 Another commonplace of early modern aesthetics was the importance of exciting emotions in the audience for a work of art. This is a common theme in musical aesthetics, which borrowed heavily from rhetorical treatises. Baroque composers developed an entire theory of affects, and of musical figures to express those affects, for just this end. (See the Grove Dictionary of Music.) Another version of this theme appears in philosophical discussions of tragedy; since it is assumed that the dramatic depiction of emotions excites the same emotions in the audience, tragic drama presents a bit of a puzzle. It seems odd that we should enjoy the experience, and even enjoy it in proportion to the distress it invokes. Malebranche, Hutcheson and Hume are just a few to address this puzzle by developing accounts of the meta-pleasures afforded to us by the exercise of our emotions.