ONE:
TWO:The Stoic arguments are, indeed, when we come to analyse them, appeal to authority rather than to the logical understanding. We are told again and again that the common objects of desire and dread cannot really be good or evil, because they are not altogether under our control.55 And if we ask why this necessarily excludes them from the class of things to be pursued or avoided, the answer is that man, having been created for perfect happiness, must also have been created with the power to secure it by his own unaided exertions. But, even granting the very doubtful thesis that there is any ascertainable purpose in creation at all, it is hard to see how the Stoics could have answered any one who chose to maintain that man is created for enjoyment; since, judging by experience, he has secured a larger share of it than of virtue, and is just as capable of gaining it by a mere exercise of volition. For the professors of the Porch fully admitted that their ideal sage had never been realised; which, with their opinions about the indivisibility of virtue, was equivalent to saying that there never had been such a thing as a good25 man at all. Or, putting the same paradox into other words, since the two classes of wise and foolish divide humanity between them, and since the former class has only an ideal existence, they were obliged to admit that mankind are not merely most of them fools, but all fools. And this, as Plutarch has pointed out in his very clever attack on Stoicism, is equivalent to saying that the scheme of creation is a complete failure.56
ONE:"'"What is this civilian doing here?" The young man could not explain his presence satisfactorily, and a couple of soldiers got hold of him, and, in the literal sense of the word, threw him away. When he waited at a short distance a little longer, with an angry face, one of the soldiers ran at him, threatening him with his bayonet. I might have been able to find that young man at the time, but now, a month later, this will be much more difficult. There was also another group of civilians packed as densely as herrings in a cattle-truck on another line; they must have seen the beastly occurrence as well.The commercial value of professional or technical knowledge is generally as the amount of time, effort, and unpaid labour that has been devoted to its acquirement. This value is sometimes modified by the exclusiveness of some branch that has been made the object of special study. Exclusiveness is, however, becoming exceptional, as the secrets of manufacture and special knowledge are supplanted by the application of general principles; it is a kind of artificial protection thrown around certain branches of industry, and must soon disappear, as unjust to the public and unnecessary to success.
TWO:In those days German Headquarters gave continuously the thoughtless order: "To Calais, to237 Calais," and the Staff considered no difficulties, calculated no sacrifices, in order to achieve success.Cant we do anything at all? Sandy wondered desperately.
ONE:The first and, perhaps, the most important matter of all in founding engineering works is that of arrangement. As a commercial consideration affecting the cost of manipulation, and the expense of handling material, the arrangement of an establishment may determine, in a large degree, the profits that may be earned, and, as explained in a previous place, upon this matter of profits depends the success of such works.404
TWO:That mortals use, each with a different meaning,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.
