ὡς γεγονότα·
καὶ τὰ γεγονότα ἄρτι ἢ μέλλοντα (1386b1) διὰ ταχέων ἐλεεινότερα),
<καὶ> διὰ τοῦτο καὶ τὰ σημεῖα, οἷον (2) ἐσθῆτάς τε τῶν πεπονθότων καὶ ὅσα τοιαῦτα,
καὶ τὰς (3) πράξεις καὶ λόγους καὶ ὅσα ἄλλα τῶν ἐν τῷ πάθει ὄντων, (4) οἷον ἤδη τελευτώντων.
Further, since it is when the sufferings of others are close to us that they excite our pity
(we cannot remember what disasters happened a hundred centuries ago, nor look forward to what will happen a hundred centuries hereafter, and therefore feel little pity, if any, for such things):
it follows that those who heighten the effect of their words with suitable gestures, tones, dress, and dramatic action generally, are especially successful in exciting pity:
they thus put the disasters before our eyes, and make them seem close to us, just coming or just past.
Anything that has just happened, or is going to happen soon, is particularly piteous:
so too therefore are the tokens and the actions of sufferers — the garments and the like of those who have already suffered;
the words and the like of those actually suffering — of those, for instance, who are on the point of death.