n the second place has made its rights
acknowledged, that it is permitted for decorum in the third place to make
good its claims, to impose on man, in the expression of his moral
feelings and of his sensations, considerations towards society, and to
show in it the social being, the civilized man. The first law of the
tragic art was to represent suffering nature. The second law is to
represent the resistance of morality opposed to suffering.

Affection, as affection, is an unimportant thing; and the portraiture of
affection, considered in itself, would be without any aesthetic value;
for, I repeat it, nothing that only interests sensuous nature is worthy
of being represented by art. Thus not only the affections that do
nothing but enervate and soften man, but in general all affections, even
those that are exalted, ecstatic, whatever may be their nature, are
beneath the dignity of tragic art.

The soft emotions, only producing tenderness, are of the nature of the
agreeable, with which the fine arts are not concerned. They only caress
the senses, while relaxing and creating languidness, and only relate to
external nature, not at all to the inner nature of man. A good number of
our romances and of our tragedies, particularly those that bear the name
of dramas--a sort of compromise between tragedy and comedy--a good number
also of those highly-appreciated family portraits, belong to this class.
The only effect of these works is to empty the lachrymal duct, and soothe
the overflowing feelings; but the mind comes back from them empty, and
the moral being, the noblest part of our nature, gathers no new strength
whatever from them. "It is thus," says Kant, "that many persons feel
themselves edified by a sermon that has nothing edifying in it." It
seems also that modern music only aims at interesting the sensuous, and
in this it flatters the taste of the day, which seeks to be agreeably
tickled, but not to be startled, nor strongly moved and elevated.
Accordingly we see music prefer all that is tender; and whatever be the
noise in a concert-room, silence is immediately restored, and every one
is all ears directly a sentimental passage is performed. Then an
expression of sensibility common to animalism shows itself commonly on
all faces; the eyes are swimming with intoxication, the open mouth is all
desire, a voluptuous trembling takes hold of the entire body, the breath
is quick and full, in short, all the symptoms of intoxicatio