purely human in human relations, will be
always the richest matter for the tragic poet, because this ground is the
only one on which tragedy, without ceasing to aspire to strength of
expression can be certain of the generality of this impression.

3d. Besides the vividness and the truth of tragic pictures, there must
also be completeness. None of the external data that are necessary to
give to the soul the desired movement ought to be omitted in the
representation. In order that the spectator, however Roman his
sentiments may be, may understand the moral state of Cato--that he may
make his own the high resolution of the republican, this resolution must
have its principle, not only in the mind of the Roman, but also in the
circumstances of the action. His external situation as well as his
internal situation must be before our eyes in all their consequences and
extent: and we must, lastly, have unrolled before us, without omitting a
single link, the whole chain of determinations to which are attached the
high resolution of the Roman as a necessary consequence. It may be said
in general that without this third condition, even the truth of a
painting cannot be recognized; for the similarity of circumstances, which
ought to be fully evident, can alone justify our judgment on the
similarity of the feelings, since it is only from the competition of
external conditions and of internal conditions that the affective
phenomenon results. To decide if we should have acted like Cato, we must
before all things transport ourselves in thought to the external
situation in which Cato was placed, and then only we are entitled to
place our feelings alongside his, to pronounce if there is or is not
likeness, and to give a verdict on the truth of these feelings.

A complete picture, as I understand it, is only possible by the
concatenation of several separate ideas, and of several separate
feelings, which are connected together as cause and effect, and which, in
their sum total, form one single whole for our cognitive faculty. All
these ideas, in order to affect us closely, must make an immediate
impression on our senses; and, as the narrative form always weakens this
impression, they must be produced by a present action. Thus, in order
that a tragic picture may be complete, a whole series is required of
particular actions, rendered sensuous and connected with the tragic
action as to one whole.

4th. It is necessary, lastly, that the ideas