The Problem of Tragedy “It seems an unaccountable pleasure, which the spectators of a well-written tragedy receive from sorrow, terror, anxiety, and other passions, that are in themselves disagreeable and uneasy” “The more they are touched and affected, the more are they delighted with the spectacle” “They are pleased in proportion as they are afflicted” “The whole art of the poet is employed, in rouzing and supporting the compassion and indignation, the anxiety and resentment of his audience” ( )

Dubos Passions are an escape from indolence “No matter what the passion is: Let it be disagreeable, afflicting, melancholy, disordered; it is still better than that insipid languor, which arises from perfect tranquility and repose” (217)

Fontenelle “The heart likes naturally to be moved and affected. Melancholy objects suit it, and even disastrous and sorrowful, provided they are softened by some circumstance” “The idea [of falsehood], though weak and disguised, suffices to diminish the pain which we suffer from the misfortunes of those whom we love, and to reduce that affliction to such a pitch as converts it into pleasure” (218)

Hume Conversion Principle: “When two passions are already produc’d by their separate causes, and are both present in the mind, they readily mingle and unite, tho’ they have but one relation, and sometimes without any. The predominant passion swallows up the inferior, and converts it into itself” (T ) “every emotion, which precedes or attends a passion, is easily converted into it” (T ) Examples: lovers’ love increased by jealousy Othello’s jealousy increased by curiosity soldiers’ courage increased by beauty of army

Hume Why we enjoy tragedy: 1: Besides painful passions, good tragedy excites pleasant aesthetic emotions. “The force of imagination, the energy of expression, the power of numbers, the charms of imitation; all these are naturally, of themselves, delightful to the mind” (222) 2: Conversion Principle: “The subordinate movement is converted into the predominant, and gives force to it” (221) 3: In good tragedy, painful passions are subordinate and aesthetic emotions predominant Result: In good tragedy, painful passions are converted into and give force to aesthetic emotions. “The [painful] affection, rouzing the mind, excites a large stock of spirit and vehemence; which is all transformed into [aesthetic] pleasure by the force of the prevailing movement” (220)

Difficulties 1: Besides painful passions, good tragedy excites pleasant aesthetic emotions Budd: “Is there (always) an independent pleasure in the manner of representation of the tragic incidents of a well-written tragedy?” Budd, Malcolm. “Hume’s Tragic Emotions.” Hume Studies 17.2 (1991):

Difficulties 3: In good tragedy, painful passions are subordinate and aesthetic emotions predominant Budd: “On the supposition that there is an independent [aesthetic] pleasure, is it (always) the predominant emotion in Hume’s sense; that is, stronger than the negative emotions experienced by the spectator?” “Predominant” : more intense ? “Predominant” : more settled ? “ ’Tis evident passions influence not the will in proportion to their violence, or the disorder they occasion in the temper; but on the contrary, that when a passion has once become a settled principle of action, and is the predominant inclination of the soul, it commonly produces no longer any sensible agitation” (T )

Difficulties 2: Conversion Principle – Conditions for Conversion “When two passions are already produc’d by their separate causes, and are both present in the mind, they readily mingle and unite, tho’ they have but one relation, and sometimes without any. The predominant passion swallows up the inferior, and converts it into itself” (T ) “When contrary passions arise from objects entirely different, they take place alternately, the want of relation in the ideas separating the impressions from each other, and preventing their opposition” (T ) Is relation necessary for conversion? Is it sufficient?

Difficulties 2: Conversion Principle – What is it that is converted? “The predominant passion swallows up the inferior, and converts it [the inferior passion] into itself” (T ) “The subordinate passion is here readily transformed into the predominant one” (Tragedy 221) “The spirits, when once excited, easily receive a change in their directions” (T ) “The whole impulse of those [the melancholy] passions is converted into pleasure” (Tragedy 220) “The subordinate movement is converted into the predominant” (Tragedy 221) Neill: “What is converted or “given a new direction”, that is, is not the passion itself but rather the “emotion” or “spirit” which “attends a passion”” Neill, Alex. ““An Unaccountable Pleasure”: Hume on Tragedy and the Passions.” Hume Studies 14.2 (1998):

Difficulties 2: Conversion Principle – What exactly does “conversion” involve? A) One passion turns into the other (Budd) ‘converted,’ ‘swallowed up,’ ‘transfused’ (T ), ‘infused’ (Tragedy 221), ‘transformed’ (Tragedy 221) B) One passion changes its hedonic character (Budd) “the uneasiness of the melancholy passions is … overpowered and effaced by something stronger of an opposite kind” (Tragedy 220) C) One passion transfers its intensity to the other (Neill) ‘change of direction’, ‘precipitation’ (T ), ‘blowing up’ (DP 6.1.4), ‘fortification’ (Tragedy 221), ‘nourishing’ (Tragedy 221) D) One passion causes (more of) the other (Merivale) “If the beauty or deformity belong to our own face, shape, or person, this pleasure or uneasiness is converted into pride or humility” (DP 2.17) Merivale, Amyas. “Mixed Feelings, Mixed Metaphors: Hume on Tragic Pleasure.” British Journal of Aesthetics 51.3 (2011):