FORE:The Poetics of Aristotle contains some hints on the subject of composition which entitle it to be mentioned in the present connexion. The deficiencies, even from a purely theoretical point of view, of this work, once pronounced infallible, have at last become so obvious that elaborate hypotheses have been constructed, according to which the recension handed down to us is a mere mutilated extract from the original treatise. Enough, however, remains to convince us that poetry was not, any more than eloquence, a subject with which Aristotle was fitted to cope. He begins by defining it, in common with all other art, as an imitation. Here, we at once recognise the spirit of a philosophy, the whole power and interest of which lay in knowledge; and, in fact, he tells us that the love of art is derived from the love of knowledge. But the truth seems to be that aesthetic enjoyment is due to an ideal exercise of our faculties, among which the power of perceiving identities is sometimes, though not always, included. That the materials of which every artistic creation is composed are taken from the world of our experience makes no difference; for it is by the new forms in which they are arranged that we are interested, not because we remember having met them in301 some natural combination already. Aristotle could not help seeing that this was true in the case of music at least; and he can only save his principle by treating musical effects as representations of passions in the soul. To say, however, that musical pleasure arises from a perception of resemblance between certain sounds and the emotions with which they are associated, would be an extremely forced interpretation; the pleasure is due rather to a sympathetic participation in the emotion itself. And when Aristotle goes on to tell us that the characters imitated in epic and dramatic poetry may be either better or worse than in ordinary life, he is obviously admitting other aesthetic motives not accounted for by his general theory. If, on the other hand, we start with ideal energising as the secret of aesthetic emotion, we can easily understand how an imaginary exaltation of our faculties is yielded by the spectacle of something either rising above, or falling below, the level on which we stand. In the one case we become momentarily invested with the strength put into action before our eyes; in the other, the consciousness of our own superiority amounts to a fund of reserve power, which not being put into action, is entirely available for ideal enjoyment. And, if this be the correct view, it will follow that Aristotle was quite wrong when he declared the plot to be more important than the characters of a drama. The reason given for his preference is, even on the principles of his own philosophy, a bad one. He says that there can be plot without character-drawing, but never character-drawing without plot. Yet he has taught us elsewhere that the human soul is of more value than the physical organism on which its existence depends. This very parallel suggests itself to him in his Poetics; but, by an almost inconceivable misjudgment, it is the plot which he likens to the soul of the piece, whereas in truth it should be compared to the body. The practice and preference of his own time may have helped to mislead him, for he argues (rather inconsistently, by the way) that plot302 must be more indispensable, as young writers are able to construct good stories before they are able to portray character; and more artistic, as it was developed much later in the historical evolution of tragedy. Fortunately for us, the Alexandrian critics were guided by other canons of taste, or the structurally faulty pieces of Aeschylus might have been neglected, and the ingeniously constructed pieces of Agathon preserved in their place.
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Vivamus sagittis egestas mauris ut vehicula. Cras viverra ac orci ac aliquam. Nulla eget condimentum mauris, eget tincidunt est.
THREE:"In the breast pocket of my inner coat. Bah, why argue over it?"
THREE:Lawrence begged to differ. In the first place, he anticipated considerable entertainment. He was not selfish, he said, and had no desire to keep it to himself.
THREE:Nevertheless Bacons own attitude towards final causes differs essentially from Descartes. The French mathematician, had he spoken his whole mind, would probably have denied their existence altogether. The English reformer fully admits their reality, as, with his Aristotelian theory of Forms, he could hardly avoid doing; and we find that he actually associates the study of final with that of formal causes, assigning both to metaphysics as its peculiar province. This being so, his comparative neglect of the former is most easily explained by the famous comparison of teleological enquiries to vestal virgins, dedicated to the service of God and bearing no offspring; for Mr. Ellis has made it perfectly clear that the barrenness alluded to is not scientific but industrial. Our knowledge is extended when we trace the workings of a divine purpose in Nature; but this is not a kind of knowledge which bears fruit in useful mechanical inventions.553 Bacon probably felt that men would not be very forward to improve on Nature if they believed in the perfection of her works and in their beneficent adaptation to our wants. The teleological spirit was as strong with him as with Aristotle, but it took a different direction. Instead of studying the adaptation of means to ends where it already existed, he wished men to create it for themselves. But the utilitarian tendency, which predominated with Bacon, was quite exceptional with Descartes. Speaking generally, he desired knowledge for its own sake, not as an instrument for the gratification of other wants; and this intellectual disinterestedness was, perhaps, another aspect of the severance effected between thought and matter.
