THREE:So far, we have spoken as if the Socratic definitions were merely verbal; they were, however, a great deal more, and their author did not accurately discriminate between what at that stage of thought could not well be kept apart��explanations of words, practical reforms, and scientific generalisations. For example, in defining a ruler to be one who knew more than other men, he was departing from the common usages of language, and showing not what was, but what ought to be true.93 And in defining virtue as wisdom, he was putting forward a new theory of his own, instead of formulating the145 received connotation of a term. Still, after making every deduction, we cannot fail to perceive what an immense service was rendered to exact thought by introducing definitions of every kind into that department of enquiry where they were chiefly needed. We may observe also that a general law of Greek intelligence was here realising itself in a new direction. The need of accurate determination had always been felt, but hitherto it had worked under the more elementary forms of time, space, and causality, or, to employ the higher generalisation of modern psychology, under the form of contiguous association. The earlier cosmologies were all processes of circumscription; they were attempts to fix the limits of the universe, and, accordingly, that element which was supposed to surround the others was also conceived as their producing cause, or else (in the theory of Heracleitus) as typifying the rationale of their continuous transformation. For this reason Parmenides, when he identified existence with extension, found himself obliged to declare that extension was necessarily limited. Of all the physical thinkers, Anaxagoras, who immediately precedes Socrates, approaches, on the objective side, most nearly to his standpoint. For the governing Nous brings order out of chaos by segregating the confused elements, by separating the unlike and drawing the like together, which is precisely what definition does for our conceptions. Meanwhile Greek literature had been performing the same task in a more restricted province, first fixing events according to their geographical and historical positions, then assigning to each its proper cause, then, as Thucydides does, isolating the most important groups of events from their external connexions, and analysing the causes of complex changes into different classes of antecedents. The final revolution effected by Socrates was to substitute arrangement by difference and resemblance for arrangement by contiguity in coexistence and succession. To say that by so doing he created science is inexact, for science requires to consider nature under every146 aspect, including those which he systematically neglected; but we may say that he introduced the method which is most particularly applicable to mental phenomena, the method of ideal analysis, classification, and reasoning. For, be it observed that Socrates did not limit himself to searching for the One in the Many, he also, and perhaps more habitually, sought for the Many in the One. He would take hold of a conception and analyse it into its various notes, laying them, as it were, piecemeal before his interlocutor for separate acceptance or rejection. If, for example, they could not agree about the relative merits of two citizens, Socrates would decompose the character of a good citizen into its component parts and bring the comparison down to them. A good citizen, he would say, increases the national resources by his administration of the finances, defeats the enemy abroad, wins allies by his diplomacy, appeases dissension by his eloquence at home.94 When the shy and gifted Charmides shrank from addressing a public audience on public questions, Socrates strove to overcome his nervousness by mercilessly subdividing the august Eccl��sia into its constituent classes. ��Is it the fullers that you are afraid of?�� he asked, ��or the leather-cutters, or the masons, or the smiths, or the husbandmen, or the traders, or the lowest class of hucksters?��95 Here the analytical power of Greek thought is manifested with still more searching effect than when it was applied to space and motion by Zeno.

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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 men��s 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.

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