 Schiller’s depiction of tragedy as the triumph of the will over the senses is echoed perhaps most famously in the struggle between the Apollonian and Dionysian forces Nietzsche credits with producing tragedy in the first place (The Birth of Tragedy; Martin 1996: 179–187). It has also generated praise and critique in more contemporary theorizing. Hughes argues that Schiller’s description of the pleasure we take in tragedy successfully accounts for several other theories, including that tragic heroes must show courage (Walter Kaufmann); that tragedies foreground “comings-to-knowledge” and tragic flaws (Aristotle); that they showcase conflict between two morally justified positions (Hegel); and that they include some kind of renunciation (Schopenhauer) (see Hughes 2015). By contrast, Gellrich suggests that Schiller’s use of the Kantian sublime to characterize tragedy places undue emphasis on the individual to the detriment of other factors that should characterize tragedy (1988: ch. 4). Indeed, Schiller’s focus on the individual’s struggle as tragedy’s focal point puts him at odds with theories that emphasize either social aspects of tragedy or the political upheaval that makes moments of sublime resistance more likely (Eagleton 2003: 19, 110; Williams 1966: 44). Gardner in addition criticizes Schiller’s rationalized view of tragedy as a refusal to accept suffering on its own terms and so as a denial of suffering’s significance (2003: 235).