we receive of suffering
should act on us in a durable manner, to excite in us a high degree of
emotion. The affection created in us by the suffering of another is to
us a constrained state, from which we hasten to get free; and the
illusion so necessary for pity easily disappears in this case. It is,
therefore, a necessity to fasten the mind closely to these ideas, and not
to leave it the freedom to get rid too soon of the illusion. The
vividness of sudden ideas and the energy of sudden impressions, which in
rapid succession affect our senses, would not suffice for this end. For
the power of reaction in the mind is manifested in direct proportion to
the force with which the receptive faculty is solicited, and it is
manifested to triumph over this impression. Now, the poet who wishes to
move us ought not to weaken this independent power in us, for it is
exactly in the struggle between it and the suffering of our sensuous
nature that the higher charm of tragic emotions lies. In order that the
heart, in spite of that spontaneous force which reacts against sensuous
affections, may remain attached to the impressions of sufferings, it is,
therefore, necessary that these impressions should be cleverly suspended
at intervals, or even interrupted and intercepted by contrary
impressions, to return again with twofold energy and renew more
frequently the vividness of the first impression. Against the exhaustion
and languor that result from habit, the most effectual remedy is to
propose new objects to the senses; this variety retempers them, and the
gradation of impressions calls forth the innate faculty, and makes it
employ a proportionately stronger resistance. This faculty ought to be
incessantly occupied in maintaining its independence against the attacks
of the senses, but it must not triumph before the end, still less must it
succumb in the struggle. Otherwise, in the former case, suffering, and,
in the latter, moral activity is set aside; while it is the union of
these two that can alone elicit emotion. The great secret of the tragic
art consists precisely in managing this struggle well; it is in this that
it shows itself in the most brilliant light.

For this, a succession of alternate ideas is required: therefore a
suitable combination is wanted of several particular actions
corresponding with these different ideas; actions round which the
principal action and the tragic impression which it is wished to produce
through it u