Excerpt from "On Tragic Art" (1792)
If we now form the proper deductions from the previous investigation, the following will be the conditions that form bases of the tragic art. It is necessary, in the first place, that the object of our pity should belong to our own species—I mean belong in the full sense of the term—and that the action in which it is sought to interest us be a moral action; that is, an action comprehended in the field of free will. It is necessary, in the second place, that suffering, its sources, its degrees, should be completely communicated by a series of events chained together. It is necessary, in the third place, that the object of the passion be rendered present to our senses, not in a mediate way and by description, but immediately and in action. In tragedy, art unites all these conditions and satisfies them.
According to these principles, tragedy might be defined as the poetic imitation of a coherent series of particular events (forming a complete action): an imitation which shows us man in a state of suffering, and which has for its end to excite our pity.
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