 At one point in the dialogue On Sentiments (Mendelssohn’s second publication but first publication on aesthetic matters), one of the protagonists differentiates three sorts of pleasure: sensuous, beautiful, and intellectual (a differentiation which approximates respectively the three sorts of perceptions elaborated by Leibniz and Wolff, among others, namely, confused, clear, and distinct). In this context, Mendelssohn explains how beauty affords a distinctive pleasure precisely as the unity of the multiplicity of things taken in by the senses (a view subsequently iterated, as we have seen, in On the Main Principles). Unaddressed by this differentiation of pleasures, however, are the so-called “mixed sentiments” that we seem to experience sometimes in viewing what is otherwise painful, terrifying, or, at any rate, does not exhibit the harmony or order typical of beauty. At first (namely, in On Sentiments) Mendelssohn thought that the problem could still be handled by identifying some perfection in the object — e.g., the skillfulness of the gladiator, the virtue of the tragic figure — as the source of the pleasure that we feel. Six years later, in Rhapsody or additions to the Letter on sentiments, he revises his explanation of these mixed sentiments by noting that each individual representation has a subjective and an objective component (for a valuable account of Mendelssohn’s developing conception of mixed sentiments, see Pollok 2018a). Subjectively or “as a determination of the soul,” the representation can affirm some perfection in the soul and thus be pleasing, even though objectively or “as a picture of the object,” we might find it repugnant. Tragedy is more complicated since the sympathy that we feel for the tragic figure is based upon both objective and subjective perfections (i.e., in him or her and us) as well as upon objective imperfection, the pain and injustice that befall him or her.