'Aristotle considers the Tragedies that were written in either of those kinds; and observes, that those which ended unhappily had always pleased the people, and carried away the Prize, in the public disputes of the Stage, from those that ended happily.
'Terror and Commiseration leave a _pleasing anguish_ in the mind, and fix the Audience in such a serious composure of thought, as is much more lasting and delightful, than any little transient Starts of Joy and Satisfaction.
'Accordingly we find, that more of our English Tragedies have succeeded, in which the Favourites of the Audience sink under their calamities, than those in which they recover themselves out of them.
'The best Plays of this kind are _The Orphan_, _Venice Preserved_, _Alexander the Great_, _Theodosius_, _All for Love_, _Oedipus_, _Oroonoko_, _Othello_, &c.
'King _Lear_ is an admirable Tragedy of the same kind, as Shakespeare wrote it: But as it is reformed according to the _chimerical notion_ of POETICAL JUSTICE, in my humble opinion it has lost half its beauty.
'At the same time I must allow, that there are very noble Tragedies, which have been framed upon the other Plan, and have ended happily; as indeed most of the good Tragedies which have been written since the starting of the above-mentioned Criticism, have taken this turn: As _The Mourning Bride_, _Tamerlane_[38], _Ulysses_, _Phædra and Hippolytus_, with most of Mr. Dryden's. I must also allow, that many of Shakespeare's, and several of the celebrated Tragedies of Antiquity, are cast in the same form. I do not therefore dispute against this way of writing Tragedies; but against the Criticism that would establish This as the _only_ method; and by that means would very much cramp the English Tragedy, and perhaps give a wrong bent to the genius of our writers.'
'This subject is further considered in a Letter to the Spectator[39].
"I find your opinion, says the author of it, concerning the _late-invented_ term called _Poetical Justice_, is controverted by some eminent critics. I have drawn up some additional arguments to strengthen the opinion which you have there delivered; having endeavoured to go to the bottom of that matter....
"The most perfect man has vices enough to draw down punishments upon his head, and to justify Providence in regard to any miseries that may befal him. For this reason I cannot think but that the instruction and moral are much finer, where a man who is virtuous in the main of his character falls into distress, and sinks under the blows of fortune, at the end of a Tragedy, than when he is represented as happy and triumphant. Such an example corrects the insolence of human nature, softens the mind of the beholder with sentiments of pity and compassion, comforts him under his own private affliction, and teaches him not to judge of mens virtues by their successes[40]. I cannot think of one real hero in all antiquity so far raised above human infirmities, that he might not be very naturally represented in a Tragedy as plunged in misfortunes and calamities. The Poet may still find out some prevailing passion or indiscretion in his character, and shew it in such a manner as will sufficiently acquit Providence of any injustice in his sufferings: For, as Horace observes, the best man is faulty, tho' not in so great a degree as those whom we generally call vicious men[41].