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THREE:The systematising power of Aristotle, his faculty for bringing the isolated parts of a surface into co-ordination and continuity, is apparent even in those sciences with whose material truths he was utterly unacquainted. Apart from the falseness of their fundamental assumptions, his scientific treatises are, for their time, masterpieces of method. In this respect they far surpass his moral and metaphysical works, and they are also written in a much more vigorous style, occasionally even rising into eloquence. He evidently moves with much more assurance on the solid ground of external nature than in the cloudland of Platonic dialectics, or among the possibilities of an ideal morality. If, for example, we open his Physics, we shall find such notions as Causation, Infinity, Matter, Space, Time, Motion, and Force, for the first time in history separately discussed, defined, and made the foundation of natural philosophy. The treatise On the Heavens very properly regards the celestial movements as a purely mechanical problem, and strives throughout to bring theory and practice327 into complete agreement. While directly contradicting the truths of modern astronomy, it stands on the same ground with them; and anyone who had mastered it would be far better prepared to receive those truths than if he were only acquainted with such a work as Plato��s Timaeus. The remaining portions of Aristotle��s scientific encyclopaedia follow in perfect logical order, and correspond very nearly to Auguste Comte��s classification, if, indeed, they did not directly or indirectly suggest it. We cannot, however, view the labours of Aristotle with unmixed satisfaction until he comes on to deal with the provinces of natural history, comparative anatomy, and comparative psychology. Here, as we have shown, the subject exactly suited the comprehensive observation and systematising formalism in which he excelled. Here, accordingly, not only the method but the matter of his teaching is good. In theorising about the causes of phenomena he was behind the best science of his age; in dissecting the phenomena themselves he was far before it. Of course very much of what he tells was learned at second-hand, and some of it is not authentic. But to collect such masses of information from the reports of uneducated hunters, fishermen, grooms, shepherds, beemasters, and the like, required an extraordinary power of putting pertinent questions, such as could only be acquired in the school of Socratic dialectic. Nor should we omit to notice the vivid intelligence which enabled even ordinary Greeks to supply him with the facts required for his generalisations. But some of his most important researches must be entirely original. For instance, he must have traced the development of the embryo chicken with his own eyes; and, here, we have it on good authority that his observations are remarkable for their accuracy, in a field where accuracy, according to Caspar Friedrich Wolff, is almost impossible.210The 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.

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