It is for this reason that the tragic poet invariably treats his theme in a practical manner, and the comic poet in a theoretic manner, even when the former, as happened with Lessing in his “Nathan,” should have the curious fancy to select a theoretical, and the latter should have that of choosing a practical subject. A piece is constituted a tragedy or a comedy not by the sphere from which the theme is taken, but by the tribunal before which it is judged. A tragic poet ought never to indulge in tranquil reasoning, and ought always to gain the interest of the heart; but the comic poet ought to shun the pathetic and bring into play the understanding. The former displays his art by creating continual excitement, the latter by perpetually subduing his passion; and it is natural that the art in both cases should acquire magnitude and strength in proportion as the theme of one poet is abstract and that of the other pathetic in character. Accordingly, if tragedy sets out from a more exalted place, it must be allowed, on the other hand, that comedy aims at a more important end; and if this end could be actually attained it would make all tragedy not only unnecessary, but impossible. The aim that comedy has in view is the same as that of the highest destiny of man, and this consists in liberating himself from the influence of violent passions, and taking a calm and lucid survey of all that surrounds him, and also of his own being, and of seeing everywhere occurrence rather than fate or hazard, and ultimately rather smiling at the absurdities than shedding tears and feeling anger at sight of the wickedness of man. It frequently happens in human life that facility of imagination, agreeable talents, a good-natured mirthfulness are taken for ornaments of the mind. The same fact is discerned in the case of poetical displays.