Aristotelean comedy according to Cooper, 2

I am fascinated with the academic side of comedy. So this post, a continuation of this one, won't be funny or humorous, but more about how philosophers think about comedy linguistically. I'm just an interested spectator, not a researcher myself but, hopefully this motivates you the reader to explore this interesting topic yourself!

Again, my source shall be Lane Cooper's 1922 book, An Aristotelian Theory of Comedy with an adaptation of the Poetics and a translation of the Tractatus Coislinianus. To begin, I quote (in some cases, I've paraphrased for ease of understanding, with my [comments] in square brackets) from its section "Fundamental demands of Aristotle":

To judge from the Poetics, what would Aristotle demand of a comedy as conducing to the function of a perfect work of art in this kind?

1. First of all, organic unity. To him, a work of art is like a living animal in that it is a unified organism. Even though the scheme of the whole were distorted for comic purposes, still it would be complete and unified; we might compare it to the outline of a ludicrous animal, which does not lack a sort of comic perfection.
   
2. Aristotle would demand that it produce the proper effect of comedy not any chance effect, but a calculated one ...
   [In other words, it's not unintentionally funny, such as an old scifi film with bad special effects.]
   
3. The correct means [calculated to effect comedy, as above] consist chiefly in what is said and done, and secondarily in the employment of music and spectacle. But underneath all lies the proper use of the law of proportion, and the law of necessity in the order of [plot] details. That is, whether he keeps things in proportion, or throws them out of proportion, the writer of comedy must understand true perspective. He must understand the law of proportion as surely as any other artist ...
   
4. According to Aristotle, in every drama [whether comedy or tragedy] there are six constitutive elements, to each of which the poet must give due attention. These are
   
• plot;
  
• ethos (shown in the kind of choices made by the characters);
  
• dianoia (the way in which the characters think and reason, ...);
  
• the diction, the medium in which the entire story is worked out ... through the utterance of the characters [eg, dialogue];
  
• the musical element in the drama (including individual songs, and instrumental accompaniment);
  
• spectacle (all that appertains to costume, stage-setting, scenery, and the like).
  
5. As in tragedy, so in comedy Aristotle would regard the plot, as the chief of the constituent parts of the play, since everything else depends on that. He would deem the plot to be fundamental... plot in its most general sense means to him the basic idea of a play.