AII varieties of suffering are therefore the theme of drama, which promises to create out of them pleasure for the spectator; whence arises the first condition which this art form must fulfill, that it shall cause the spectator no suffering, and that it must know how to com-pensate by means of the gratifications which it makes possible for the pity which it arouses-a rule against which modern dramatists have particularly often been offenders. But this suf-fering is soon restricted to mental anguish only, for nobody wants to witness physical suffering who knows how soon the bodily sensations thus stimulated put an end to all mental enjoyment.
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