FORE:They took me to two officers who stood near the bridge, and told them that I "pretended" to be a Netherland journalist. Having proved this by my papers, the officers gave me an escort of three men, who conducted me to the bridge-commander, on the other side of the Meuse.
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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.[100]
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FORE:In the face of such facts, to say, as Mr. Froude does, that Epicureanism was the creed of the men of science in the time of Julius Caesar111an assertion directly contradicted by Lange112is perhaps only of a piece with Mr. Froudes usual inaccuracy when writing about ancient history; but such declarations as that of Mr. Frederic Pollock, that the Epicurean system56 was a genuine attempt at a scientific explanation of the world; and was in its day the solitary protest against the contempt of physics which prevailed in the other post-Aristotelian schools;113 of Prof. Trezza, that the Epicurean school summed up in itself the most scientific elements of Greek antiquity;114 of Dr. Woltjer, that with respect to the laws and principles of science, the Epicureans came nearest of all the ancients to the science of our own time;115 and finally, of M. Ernest Renan, that Epicureanism was the great scientific school of antiquity,116 are absolutely amazing. The eminent French critic just quoted has elsewhere observed, with perfect justice, that the scientific spirit is the negation of the supernatural; and perhaps he argues that the negation of the supernatural must, reciprocally, be the scientific spirit. But this is only true when such a negation is arrived at inductively, after a disinterested survey of the facts. Epicurus started with the denial of supernatural interference as a practical postulate, and then hunted about for whatever explanations of natural phenomena would suit his foregone conclusion. Moreover, an enquirer really animated by the scientific spirit studies the facts for their own sake; he studies them as they actually are, not resting content with alternative explanations; and he studies them to the fullest extent of which his powers are capable. Epicurus, on the contrary, declares that physics would not be worth attending to if the mind could be set free from religious terrors in any other manner;117 he will not let himself be tied down to any one theory if there are others equally inconsistent with divine agency to be had;118 and when his demands in this respect are satisfied, that is, when the appearances vulgarly ascribed to supernatural causation have been provided with natural causes, he leaves off.
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