We find it difficult, therefore, to conceive or admit as naturally, humanly possible that a crime shall be committed by a person who apparently is endowed with fullest intelligence and consciousness; or that misfortune should befall him which seems in its essence to be inexplicable, undeserved, and unexpected. It follows, therefore, that the poet can only place on the stage (this phrase I use merely as an abbreviation: it would be more correct to say, "cause us to assist at some adventure whereof we know personally neither the actors nor the totality of the circumstances") faults, crimes, and acts of injustice committed by persons of defective consciousness, as also disasters befalling feeble beings unable to control their desires--innocent creatures, it may be, but thick-sighted, imprudent, and reckless. Under these conditions there would seem to be no call for the intervention of anything beyond the limit of normal human psychology. But such a conception of the theatre would be at absolute variance with real life, where we find crimes committed by persons of fullest consciousness, and the most inexplicable, inconceivable, unmerited misfortunes befalling the wisest, the best, most virtuous and prudent of men. Dramas which deal with unconscious creatures, whom their own feebleness oppresses and their own desires overcome, excite our interest and arouse our pity; but the veritable drama, the one which probes to the heart of things and grapples with important truths--our own personal drama, in a word, which for ever hangs over our life--is the one wherein the strong, intelligent, and conscious commit errors, faults, and crimes which are almost inevitable; wherein the wise and upright struggle with all-powerful calamity, with forces destructive to wisdom and virtue: for it is worthy of note that the spectator, however feeble, dishonest even, he may be in real life, still enrols himself always among the virtuous, just, and strong; and when he reflects on the misfortunes of the weak, or even witnesses them, he resolutely declines to imagine himself in the place of the victims. 18