Abstract
HE REFUSAL of critics to take seriously A. C. Bradley's emphatic acknowledgement of his debt to Hegel must appear as an embarrassing paradox to anyone examining the matter today. The growing interest in writings has brought into focus what may prove to be the most interesting aspect of Bradley's work; and the shift in critical sensibilities, within the last fifty years, has cleared away what was purely transient and personal in Bradley's writing, reinforcing its vital core and thus preparing the way for a careful and sympathetic review of what he himself considered to be an important source of inspiration. The opening words of Hegel's Theory of Tragedy can leave no doubt as to Bradley's estimate of the German philosopher:
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