FORE:"And I remember you now," Lawrence replied. "So you know nothing of what has been happening lately?"We must, however, observe that, underlying all these poetical imaginations, there is a deeper and wider law of human nature to which they unconsciously bear witnessthe intimate connexion of religious mysticism with the passion of love. By this we do not mean the constant interference of the one with the other, whether for the purpose of stimulation, as with the naturalistic religions, or for the purpose of restraint, as with the ethical religions; but we mean that they seem to divide between them a common fund of nervous energy, so that sometimes their manifestations are inextricably confounded, as in certain debased forms of modern Christianity; sometimes they utterly exclude one another; and sometimes, which is the most frequent case of any, the one is transformed into the other, their substantial identity and continuity being indicated very frankly by their use of the same language, the same ritual, and the same aesthetic decoration. And this will show how the decay of religious belief may be accompanied by an outbreak of moral licence, without our being obliged to draw the inference that passion can only be held in check by irrational beliefs, or by organisations whose supremacy is fatal to industrial, political, and intellectual progress. For, if our view of the case be correct, the passion was not really restrained, but only turned in a different direction, and frequently nourished into hysterical excess; so that, with the inevitable decay of theology, it returns to its old haunts, bringing with it seven devils worse than the first. After the220 Crusades came the Courts of Love; after the Dominican and Franciscan movements, the Renaissance; after Puritanism, the Restoration; after Jesuitism, the Regency. Nor is this all. The passion of which we are speaking, when abnormally developed and unbalanced by severe intellectual exercise, is habitually accompanied by delirious jealousy, by cruelty, and by deceit. On taking the form of religion, the influence of its evil associates immediately becomes manifest in the suppression of alien creeds, in the tortures inflicted on their adherents, and in the maxim that no faith need be kept with a heretic. Persecution has been excused on the ground that any means were justifiable for the purpose of saving souls from eternal torment. But how came it to be believed that such a consequence was involved in a mere error of judgment? The faith did not create the intolerance, but the intolerance created the faith, and so gave an idealised expression to the jealous fury accompanying a passion which no spiritual alchemy can purify from its original affinities. It is not by turning this most terrible instinct towards a supernatural object that we should combat it, but by developing the active and masculine in preference to the emotional and feminine side of our nervous organisation.136
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FORE: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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