Literature can train, and exercise, our ability to weep for those who are not us or ours.
The discovery of the good taste of bad taste can be very liberating. The man who insists on high and serious pleasures is depriving himself of pleasure; he continually restricts what he can enjoy; in the constant exercise of his good taste he will eventually price himself out of the market, so to speak. Here Camp taste supervenes upon good taste as a daring and witty hedonism. It makes the man of good taste cheerful, where before he ran the risk of being chronically frustrated. It is good for the digestion.
Modern discussions of the possibility of tragedy are not exercises in literary analysis; they are exercises in cultural diagnostics, more or less disguised.
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