excitement takes the place of the original peace, and in this now the important actions occur in which the qualities of the characters which have hitherto slumbered are brought clearly to light, together with the course of the world.
Great poets transform themselves into each of the persons to be represented, and speak out of each of them like ventriloquists; now out of the hero, and immediately afterwards out of the young and innocent maiden, with equal truth and naturalness: so Shakspeare and Goethe. Poets of the second rank transform the principal person to be represented into themselves. This is what Byron does; and then the other persons often remain lifeless, as is the case even with the principal persons in the works of mediocre poets.
Our pleasure in tragedy belongs, not to the sense of the beautiful, but to that of the sublime; nay, it is the highest grade of this feeling. For, as at the sight of the sublime in nature we turn away from the interests of the will, in order to be purely perceptive, so in the tragic catastrophe we turn away even from the will to live. In tragedy the terrible side of life is presented to us, the wail of humanity, the reign of chance and error, the fall of the just, the triumph of the wicked; thus the aspect of the world which directly strives against our will is brought before our eyes. At this sight we feel ourselves challenged to turn away our will from life, no longer to will it or love it. But just in this way we become conscious that then there still remains something over to us, which we absolutely cannot know positively, but only negatively as that which does not will life. As the chord of the seventh demands the fundamental chord; as the colour red demands green, and even produces it in the eye; so every tragedy demands an entirely different kind of existence another world, the knowledge of which can only be given us indirectly just as here by such a demand. In the moment of the tragic catastrophe the conviction becomes
