elsewhere. Is it that people deficient in pity and fear because their lives give little occasion for such feelings are for once taken out of themselves and made to realise the heights and depths of human experience? Is not this enlarging of our experience, and the accompanying teaching of "self-knowledge and self- respect" the real reason of the value which is placed upon tragedy?" The above refers to Aristotle's learning process in the arena of ethical action. The arrival at the golden mean via a process of inductive trial and error learning is here applied to our emotions and their regulation. One can almost imagine that the terminal response imagined by Aristotle of the audience of the tragedy is well depicted in those sculptures of men in a state of contemplation. The reference to "abreaction" is perhaps only apt if it refers to the mental effects of the talking cure on anxiety levels once the troubling traumas or wishes are subjected to transformation in the memory by being consciously talked about. Catharsis in psychoanalysis differs from catharsis in art in that the former process is happening to the hero of the tragedy and the latter is happening to a disinterested spectator who is not viewing or conceptualising the chain of events as a particular series of events happening to a particular person but more generally and hypothetically: namely, "if someone does this kind of action is done then this kind of fate is the inevitable consequence". Kant referred to this as "exemplary necessity" in his Critique of Aesthetic Judgment. The cathartic process of a patient involves a learning or "recognition" which increases ones own sense of self awareness that one cannot speak with a universal voice about. The cathartic process involved with tragedy on the other hand justifies the use of the universal voice because of the involvement of "exemplary necessity". Our modern tragedy of course is related to the failure of our present day culture to be able to speak with a universal voice about itself. Culturally, i.e. politically, ethically and aesthetically we appear to live in a disenchanted tragic world in which the voices of Aristotle, Kant and Freud and their followers are drowned out by the collective contradictory voices of the popular mythical thousand headed monster. The knowledge spoken of at the beginning of this lecture is no longer being taught. There are no rescuing heroes anymore and there is no catharsis for anyone in such circumstances, only disenchantment.