Chapter 51 Part Three Revisiting the World as Appearance §51

If we now turn from the plastic arts to the literary arts in accordance with our previous general consideration of art, we cannot doubt that the purpose of literature and art is also to reveal the ideas - the degrees of the objectification of the will - and to be To convey them to the reader with the clarity and vividness with which the poet's mind grasps ideas.Ideas are intuitive in nature.Therefore, since what is directly conveyed by words in literature and art are only abstract concepts, the purpose of [literature and art] is obviously to allow readers to intuitively see the ideas of life in the substitutes of these concepts, and this can only be done with the help of readers. Only your own imagination can come true.But to move the imagination for literary purposes, the abstract concepts which constitute the immediate material of poetry, poetry, and dry prose must be combined in such a way that their circles of meaning are so intertwined that none of them can Remains in its abstract generality, but instead an intuitive substitute precedes the imagination, and the poet then goes on to define this substitute again and again in words according to his own intentions.Just as the chemist obtains the precipitation of a solid by mixing [two] clear liquids: so does the poet, in his way of combining concepts, make the concrete, the individual, the intuitive representation, like a Settled in the abstract and transparent generality of the concept.This is because the Idea can only be known intuitively, and knowing the Idea is the aim of all art. [The poet] has the same skill in literature as the chemist [in the laboratory], in making one obtain exactly the precipitation he expects each time.The many modifiers in poetry serve this purpose, by which the generality of every conception is narrowed down, again and again, to intuitive clarity.Homer added an attributive [before or after] almost every noun, and the intersection between the concept of the attributive and the meaning circle of the noun concept greatly narrowed the meaning circle; in this way, the noun concept is closer to intuition ; for example:

"Surely the sun-god's radiant afterglow fell into the ocean, It is the night that gradually covers the earth that breeds all things. " Another example: "A breeze blows from the blue sky, The peaches stand still and the laurel towers,' ——A few concepts make all the charming scenery of the southern climate settle before the imagination. Rhythm and rhythm are the special aids of literature and art.I know of no other explanation for the unbelievably strong effect of rhythm and rhythm, except that our faculties of representation are essentially bound in time, and thus have a characteristic by which we Follow every sound that reappears according to the law, and it seems to have resonance.Rhythm and meter, then, while being the means of attracting our attention, since we are more willing to listen to poetry recited, produce a kind of blindness in us before making any judgment about what [people] recite. Commonly, because of this sympathy, what is recited acquires an enhanced persuasiveness independent of all reasons.

Due to the universality of the materials used by literature and art to convey ideas, that is, the universality of concepts, the scope of literature and art is very broad.The entire natural world and ideas at all levels can be expressed by literature and art. Literature and art deal with the requirements of the ideas to be conveyed, sometimes by description, sometimes by narrative, and sometimes directly by dramatic performances.But when it comes to expressing the lower levels of the objectivity of the will, since both ignorant nature and purely animal nature can reveal their essence almost completely in a well-managed moment, plastic art Generally stronger than literature and art.Man, on the contrary, expresses himself not only by mere gestures and facial expressions, but by a sequence of actions and the thoughts and feelings that accompany them.In this regard, the human being is the main subject of literature and art, and in this respect no other art can keep pace with literature and art, because literature and art have the possibility of expressing evolution, but plastic art does not.

