Aristotle’s account of Tragedy is a profound piece of æsthetic philosophy. By implication he defends Tragedy against Plato, who had wished to banish the drama from his ideal republic, as tending to make men unmanly. Aristotle defines Tragedy as the “imitation of some noble action, great and complete in itself; in melodious diction; with different measures to suit the different parts; by men acting, and not by narration; effecting through pity and fear the purging of such feelings.” The latter words contain the office and the justification of Tragedy. Men’s minds are prone to be haunted by the feelings of pity and fear, and these are apt to degenerate into sentimentality. Tragedy offers noble objects whereon these feelings may be exercised; and by that exercise the feelings not only receive a right direction, but also are relieved, being removed, so to speak, for the time from the system. After much discussion[1] on the subject in Germany, there is now no doubt that in using the term ‘purging’ in the above passage Aristotle was employing a medical metaphor. This is borne out by two passages of the 'Politics’ (II. vii. 11; VIII. vii. 5), which both refer in similar terms to the relief of the passions procured by indulging them. He promised a fuller explanation of his theory on this subject, but unfortunately has never given it. However, we are perhaps safe in understanding that, while Plato objected to Tragedy as tending to make men soft by the excitement of their sympathetic feelings, Aristotle said “No—those feelings
- ↑ See ‘Aristotle über Kunst, besonders über Tragödie,’ von Dr Reinkens (Vienna, 1870), p. 70-167.
