individual, as we have shown, is in some way absentminded, and the transition from absentmindedness to crankiness is continuous. But there is also another reason. If the comic poet's object is to offer us types, that is to say, characters capable of self-repetition, how can he set about it better than by showing us, in each instance, several different copies of the same model? That is just what the naturalist does in order to define a species. He enumerates and describes its main varieties.
This essential difference between tragedy and comedy, the former being concerned with individuals and the latter with classes, is revealed in yet another way. It appears in the first draft of the work. From the outset it is manifested by two radically different methods of observation.
Though the assertion may seem paradoxical, a study of other men is probably not necessary to the tragic poet. We find some of the great poets have lived a retiring, homely sort of life, without having a chance of witnessing around them an outburst of the passions they have so faithfully depicted. But, supposing even they had witnessed such a spectacle, it is