Then, the idea of ​​showing the objectivity of the will to the highest level, expressing human beings in a series of interlocking struggles and behaviors, is a major issue of literature and art. —Of course there is experience, and history also teaches us to know people, but it is mostly about people rather than people.That is to say, experience and history focus on providing some factual records of how people treat each other, but seldom allow us to deeply see the inner nature of people.At the same time, we cannot say that experience and history cannot talk about the inner nature of human beings. However, once history or our own personal experience can make us see the essence of human beings, then we understand experience and historians understand history. It is already using the artistic perspective, and the poet’s imprinting perspective [to see the problem]; that is to say, we and historians already understand [respectively] according to ideas instead of phenomena, and according to inner essence instead of [external] relations. object].One's own experience is an indispensable condition for understanding literature, art and history, because experience is like a dictionary that can be used in common by the two languages.However, history is to literature and art what portrait painting is to story painting. The former provides the truth in the individual and the particular, while the latter provides the truth in the general. It has the truth of the Idea, which is not to be found in any particular phenomenon, and yet manifests itself in all phenomena.The poet has to show the important characters in the urgent situation through [his] choices and intentions, but the historian only sees how these two came to be.Yes, he must not look at and choose the plot according to the intrinsic, authentic, and ideal meaning of the plot and characters, but only according to the external, superficial, relative, important meaning only in terms of joints and consequences with characters.He must not observe anything in itself and for itself according to its essential characteristics and manifestations, but must regard everything in relation, must be in chains, to see what effect it has on subsequent events, especially on his own contemporaries. influence to observe.So he doesn't ignore the actions of a king, even though they don't make much sense, even if the actions themselves are mediocre; that's because the actions have consequences and effects.On the contrary, the actions of individual persons of great significance in themselves, or of individuals of great eminence, would not be mentioned by the historian if they had no consequence, no influence.It turns out that the historian's investigation is carried out according to the principle of sufficient reason, he grasps the phenomenon, and the form of the phenomenon is this principle of sufficient reason.The poet grasps the idea, the essence of man, the proper objectivity of the thing-in-itself at its highest level, outside all relations and above all time.Although, even in the mode of investigation that the historian must adopt, it is by no means the inner essence of the phenomenon, what the phenomenon signifies, the core of all those shells is completely lost, at least whoever seeks it can still find it. Recognize it, find it; but that is not what matters in relation but in itself, the real development of the idea, is much more correct and clearer in literature than in history.So contradictory as it may sound, [we] should admit that there is more real, genuine inner reality in poetry than in history, because the historian must follow individual episodes strictly from life, see this How the plot develops in time, in the intertwined chains of cause and effect, yet he could not have possessed all the material necessary here, could not have seen everything, investigated everything.The fact that the true nature of the characters or events he describes eludes him at all times, or that he insensibly mixes up the truth with such frequent occurrences, that I think it may be concluded that in any history there are [always] more false than real.The poet, on the other hand, grasps the idea of ​​man in a definite aspect waiting to be expressed, in which what is objectified for him is his own essence.His cognition, as analyzed above in the discussion of sculpture, is semi-a priori; the type in his mind is stable, clear, and transparent, and it is impossible to leave him.Thus the poet in his mirror-like spirit makes us see ideas purely and clearly, and his descriptions, down to the individual details, are as real as life itself.

So the great historians of antiquity also [became] poets in certain cases, when they could not find the data326, as in how their heroes talked; It's almost epic.But this [doing so] is precisely what gives unity to their narratives, and keeps them intrinsically true; even when they fall short of external truth, and even when they are fictional.We have compared portrait paintings with history and story paintings with literature, and compared them two by two; then, we have seen that the adage that Winkelmann said that portraits should be typical of individual ideals was also observed by ancient historians. Because they describe the individual to make the aspect of the human idea stand out in the individual.The modern New Historians, on the contrary, with a few exceptions, generally offer "dustbins and storage rooms, at most [nothing more than] [documenting] an important political event". —Then whoever wants to know man in his inner essence—the same essence in development in all phenomena—in his ideal form, the works of the great and immortal poets will show him A picture far more real and clearer than any historian has ever been able to furnish; for the best historians are far from first-rate poets, and they have no freedom of writing.On this point, people can also use the following metaphor to illustrate the relationship between the two.The simple, specialized historian, who works solely on the basis of data, is like a person who has no mathematical knowledge at all, but uses short and long methods to study the relations between figures he stumbles upon, so that what he has learned empirically The data are also bound to have all the errors of cartography.The poet, on the other hand, is like another mathematician who constitutes these relations a priori in the drawing, in pure intuition; How the relations are in the idea, he determines these relations; as for the drawing, it is only to visualize the idea.So Schiller says:

