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OF TRAGEDY
David Hume
1757
It seems an unaccountable pleasure； which the spectators of
a well…written tragedy receive from sorrow； terror； anxiety； and
other passions； that are in themselves disagreeable and uneasy。
The more they are touched and affected； the more are they
delighted with the spectacle； and as soon as the uneasy passions
cease to operate； the piece is at an end。 One scene of full joy
and contentment and security is the utmost； that any composition
of this kind can bear； and it is sure always to be the concluding
one。 If； in the texture of the piece； there be interwoven any
scenes of satisfaction； they afford only faint gleams of
pleasure； which are thrown in by way of variety； and in order to
plunge the actors into deeper distress； by means of that contrast
and disappointment。 The whole heart of the poet is employed； in
rouzing and supporting the compassion and indignation； the
anxiety and resentment of his audience。 They are pleased in
proportion as they are afflicted； and never are so happy as when
they employ tears； sobs； and cries to give vent to their sorrow；
and relieve their heart； swoln with the tenderest sympathy and
compassion。
The few critics who have had some tincture of philosophy；
have remarked this singular phenomenon； and have endeavoured to
account for it。
L'Abb偂ubos； in his reflections on poetry and painting；
asserts； that nothing is in general so disagreeable to the mind
as the languid； listless state of indolence； into which it falls
upon the removal of all passion and occupation。 To get rid of
this painful situation； it seeks every amusement and pursuit；
business； gaming； shews； executions； whatever will rouze the
passions； and take its attention from itself。 No matter what the
passion is： Let it be disagreeable； afflicting； melancholy；
disordered； it is still better than that insipid languor； which
arises from perfect tranquillity and repose。
It is impossible not to admit this account； as being； at
least in part； satisfactory。 You may observe； when there are
several tables of gaming； that all the company run to those；
where the deepest play is； even though they find not there the
best players。 The view； or； at least； imagination of high
passions； arising from great loss or gain； affects the spectator
by sympathy； gives him some touches of the same passions； and
serves him for a momentary entertainment。 It makes the time pass
the easier with him； and is some relief to that oppression； under
which men commonly labour； when left entirely to their own
thoughts and meditations。
We find that common liars always magnify； in their
narrations； all kinds of danger； pain； distress； sickness；
deaths； murders； and cruelties； as well as joy； beauty； mirth；
and magnificence。 It is an absurd secret； which they have for
pleasing their company； fixing their attention； and attaching
them to such marvellous relations； by the passions and emotions；
which they excite。
There is； however； a difficulty in applying to the present
subject； in its full extent； this solution； however ingenious and
satisfactory it may appear。 It is certain； that the same object
of distress； which pleases in a tragedy； were it really set
before us； would give the most unfeigned uneasiness； though it be
then the most effectual cure to languor and indolence。 Monsieur
Fontenelle seems to have been sensible of this difficulty； and
accordingly attempts another solution of the phaenomenon； at
least makes some addition to the theory above mentioned。＇2＇
'Pleasure and pain；' says he； ' which are two sentiments so
different in themselves； differ not so much in their cause。 From
the instance of tickling； it appears； that the movement of
pleasure； pushed a little too far； becomes pain； and that the
movement of pain； a little moderated； becomes pleasure。 Hence it
proceeds； that there is such a thing as a sorrow； soft and
agreeable： It is a pain weakened and diminished。 The heart likes
naturally to be moved and affected。 Melancholy objects suit it；
and even disastrous and sorrowful； provided they are softened by
some circumstance。 It is certain； that； on the theatre； the
representation has almost the effect of reality； yet it has not
altogether that effect。 However we may be hurried away by the
spectacle； whatever dominion the senses and imagination may usurp
over the reason； there still lurks at the bottom a certain idea
of falsehood in the whole of what we see。 This idea； though weak
and disguised； suffices to diminish the pain which we suffer from
the misfortunes of those whom we love； and to reduce that
affliction to such a pitch as converts it into a pleasure。 We
weep for the misfortune of a hero； to whom we are attached。 In
the same instant we comfort ourselves； by reflecting； that it is
nothing but a fiction： And it is precisely that mixture of
sentiments； which composes an agreeable sorrow； and tears that
delight us。 But as that affliction； which is caused by exterior
and sensible objects； is stronger than the consolation which
arises from an internal reflection； they are the effects and
symptoms of sorrow； that ought to predominate in the
composition。'
This solution seems just and convincing； but perhaps it
wants still some new addition； in order to make it answer fully
the phaenomenon； which we here examine。 All the passions； excited
by eloquence； are agreeable in the highest degree； as well as
those which are moved by painting and the theatre。 The epilogues
of Cicero are； on this account chiefly； the delight of every
reader of taste； and it is difficult to read some of them without
the deepest sympathy and sorrow。 His merit as an orator； no
doubt； depends much on his success in this particular。 When he
had raised tears in his judges and all his audience； they were
then the most highly delighted； and expressed the greatest
satisfaction with the pleader。 The pathetic description of the
butchery； made by Verres of the Sicilian captains； is a
masterpiece of this kind： But I believe none will affirm； that
the being present at a melancholy scene of that nature would
afford any entertainment。 Neither is the sorrow here softened by
fiction： For the audience were convinced of the reality of every
circumstance。 What is it then； which in this case raises a
pleasure from the bosom of uneasiness； so to speak； and a
pleasure； which still retains all the features and outward
symptoms of distress and sorrow？
I answer： This extraordinary effect proceeds from that very
eloquence； with which the melancholy scene is represented。 The
genius required to paint objects in a lively manner； the art
employed in collecting all the pathetic circumstances； the
judgment displayed in disposing them： the exercise； I say； of
these noble talents； together with the force of expression； and
beauty of oratorial numbers； diffuse the highest satisfaction on
the audience； and excite the most delightful movements。 By this
means； the uneasiness of the melancholy passions is not only
overpowered and effaced by something stronger of an opposite
kind； but the whole impulse of those passions is converted into
pleasure； and swells the delight which the eloquence raises in
us。 The same force of oratory； employed on an uninteresting
subject； would not please half so much； or rather would appear
altogether ridiculous； and the mind； being left in absolute
calmness and indifference； would relish none of those beauties of
imagination or expression； which； if joined to passion； give it
such exquisite entertainment。 The impulse or vehemence； arising
from sorrow； compassion； indignation； receives a new direction
from the sentiments of beauty。 The latter； being the predominant
emotion； seize the whole