A somewhat different conception of _katharsis_ is that of Maggi. According to him, we are to understand by purgation the liberation through pity and fear of passions similar to these, but not pity and fear themselves; for Maggi cannot understand how tragedy, which induces pity and fear in the hearer, should at the same time remove these perturbations.[154] Moreover, pity and fear are useful emotions, while such passions as avarice, lust, anger, are certainly not. In another place, Maggi, relying on citations from Plato, Aristotle, and Alexander of Aphrodisias, explains the pleasure we receive from tragedy, by pointing out that we feel sorrow by reason of the human heart within us, which is carried out of itself by the sight of misery; while we feel pleasure because it is human and natural to feel pity. Pleasure and pain are thus fundamentally the same.[155] Varchi[156] is at one with Maggi in interpreting the _katharsis_ as a purgation, not of pity and fear themselves, but of emotions similar to them. For Scaliger (1561) the aim of tragedy, like that of all poetry, is a purely ethical one. It is not enough to move the spectators to admiration and dismay, as some critics say AEschylus does; it is also the poet's function to teach, to move, and to delight. The poet teaches character through actions, in order that we should embrace and imitate the good, and abstain from the bad. The joy of evil men is turned in tragedy to bitterness, and the sorrow of good men to joy.[157] Scaliger is here following the extreme view of poetic justice which we have found expressed in so many of the Renaissance writers. In the last century, Dr. Johnson, in censuring Shakespeare for the tragic fate meted out to Cordelia and other blameless characters, showed himself an inheritor of this Renaissance tradition, just as we shall see that Lessing was in other matters. For Scaliger the moral aim of the drama is attained both indirectly, by the representation of wickedness ultimately punished and virtue ultimately rewarded, and more directly by the enunciation of moral precepts throughout the play. With the Senecan model before him, such precepts (_sententiae_) became the very props of tragedy,--_sunt enim quasi columnae aut pilae quaedam universae fabricae illius_,--and so they remained in modern classical tragedy. Minturno points out that these _sententiae_ are to be used most in tragedy and least in epic poetry.[158]