"Never happened anywhere, This is the only thing that never grows old. " As far as knowing the nature of people is concerned, I even have to admit that biography, especially autobiography, is more valuable than formal history, at least history written in a customary way.It turns out that on the one hand, compared with history, biography, autobiography, etc., the data should be more accurate and can be collected more completely; As for individual people, although they also appear on the stage, they are all far away, surrounded by so many cronies and large groups of followers, and they also have stiff eyes or heavy weights that make people unable to move freely. Armor: It is really not easy to see human activities through all these.On the contrary, a faithfully written history of an individual in a small circle [can] enable us to see the various ways in which some behave, the excellence, virtue, even holiness of individuals, and the greatness of the majority. People's mistakes of turning right and wrong, being humble and pitiful, and tricks of ghosts; seeing some people's unscrupulous [, omnipotent].When writing such a personal life experience, only in terms of the point examined here, that is, in terms of the inner meaning of what appears, does not ask at all the objects that initiate the behavior. Relatively speaking, it is trivial or important. The great thing, is the farmer's garden or the king's domain: for all these things have no meaning in themselves, but only in so far as the will is stirred by these eastern chieftains.The motive has meaning only by virtue of its relation to the will; other relations, the relation of the motive as one thing to another such thing, are not at all taken into consideration.A circle with a diameter of one inch and a circle with a diameter of forty million miles have exactly the same geometric properties; Or from the history of the country, people can study and understand human beings in the same way.It is also wrong to think that all kinds of autobiographies are full of hypocrisy and whitewashing.It should be said that lying (although it is possible everywhere) is more difficult in an autobiography than anywhere.Disguise is easiest in face-to-face conversations; paradoxical as it may sound, it is actually more difficult to fake in letters.This is because a person is alone with himself at this time, he is looking inward at himself instead of outwardly, and it is difficult to move closer when others are far away from [me]. There is no measure of what impression the letter makes on the other; this other, on the contrary, is at ease, skimming the letter in a mood unknown to the writer, rereading it several times at different times, This makes it easy to discover [the writer's] hidden intentions.It is easiest to realize who a writer is in his work, since all those conditions [mentioned above] play a more pronounced and more persistent role here.And since it is so difficult to disguise in an autobiography, perhaps no autobiography is, on the whole, truer than any other history book.The person who writes down his life is looking at his life from a comprehensive perspective. Individual events become smaller, those that are close at hand are pushed away, and those that are far away are approached again, and his concerns shrink.He sat down to confess to himself, and he did so voluntarily.Here the mood of lying did not catch him so easily.It turns out that there is a tendency in every human being to love the truth, which must be overcome every time a lie is made, but here this tendency has just taken a very strong position.The relationship between biography and national history can be seen more clearly from the following metaphor.History makes us see man as a vista from a high mountain makes us see nature: we see many things at a glance, vast plains, colossal forms, but nothing is clear, and cannot be understood in its whole true nature. come to know.On the contrary, the account of individual life makes us see human beings, just as we invite nature to know nature by swimming among its trees, flowers, rocks, and flowing water.But just as an artist in landscape painting makes us see nature through his eyes, thereby making it easier for us to know the idea of ​​nature, and to acquire this necessary, pure, willless state of knowledge; In expressing the ideas that we find in history and biography, too, there is much that is superior to history and biography; We see before us that all that is essential and meaningful is complete and placed in the brightest light; and that which is incidental and irrelevant has been purged.

It is the duty of poets to express human ideas.But he has two ways of doing his duty.One way is that the person being described is also the person doing the description.In lyric poetry, in proper song poetry it is.Here, the poet only observes and describes his own situation vividly.At this time, due to the [relationship] of the subject matter, this style of poetry cannot do without a certain degree of subjectivity. —Another way is that what is to be described is quite different from the person who describes it, as in other poetic forms.At this time, the person who describes is more or less hidden behind what is written, and finally completely invisible.In the legendary folk songs, due to the overall tone and attitude, the author also writes some of his own situation, so although it is much more objective than the hymn style, it still has some subjective elements.The subjectivity is much less in the pastoral, still less in the novel, has almost disappeared in the proper epic, and not even the last trace of it in the drama.Drama is the most impersonal, and in more than one point of view, the most perfect and the most difficult of genres.Lyric poetry is the easiest form of poetry precisely because it has the heaviest subjective component.And, in other cases art would have been the province of only a few true geniuses; but here a man, though not very distinguished on the whole, should, in fact, have a passion which raises his mental energies from strong external impulses. He can also write a beautiful canticle; for to write such poetry, it is only necessary to have, at the moment of excitement, a vivid intuition of one's own situation.Proof of this are many song poems, some of whose works are still unknown, besides German folk songs--the wonderful collection of poems in "The Wonderful Trumpet"--and countless other poems in various languages. The love song and other folk songs also prove this point.Grasping the momentary state of mind and expressing this state of mind with lyrics is the whole task of this poetic style.Yet the lyric of the true poet still reflects the inner [part] of the whole human being, and all that billions of people past, present, and future have encountered and will feel in the same situation by eternal recurrence A corresponding representation is obtained in these lyric poems.Because those circumstances, by their constant recurrence, are as permanent as man himself, and always arouse the same emotions, the lyric writings of true poets can remain valid and fresh through the millennia.After all, poets are also ordinary people, everything, everything that has ever stirred people's hearts, everything that human nature vents in any situation, everything that stays in a certain corner of the human heart and conceives there, All are the subject and matter of the poet, and all the rest of nature is also the subject of the poet.So a poet can sing of [sensual] pleasure as well as of the mystical [state]; he can be Anacreon, or Angelus Schiletius; he can write tragedy, and he can write Comedy can show lofty [sentiment], or it can show low-mindedness-it all depends on the mood and state of mind [at the time].Therefore no one can prescribe that a poet should be generous, noble, moral, pious, Christian, this or that;

