sen and combined to this end.

In the fourth place, I say that tragedy is the poetic imitation of an
action deserving of pity, and, therefore, tragic imitation is opposed to
historic imitation. It would only be a historic imitation if it proposed
a historic end, if its principal object were to teach us that a thing has
taken place, and how it took place. On this hypothesis it ought to keep
rigorously to historic accuracy, for it would only attain its end by
representing faithfully that which really took place. But tragedy has a
poetic end, that is to say, it represents an action to move us, and to
charm our souls by the medium of this emotion. If, therefore, a matter
being given, tragedy treats it conformably with this poetic end, which is
proper to it, it becomes, by that very thing, free in its imitation. It
is a right--nay, more, it is an obligation--for tragedy to subject
historic truth to the laws of poetry; and to treat its matter in
conformity with requirements of this art. But as it cannot attain its
end, which is emotion, except on the condition of a perfect conformity
with the laws of nature, tragedy is, notwithstanding its freedom in
regard to history, strictly subject to the laws of natural truth, which,
in opposition to the truth of history, takes the name of poetic truth.
It may thus be understood how much poetic truth may lose, in many cases
by a strict observance of historic truth, and, reciprocally, how much it
may gain by even a very serious alteration of truth according to history.
As the tragic poet, like poets in general, is only subject to the laws of
poetic truth, the most conscientious observance of historic truth could
never dispense him from his duties as poet, and could never excuse in him
any infraction of poetic truth or lack of interest. It is, therefore,
betraying very narrow ideas on tragic art, or rather on poetry in
general, to drag the tragic poet before the tribunal of history, and to
require instruction of the man who by his very title is only bound to
move and charm you. Even supposing the poet, by a scrupulous submission
to historic truth, had stripped himself of his privilege of artist, and
that he had tacitly acknowledged in history a jurisdiction over his work,
art retains all her rights to summon him before its bar; and pieces such
as "The Death of Hermann," "Minona," "Fust of Stromberg," if they could
not stand the test on this side, would only be tragedies of mediocre
value, n