Yet we may well recall here the other aspect of the experience. Analogous to the pleasure in rhythm and in music, in which the awaited beat or tone slips, as it were, into a place already prepared for it, with the satisfaction of harmonious nervous adjustment, is the pleasure in an inevitable and irrevocable progress. For it is not felt as inevitable unless the whole crystallization of the situation makes such, and only such, an action or thought necessary at a certain point in the structure, makes it to a certain extent anticipated, and so recognized with acclaim on its appearance. We will an event in anticipating and accepting it; and we realize it as it comes. Nothing more is to be found in the psychological analysis of the will itself--theoretically, the two states are nearly identical. Thus this continual anticipation and "coming true" takes on the feeling-tone of all volition; and so in music, as I have shown at length, and in drama, and to a degree in all forms of literature, we have the illusion of the triumphant will. This is the secret of that creative joy felt by the spectator at a drama, which has been so often noted. It is this illusion of the triumphant will, too, which enters largely into our acceptance of the tragic end. Much has been said, in the "dispute over tragedy," of the so-called "Resignation" of the tragic hero, and of the audience in relation to his fate. But I believe that these writers are wrong in connecting this resignation primarily with a moral attitude. What is foreseen as perfectly inevitable, is sufficiently "accepted" in the psychological sense--that is, vividly imagined and awaited,--to contribute to this illusion of volition. Hence arise, for the catastrophe of drama, that exaltation and stern joy which are indissolubly connected with the experience of will in real life. VI We have spoken of the dramatic, and have desired to show that its peculiar aesthetic experience arises out of the tension or balance of emotion in the confrontation of opposing forces. If this is a fruitful theory, it should throw light on the distinction between the different forms of the drama, and on the principal issues of that "Dispute over Tragedy" which is always with us.