He is the mirror of man, making man aware of his feelings and his interests. If we now examine more carefully the nature of the true song, and [only] take some excellent and pure models of the genre when examining it, instead of the folk songs and elegy which are close to other poetic forms, close to legend, , hymns, aphorisms, etc.; then we shall find that the peculiar essence of cantata in the narrowest sense is the following [these points]:—The consciousness of the singer is filled with the subject of the will, that is, himself desire, and often as liberated and satisfied desire [sorrow], but always as emotion, as passion, as fluctuating state of mind.However, besides this and at the same time, the singer realizes that he is an involuntary and pure subject of "knowledge" because he sees the surrounding natural scenery.The unshakable, infinitely pleasant tranquility of the subject is then contrasted with the still restrained, hungering urgency.Feeling this contrast, this alternation of [quietness], is really what the whole song poem expresses, and it is what constitutes the lyrical state at all.In this state it is as if pure knowledge is coming to us to free us from desire and its urgency; we follow [pure knowledge].But we can't take a few steps, only for a moment, the yearning for our personal purpose takes away our peaceful appreciation again.But then there is another beautiful environment, [because] we naturally restore the pure awareness of no will in this environment, so our desires are deceived again.Therefore, in the song poem and the lyrical state, desire (interest in personal ends) and pure appreciation of the [unanticipated] circumstances are mixed together most skillfully.People want to seek and imagine the relationship between the two.The subjective state of mind and the feeling of will reflect its own color on the intuitively seen environment, and the latter is the same for the former. [This is the relationship between the two. ] True song poetry is to describe this whole state of mind so mixed and demarcated. —In order that this abstract analysis, of a state of mind far removed from any abstract [action], may also be illustrated by examples, one may take any of Goethe's immortal hymns as an example. example.And I would like to recommend only a few songs that are particularly suitable for this purpose [sufficient], these are: "The Shepherd's Sorrow", "Welcome and Farewell", "Ode to the Moon", "On the Lake", " Feelings of Autumn".Also in "The Wonderful Horn" there are some good examples of genuine song poetry, especially the one that begins with the line "O Bremen, now I must leave you". —As a witty satire, and a very pertinent lyric, I think it is worth [talking about] one of Foss's hymns; in which he describes a drunken jailer falling from a belfry, As he was falling, he uttered a word of idle work which was so incompatible with the situation, and therefore a remark of involuntary consciousness, he said: "The hour hand on the clock tower is pointing to the It's eleven-thirty."—whoever has the same opinion as I do about the lyrical state of mind will admit that this state of mind is in fact an intuitive and poetic recognition of the This is also the proposition already mentioned in this book: the proposition that the identity of the subject of knowledge and the subject of desire may be called a miracle in the highest sense; so the effect of the song is ultimately based on the truth of this proposition. sex.In the course of a person's life, these two kinds of subjects—the brain and the heart in popular terms—are always getting farther and farther away, and people are always separating their subjective feelings from their objective cognition more and more.In the young child, the two are still completely blended, he does not know how to distinguish himself from the environment, he and the environment are in sympathy.What affects the youth is all perception, first of all sensation and mood, and perception is mixed with these; as Byron writes beautifully:

