The question has often been raised as to the comparative preference to be awarded to tragedy or comedy. If the question is confined merely to their respective themes, it is certain that tragedy has the advantage. But if our inquiry be directed to ascertain which has the more important personality, it is probable that a decision may be given in favor of comedy. In tragedy the theme in itself does great things; in comedy the object does nothing and the poet all. Now, as in the judgments of taste no account must be kept of the matter treated of, it follows naturally that the aesthetic value of these two kinds will be in an inverse ratio to the proper importance of their themes. The tragic poet is supported by the theme, while the comic poet, on the contrary, has to keep up the aesthetic character of his theme by his own individual influence. The former may soar, which is not a very difficult matter, but the latter has to remain one and the same in tone; he has to be in the elevated region of art, where he must be at home, but where the tragic poet has to be projected and elevated by a bound. And this is precisely what distinguishes a soul of beauty from a sublime soul. A soul of beauty bears in itself by anticipation all great ideas; they flow without constraint and without difficulty from its very nature--an infinite nature, at least in potency, at whatever point of its career you seize it. A sublime soul can rise to all kinds of greatness, but by an effort; it can tear itself from all bondage, to all that limits and constrains it, but only by strength of will. Consequently the sublime soul is only free by broken efforts; the other with ease and always. The noble task of comedy is to produce and keep up in us this freedom of mind, just as the end of tragedy is to re-establish in us this freedom of mind by aesthetic ways, when it has been violently suspended by passion. Consequently it is necessary that in tragedy the poet, as if he made an experiment, should artificially suspend our freedom of mind, since tragedy shows its poetic virtue by re-establishing it; in comedy, on the other hand, care must be taken that things never reach this suspension of freedom.