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Leona Lalage strove to speak, but the words froze on her lips. She was face to face with Garrett Charlton! このページの先頭です
ONE:If the soul served to connect the eternal realities with the fleeting appearances by which they were at once darkened, relieved, and shadowed forth, it was also a bond of union between the speculative and the practical philosophy of Plato; and in discussing his psychology we have already passed from the one to the other. The transition will become still easier if we remember that the question, What is knowledge? was, according to our view, originally suggested by a theory reducing ethical science to a hedonistic calculus, and that along with it would arise another question, What is pleasure? This latter enquiry, though incidentally touched on elsewhere, is not fully dealt with in any Dialogue except the Philbus, which we agree with Prof. Jowett in referring to a very late period of Platonic authorship. But the line of argument which it pursues had probably been long familiar to our philosopher. At any rate, the Phaedo, the Republic, and perhaps the Gorgias, assume, as already proved, that pleasure is not the highest good. The question is one on which thinkers are still divided. It seems, indeed, to lie outside the range of reason, and the disputants are accordingly obliged to invoke the authority either of individual consciousness or of common consent on behalf of their respective opinions. We have, however, got so far beyond the ancients that the doctrine of egoistic hedonism has been abandoned by almost everybody. The substitution of anothers pleasure for our own as the object of pursuit was not a conception which presented itself to any Greek moralist,226 although the principle of self-sacrifice was maintained by some of them, and especially by Plato, to its fullest extent. Pleasure-seeking being inseparably associated with selfishness, the latter was best attacked through the former, and if Platos logic does not commend itself to our understanding, we must admit that it was employed in defence of a noble cause.
ONE:By true conviction into exile driven;The same, in self-same place, and by itself
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THREE:So far Aristotle gives us a purely superficial and sensational view of the drama. Yet he could not help seeing that there was a moral element in tragedy, and he was anxious to show, as against Plato, that it exercised an improving effect on the audience. The result is his famous theory of the Catharsis, so long misunderstood, and not certainly understood even now. The object of Tragedy, he tells us, is to purify (or purge away) pity and terror by means of those emotions themselves. The Poetics seems originally to have contained an explanation of this mysterious utterance, now lost, and critics have endeavoured to supply the gap by writing eighty treatises on the subject. The result has been at least to show what Aristotle did not mean. The popular version of his dictum, which is that tragedy purges the passions by pity and terror, is clearly inconsistent with the wording of the original text. Pity and terror are both the object and the instrument of purification. Nor yet does he mean, as was once supposed,306 that each of these emotions is to counterbalance and moderate the other; for this would imply that they are opposed to one another, whereas in the Rhetoric he speaks of them as being akin; while a parallel passage in the Politics188 shows him to have believed that the passions are susceptible of homoeopathic treatment. Violent enthusiasm, he tells us, is to be soothed and carried off by a strain of exciting, impassioned music. But whence come the pity and terror which are to be dealt with by tragic poetry? Not, apparently, from the piece itself, for to inoculate the patient with a new disease, merely for the sake of curing it, could do him no imaginable good. To judge from the passage in the Politics already referred to, he believes that pity and terror are always present in the minds of all, to a certain extent; and the theory apparently is, that tragedy brings them to the surface, and enables them to be thrown off with an accompaniment of pleasurable feeling. Now, of course, we have a constant capacity for experiencing every passion to which human nature is liable; but to say that in the absence of its appropriate external stimulus we are ever perceptibly and painfully affected by any passion, is to assert what is not true of any sane mind. And, even were it so, were we constantly haunted by vague presentiments of evil to ourselves or others, it is anything but clear that fictitious representations of calamity would be the appropriate means for enabling us to get rid of them. Zeller explains that it is the insight into universal laws controlling our destiny, the association of misfortune with a divine justice, which, according to Aristotle, produces the purifying effect;189 but this would be the purgation of pity and terror, not by themselves, but by the intellectual framework in which they are set, the concatenation of events, the workings of character, or the reference of everything to an eternal cause. The truth is that Aristotles explanation of the moral effect produced by tragedy is307 irrational, because his whole conception of tragedy is mistaken. The emotions excited by its highest forms are not terror and pity, but admiration and love, which, in their ideal exercise, are too holy for purification, too high for restriction, and too delightful for relief.
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THREE:"Here they are, with your signature on the back of every one of them," he said. "There is nothing singular about that, seeing that so many tradesmen insist upon having banknotes endorsed. Question is, What's the explanation?"Happy is he who has learned
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