"I don't live in my [little self], I have become part of what is around me; for me Everything Alpine is [also] a sentiment. " It is for this reason that young people are so obsessed with the intuitive appearance of things; it is for this reason that young people are only suitable for writing lyric poetry, and are not suitable for writing drama until they are adults.As for the aged, at best they can only be imagined as writers of epics, Ossian, Homer; for the storytelling suits the character of the aged. In the more objective literary genres, especially novels, epics, and dramas, the [literary] purpose, that is, to reveal human ideas, is mainly achieved in two ways: Meaningful characters and come up with meaningful situations in which to develop those characters.It is the chemist's business not only to present the simple elements and their principal compounds in a crisp and true manner, but to place these elements and compounds under the influence of certain reactants, [for] within this influence , their characteristics become more clearly visible.Like the chemist, the poet's business is not merely to present to us meaningful characters as faithfully and faithfully as nature itself; In these situations, their characteristics can be fully developed, and they can be clearly and clearly expressed in sharp outlines.These situations are therefore called critical situations.In actual life and in history, situations of this nature occur only occasionally, and when they do exist, they are isolated, overwhelmed and obliterated by a multitude of insignificant situations.Whether the situation has a direct overall significance should be the difference between novels, epics, dramas and real life, and this is as much a difference as the selection and matching of relevant characters.But the strictest authenticity of both the situation and the characters is an indispensable condition for their effects to occur. The lack of unity of character, the self-contradiction of character, or the fundamental contradiction between character and human nature, and the impossibility of plot, or impossibly improbable unreasonableness, even in minor matters, can cause displeasure in literature and art; nothing like a badly drawn figure, a wrong perspective, or an ill-fitting light in painting. People are unhappy.This is because what we require, whether it is poetry or painting, is a faithful reflection of life, human beings, and the world. It is only because of [artistic] expression [methods] that it makes it clear and that it makes sense because of the structure and coordination.Since the purpose of all art is but one, and that is the expression of ideas; since the fundamental difference between the different arts is only the degree of objectification of the will in which the ideas are expressed, and the materials used for expression vary according to these degrees. are determined; then, even though the two arts are most remote, they can explain each other by way of comparison.To see the water, for example, in a calm pond or in a flowing river is not enough to fully grasp the ideas that manifest themselves in the water; but only when the water is present under various circumstances and obstacles, and the obstacles act on the water, When the water is caused to reveal all its characteristics, then the ideas will fully manifest.Therefore, when the Milky Way is cascading, turbulent, self-foaming, and flying in all directions, or when the water is cascading and scattered into broken beads, or when it is artificially forced to spew out like lines, we feel beautiful.Water behaves differently in different situations, but always faithfully retains its character.Whether it shoots upwards or remains flat as a mirror is equally natural to water; it just depends on what happens, this or that, and water can do nothing.Thus, what the garden engineer does to liquid matter, the architect does to solid matter; and this is what the epic and dramatist does to man's ideas.It is the common aim of all art to unfold and manifest the will which reveals itself in the object of every art, the will to objectify itself at every level.Human life is most common in reality, just as the most common water is water in ponds and rivers.But in epics, novels, and tragedies, the chosen characters are placed in situations in which all their qualities are brought into play, and the depths of the human mind are brought to life. Revealed and made visible in extraordinary, meaningful episodes.This is how literature and art objectify people's ideas, and the characteristic of ideas is that they prefer to express themselves in the most individual characters.

Tragedy, both in its enormous effect, and in its difficulty of writing, counts among the highest peaks of literature, and is therefore admittedly so.As far as the whole system of our investigation is concerned, it is extremely important to note that this highest achievement in literature and art aims at showing the terrible side of human life. Victory, mocking the dominion of human chance, acting out the irremediable fall of the righteous and innocent; [and all this matters] because there are important implications in it, that is, the inherent nature of the universe and life.It is a conflict between the will and itself.Here this struggle takes on a terrible form, at its culmination at the highest level of objectivity of the will.This contradiction can be seen in the suffering of human beings.Part of this pain is caused by chance and mistakes.Accident and error [here] appear as rulers of the world.And, with a near-intentional mischief, has been personified as Fate.Partly because human struggles arise within themselves, because the dispositions of different individuals intersect, and most people are ill-natured and full of mistakes.Living and manifesting in all these people is one and the same will, but the various phenomena of this will struggle with each other and kill each other.The will can appear stronger in one individual and weaker in another.In weakness it is the light of knowledge that bends the will to thinking to a greater extent and softens it, in its obstinacy it is less so; The point is reached where phenomena or the "veil of Maya" no longer obscure this knowledge, the form of phenomena—the principle of individuation—is seen through, and selfishness based on this principle follows. Gone.In this way the motive, which was so powerful before, loses its power and is replaced by a complete perception of the nature of the world, which, acting as a tranquilizer of the will, brings Asceticism brings not only the renunciation of life, but also the renunciation of the whole will to life.So we see in tragedy that the noblest [characters] either, after long struggle and suffering, at last forfeit forever the end which they so passionately sought, and all the pleasures of life; or voluntarily, willingly Give it all up for it.Such [tragic characters] are Galderon, the upright prince [in the play]; Margaret in Faust; , but he taught Huonejue to stay in this troubled world and live in pain, in order to clarify his life and the past, and purify his image——and the Virgin of Orleans, the bride of Messina, they are all purified by suffering And those who died, that is to say, their will to life has disappeared first, and then they died.In Voltaire's Mohammad, the final epilogue actually puts this into words; at the end of his life, Palmieri shouted to Mohammed: "This is the world of tyrants. You live Go!" - On the other hand, some people still demand justice in so-called literature and art.This demand results from a complete misunderstanding of the nature of tragedy and of the nature of the world.Such a presumptuous request appears in Dr. Shamuel Johnson's comments on some of Shakespeare's plays, and he complains rather naively that it has been neglected [in the plays].Yes, in fact there is no such requirement. May I ask what is wrong with those Ophelias, those Desdemonas, and those Cordelias? ——But only mediocre, optimistic, Protestant rationalism, or originally Jewish world outlooks can demand some literary justice and find their own satisfaction in the satisfaction of this demand.The true meaning of tragedy is a profound realization that what the hero [tragedies] atones for is not his own particular sin, but original sin, the sin of existence itself.Galderon said bluntly:

