But this restoration is not enough; merely looking at a landscape in a mirror, or standing on one’s head will do it. What is much more essential is the increased organisation, the heightened power of combining all the several effects of formal elements into a single response, which the poet bestows. To point out that “the sense of musical delight is a gift of the imagination” was’ one of Coleridge’s most brilliant feats. It is in such resolution of a welter of disconnected impulses into a single ordered response that in all the arts imagination is most shown, but for the reason that here its operation is most intricate and most inaccessible to observation, we shall study it more profitably in its other manifestations. We have suggested, but only by accident, that imagination characteristically produces effects similar to those which accompany great and sudden crises in experience. This would be misleading. What is true is that those imaginative syntheses which most nearly approach to these climaxes, Tragedy for example, are the most easy to analyse. What clearer instance of the “balance or reconciliation of opposite and discordant qualities” can be found than Tragedy. Pity, the impulse to approach, and Terror, the impulse to retreat, are brought in Tragedy to a reconciliation which they find nowhere else, and with them who knows what other allied groups of equally discordant impulses. Their union in an ordered single response is the _catharsis_ by which Tragedy is recognised, whether Aristotle meant anything of this kind or not. This is the explanation of that sense of release, of repose in the midst of stress, of balance and composure, given by Tragedy, for there is no other way in which such impulses, once awakened, can be set at rest without suppression.