THREE: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."Gently, gently," he growled. "Let us look at those gems. I have them here. See, are those the ones you passed over to me?"
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FORE:Bouvigne, a hamlet near Dinant, had suffered fearfully from the bombardment of that town. Trees were splintered by the shells, the church was nearly a total wreck from the same cause, and two houses by the road had been riddled by bullets into a sieve, and also damaged by shells. On the whole scene of war I have not seen one house carrying so many bullets in it; their holes made the doors look like wire-netting. In these houses the French had barricaded themselves, brought mitrailleuses to them, and defended them until the last. None of those heroes left them alive. My colleague took many snapshots of this remarkable spot, while I collected bullets, fragments of shell, and similar mementos of this warfield.
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FORE:Besides transforming art and literature, the dialectic method helped to revolutionise social life, and the impulse communicated in this direction is still very far from being exhausted. We allude to its influence on female education. The intellectual blossoming of Athens was aided, in its first development, by a complete separation of the sexes. There were very few of his friends to whom an Athenian gentleman talked so little as to his wife.104 Colonel Mure aptly compares her position to that of an English housekeeper, with considerably less liberty than is enjoyed by the latter. Yet the union of tender admiration with the need for intelligent sympathy and the desire to awaken interest in noble pursuits existed at Athens in full force, and created a field for its exercise. Wilhelm von Humboldt has observed that at this time chivalrous love was kept alive by customs which, to us, are intensely repellent. That so valuable a sentiment should be preserved and diverted into a more legitimate channel was an object of the highest importance. The naturalistic method of ethics did much, but it could not do all, for more was required than a return to primitive simplicity. Here the method of mind stepped in and supplied the deficiency. Reciprocity was the soul of dialectic as practised by Socrates, and the dialectic of love demands a reciprocity of passion which can only exist between the sexes. But in a society where the free intercourse of modern Europe was not permitted, the modern sentiment could not be reached at a single bound; and those who sought for the conversation of intelligent women had to seek for it among a class of which Aspasia was the highest representative. Such women played a great part in later Athenian society; they attended philosophical lectures, furnished heroines to the New Comedy, and on the whole gave a healthier tone to literature. Their successors, the Delias and Cynthias of159 Roman elegiac poetry, called forth strains of exalted affection which need nothing but a worthier object to place them on a level with the noblest expressions of tenderness that have since been heard. Here at least, to understand is to forgive; and we shall be less scandalised than certain critics,105 we shall even refuse to admit that Socrates fell below the dignity of a moralist, when we hear that he once visited a celebrated beauty of this class, Theodot by name;106 that he engaged her in a playful conversation; and that he taught her to put more mind into her profession; to attract by something deeper than personal charms; to show at least an appearance of interest in the welfare of her lovers; and to stimulate their ardour by a studied reserve, granting no favour that had not been repeatedly and passionately sought after.
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FORE:Their commanding officer was the worthy head of such a mob, a heartless creature, who did not show the slightest remorse for the destruction of those magnificent libraries, set on fire by his order.Formerly an apprentice entered a shop to learn hand skill, and to acquaint himself with a number of mysterious processes; to learn a series of arbitrary rules which might serve to place him at a disadvantage even with those whose capacity was inferior and who had less education; but now the whole is changed. An engineer apprentice enters the shop with a confidence that he may learn whatever the facilities afford if he will put forth the required efforts; there are no mysteries to be solved; nearly all problems are reached and explained by science, leaving a greater share of the shop-time of a learner to be devoted to studying what is special.
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