FORE:Characters, then, are not introduced that they may perform actions; but actions are represented for the sake of the characters who do them, or who suffer by them. It is not so much a ghostly apparition or a murder which interests us as the fact that the ghost appears to Hamlet, and that the murder303 is committed by Macbeth. And the same is true of the Greek drama, though not perhaps to the same extent. We may care for Oedipus chiefly on account of his adventures; but we care far more for what Prometheus or Clytemnestra, Antigone or Ajax, say about themselves than for what they suffer or what they do. Thus, and thus only, are we enabled to understand the tragic element in poetry, the production of pleasure by the spectacle of pain. It is not the satisfaction caused by seeing a skilful imitation of reality, for few have witnessed such awful events in real life as on the stage; nor is it pain, as such, which interests us, for the scenes of torture exhibited in some Spanish and Bolognese paintings do not gratify, they revolt and disgust an educated taste. The true tragic emotion is produced, not by the suffering itself, but by the reaction of the characters against it; for this gives, more than anything else, the idea of a force with which we can synergise, because it is purely mental; or by the helpless submission of the victims whom we wish to assist because they are lovable, and whom we love still more from our inability to assist them, through the transformation of arrested action into feeling, accompanied by the enjoyment proper to tender emotion. Hence the peculiar importance of the female parts in dramatic poetry. Aristotle tells us that it is bad art to represent women as nobler and braver than men, because they are not so in reality.185 Nevertheless, he should have noticed that on the tragic stage of Athens women first competed with men, then equalled, and finally far surpassed them in loftiness of character.186 But with his philosophy he could not see that, if heroines did not exist, it would be necessary to create them. For, if women are conceived as reacting against outward circumstances at all, their very helplessness will lead to the304 storing of a greater mental tension in the shape of excited thought and feeling debarred from any manifestation except in words; and it is exactly with this mental tension that the spectator can most easily synergise. The wrath of Orestes is not interesting, because it is entirely absorbed into the premeditation and execution of his vengeance. The passion of Electra is profoundly interesting, because it has no outlet but impotent denunciations of her oppressors, and abortive schemes for her deliverance from their yoke. Hence, also, Shakspeare produces some of his greatest effects by placing his male characters, to some extent, in the position of women, either through their natural weakness and indecision, as with Hamlet, and Brutus, and Macbeth, or through the paralysis of unproved suspicion, as with Othello; while the greatest of all his heroines, Lady Macbeth, is so because she has the intellect and will to frame resolutions of dauntless ambition, and eloquence to force them on her husband, without either the physical or the moral force to execute them herself. In all these cases it is the arrest of an electric current which produces the most intense heat, or the most brilliant illumination. Again, by their extreme sensitiveness, and by the natural desire felt to help them, women excite more pity, which, as we have said, means more love, than men; and this in the highest degree when their sufferings are undeserved. We see, then, how wide Aristotle went of the mark when he made it a rule that the sufferings of tragic characters should be partly brought on by their own fault, and that, speaking generally, they should not be distinguished for justice or virtue, nor yet for extreme wickedness.187 The immoderate moderation of the Stagirite was never more infelicitously exhibited. For, in order to produce truly tragic effects, excess of every kind not only may, but must, be employed. It is by the reaction of heroic fortitude, either against unmerited outrage, or against the whole pressure of social law, that our synergetic interest is wound up305 to the intensest pitch. It is when we see a beautiful soul requited with evil for good that our eyes are filled with the noblest tears. Yet so absolutely perverted have mens minds been by the Aristotelian dictum that Gervinus, the great Shakspearian critic, actually tries to prove that Duncan, to some extent, deserved his fate by imprudently trusting himself to the hospitality of Macbeth; that Desdemona was very imprudent in interceding for Cassio; and that it was treasonable for Cordelia to bring a French army into England! The Greek drama might have supplied Aristotle with several decisive contradictions of his canons. He should have seen that the Prometheus, the Antigone, and the Hippolytus are affecting in proportion to the pre-eminent virtue of their protagonists. The further fallacy of excluding very guilty characters is, of course, most decisively refuted by Shakspeare, whose Richard III., whose Iago, and whose Macbeth excite keen interest by their association of extraordinary villainy with extraordinary intellectual gifts.
THREE:Epicureanism allotted a far larger place to friendship than to all the other social virtues put together; and the disciple was taught to look to it not only for the satisfaction of his altruistic impulses, but for the crowning happiness of his life. The egoistic basis of the system was, indeed, made sufficiently prominent even here; utility and pleasure, which Aristotle had excluded from the notion of true friendship, being declared its proper ends. All the conditions of a disinterested attachment were, however, brought back by a circuitous process. It was argued that the full value of friendship could not be reaped except by those whose affection for each other went to the extent of complete self-devotion; but the Epicureans were less successful in showing how this happy condition could be realised consistently with the study of his own interest by each individual. As a matter of fact, it was realised; and the members of this school became remarkable, above all others, for the tenderness and fidelity of their personal attachments. But we may suspect that formal precepts had little to do with the result. Estrangement from the popular creed, when still uncommon, has always a tendency to draw the dissidents together;151 and where other ties, whether religious, domestic, or patriotic, are neglected, the ordinary instincts of human nature are likely to show themselves with all the more energy in the only remaining form of union. Moreover, the cheerful, contented, abstemious, unambitious characters who would be the most readily75 attracted to the Epicurean brotherhood supplied the very materials that most readily unite in placid and enduring attachments. A tolerably strict standard of orthodoxy provided against theoretical dissensions: nor were the new converts likely to possess either daring or originality enough to excite controversies where they did not already exist.They compared notes eagerly. Dick and Sandy could hardly forego interrupting one another as they brought their story up to the minute after hearing how Larry had helped to get the pilot to the amphibian, discovering and rescuing the life preserver on the way.
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Aliquam eget consequat est. Aliquam ac nunc mauris.
03.
THREE:I am not aware that the derivation of our standard measures has been, in an historical way, as the foregoing remarks will indicate, nor is it the purpose here to follow such history. A reader, whose attention is directed to the subject, will find no trouble in tracing the matter from other sources. The present object is to show what a wonderful series of connections can be traced from so simple a tool as a measuring gauge, and how abstruse, in fact, are many apparently simple things, often regarded as not worth a thought beyond their practical application.It is to the second theory that Plotinus evidently leans. However closely his life may have been conformed to the Pythagorean modela point with respect to which we have306 nothing better than the very prejudiced statements of Porphyry to rely onthere is no trace of Pythagorean asceticism in his writings. Hereafter we shall see how hostile he was to Gnostic pessimism. In the preceding essay, he had already specified admiration for physical beauty as a first and necessary step in the souls ascent to a contemplation of spiritual realities;451 and now it is under the guidance of Platos later speculations that he proceeds to account for her descent from that higher world to the restraints of matter and of sense.
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Aliquam eget consequat est. Aliquam ac nunc mauris.
