not love and sorrow as well as anger 'sweeter than honey,' and also full of pain? Is there not a mixture of feelings in the spectator of tragedy? and of comedy also? 'I do not understand that last.' Well, then, with the view of lighting up the obscurity of these mixed feelings, let me ask whether envy is painful. 'Yes.' And yet the envious man finds something pleasing in the misfortunes of others? 'True.' And ignorance is a misfortune? 'Certainly.' And one form of ignorance is self-conceit--a man may fancy himself richer, fairer, better, wiser than he is? 'Yes.' And he who thus deceives himself may be strong or weak? 'He may.' And if he is strong we fear him, and if he is weak we laugh at him, which is a pleasure, and yet we envy him, which is a pain? These mixed feelings are the rationale of tragedy and comedy, and equally the rationale of the greater drama of human life. (There appears to be some confusion in this passage. There is no difficulty in seeing that in comedy, as in tragedy, the spectator may view the performance with mixed feelings of pain as well as of pleasure; nor is there any difficulty in understanding that envy is a mixed feeling, which rejoices not without pain at the misfortunes of others, and laughs at their ignorance of themselves. But Plato seems to think further that he has explained the feeling of the spectator in comedy sufficiently by a theory which only applies to comedy in so far as in comedy we laugh at the conceit or weakness of others. He has certainly given a very partial explanation of the ridiculous.) Having shown how sorrow, anger, envy are feelings of a mixed nature, I will reserve the consideration of the remainder for another occasion.