In Hellenistic poetics Aristotle’s description of plot structure in drama (desis — lysis) was transformed into the pattern of protasis (= acts 1 and 2: exposition and first steps of dramatic suspense), epitasis (=acts 3 to 4 med.: suspense and complications increased), catastrophe (=acts 4 fin. and 5: phase of solution). This tripartite formula can be reconstructed by tracing back its Roman adaptations from Aelius Donatus via Euanthius to Aemilius Asper. Short plot analyses of Sophocles’ King Oedipus , Menander’s Epitrepontes and Apollodorus’ Hekyra (reconstructed), and the exploration of Donatus’ analysis of Terentian comedies illustrate the way in which the poets created and varied the tasis (=suspense) pattern.