is through this power that tragedy attains its peculiar quality of encouragement and triumph. We must not forget that Aristotle, a judge whose dicta should seldom be dismissed without careful reflection, distinguishes tragedy from other forms of drama not as the form that represents human misery but as that which represents human goodness or nobleness. If his MSS. are to be trusted he even goes so far as to say that tragedy is "the representation of Eudaimonia," or the higher kind of happiness. Of course he fully recognizes the place of death and disaster in it, and he prefers the so-called "unhappy ending." The powers of evil and horror must be granted their full scope; it is only thus that we can triumph over them. Only when they have worked their uttermost will do we realize that there remains something in man's soul which is forever beyond their grasp and has power in its own right to make life beautiful. That is the great revelation, or the great illusion, of tragedy.
It is achieved, apparently, by a combination of two extremes; in matter a full facing of tragic facts, and in form a resolute transfiguration of them by poetry. The weak artist shirks the truth by a feeble idealism; the
