athetic affections in general are for us a source of
pleasure because they give satisfaction to our instinct of activity, and
the sad affections produce this effect with more vividness because they
give more satisfaction to this instinct. The mind only reveals all its
activity when it is in full possession of its liberty, when it has a
perfect consciousness of its rational nature, because it is only then
that it displays a force superior to all resistance.

Hence the state of mind which allows most effectually the manifestation
of this force, and awakens most successfully its activity, is that state
which is most suitable to a rational being, and which best satisfies our
instincts of activity: whence it follows that a greater amount of
pleasure must be attached necessarily to this state. Now it is the
tragic states that place our soul in this state, and the pleasure found
in them is necessarily higher than the charm produced by gay affections,
in the same degree that moral power in us is superior to the power of the
senses.

Points that are only subordinate and partial in a system of final causes
may be considered by art independently of that relation with the rest,
and may be converted into principal objects. It is right that in the
designs of nature pleasure should only be a mediate end, or a means; but
for art it is the highest end. It is therefore essentially important for
art not to neglect this high enjoyment attaching to the tragic emotion.
Now, tragic art, taking this term in its widest acceptation, is that
among the fine arts which proposes as its principal object the pleasure
of pity.

Art attains its end by the imitation of nature, by satisfying the
conditions which make pleasure possible in reality, and by combining,
according to a plan traced by the intelligence, the scattered elements
furnished by nature, so as to attain as a principal end to that which,
for nature, was only an accessory end. Thus tragic art ought to imitate
nature in those kinds of actions that are specially adapted to awaken
pity.

It follows that, in order to determine generally the system to be
followed by tragic art, it is necessary before all things to know on what
conditions in real life the pleasure of the emotion is commonly produced
in the surest and the strongest manner; but it is necessary at the same
time to pay attention to the circumstances that restrict or absolutely
extinguish this pleasure.

After what we have estab