"Man's greatest sin That is: He was born. " More closely related to the treatment of tragedy, I just want to allow myself to make one more point.Writing about a great misfortune is the only essential thing in tragedy.The many different ways poets use to bring about misfortune can be subsumed under three types of concepts.The cause of a great misfortune may be an extraordinary, well-developed malevolence in one of the characters, in which case the character is the perpetrator.Examples of this class are Richard III, Jaco in Othello, Sherlock in Othello, Franz Moore, Phaedre in Euripides, Cunei in Antigonus. Weng and others and so on.Misfortune can also be caused by blind fate, that is, by chance and error.Of this class, Sophocles' Oedipus the Rex is a true type, and so are the women of Tragen.Most classical tragedies fall into this category at all, while examples of modern tragedies include Romeo and Juliet, Voltaire's Tancred, and The Bride of Messina.Finally, misfortune can also simply be due to the different status of the characters in the play.by their relations; it need not concern [arrangement] of terrible mistakes or unheard-of accidents, nor characters of the utmost malevolence possible;发生的情况之下，使他们处于相互对立的地位，他们为这种地位所迫明明知道，明明看到却互为对方制造灾祸，同时还不能说单是那一方面不对。我觉得最后这一类[悲剧]比前面两类更为可取，因为这一类不是把不幸当作一个例外指给我们看，不是当作由于罕有的情况或狠毒异常的人物带来的东西，而是当作一种轻易而自发的，从人的行为和性格中产生的东西，几乎是当作[人的]本质上要产生的东西，这就是不幸也和我们接近到可怕的程度了。并且，我们在那两类悲剧中虽是把可怕的命运和骇人的恶毒看作使人恐怖的因素，然而究竟只是看作离开我们老远老远的威慑力量，我们很可以躲避这些力量而不必以自我克制为逋逃蔽；可是最后这一类悲剧指给我们看的那些破坏幸福和生命的力量却又是一种性质。这些力量光临到我们这儿来的道路随时都是畅通无阻的。我们看到最大的痛苦，都是在本质上我们自己的命运也难免的复杂关系和我们自己也可能干出来的行为带来的，所以我们也无须为不公平而抱怨。这样我们就会不寒而栗，觉得自己已到地狱中来了。不过最后这一类悲剧在编写上的困难也最大；因为人们在这里要以最小量的剧情设计和推动行为的原因，仅仅只用剧中人的地位和配搭而求得最大的效果。所以，即令是在最优秀的悲剧中也有很多都躲避了这一困难。不过也还有一个剧本可认为这一类悲剧最完美的模范，虽然就别的观点说，这剧本远远不及同一大师的其他作品：那就是《克拉维葛》。在一定范围内《汉姆勒特》也同于这一类，不过只能从汉姆勒特对勒厄尔特斯和奥菲莉亚的关系来看。 《华伦斯但》也有这一优点；《浮士德》也完全是这一类[的悲剧]。如果仅仅只从玛格利特和她的兄弟两人的遭遇作为主要情节看的话。高乃伊的《齐德》同样也属于这一类，不过齐德本人并没有一个悲剧的下场，而麦克斯Max和德克娜Thekla之间与玛格利特兄妹类似的关系却有一个悲剧的结局。