ONE:What seems to us the reactionary attitude of the spiritu357alist school was dictated by the circumstances of its origin. A product of the great classical revival, its cause was necessarily linked with the civilisation of ancient Greece, and of that civilisation the worship of the old gods seemed to form an integral element. One need only think of the Italian Renaissance, with its predilection for the old mythology, to understand how much stronger and more passionate this feeling must have been among those to whom Greek literature still spoke in a living language, whose eyes, wherever they turned, still rested on the monuments, unrivalled, undesecrated, unfallen, unfaded, of Greek religious art. Nor was polytheism what some have imagined it to have been at this period, merely a tradition, an association, a dream, drawing shadowy sustenance from the human works and human thoughts which it had once inspired. To Plotinus and Proclus, as formerly to Socrates and Plato and Aristotle, the luminaries of day and night blazed down from heaven as animated and immortal witnesses of its truth. It was not simply that the heavens declared the glory of God; to the pious beholder, they were visibly inhabited by glorious gods, and their constellated fires were, as Plotinus said, a scripture in which the secrets of destiny might be read. The same philosopher scornfully asks the Gnostics, who, in this respect, were indistinguishable from the Christians, whether they were so infatuated as to call the worst men their brothers, while refusing that title to the sun; and at a much later period, notwithstanding the heavy penalties attached to it, the worship of the heavenly bodies continued to be practised by the profoundest thinkers and scholars of the Neo-Platonic school.529 Moreover, polytheism, by the very weakness and unfixity of its dogmas, gave a much wider scope to independent speculation than could be permitted within the limits of the358 Catholic Church, just because Catholicism itself constituted a philosophical system in which all the great problems of existence were provided with definite and authoritative solutions.The illustrious Italian poet and essayist, Leopardi, has observed that the idea of the world as a vast confederacy banded together for the repression of everything good and great and true, originated with Jesus Christ.122 It is surprising that so accomplished a Hellenist should not have attributed the priority to Plato. It is true that he does not speak of the world itself in Leopardis sense, because to him it meant something differenta divinely created order which it would have been blasphemy to revile; but the thing is everywhere present to his thoughts under other names, and he pursues it with relentless hostility. He looks on the great majority of the human race, individually and socially, in their beliefs and in their practices, as utterly corrupt, and blinded to such an extent that they are ready to turn and rend any one who attempts to lead them into a better path. The many know not wisdom and virtue, and are always busy with gluttony and sensuality. Like cattle, with their eyes always looking down and their heads stooping, not, indeed, to the earth, but to the dining-table, they fatten and feed and breed, and in their excessive love of these delights they kick and butt at one another with horns and hoofs which are made of iron; and they kill one another by reason of their insatiable lust.123 Their ideal is the man who nurses up his desires to the utmost intensity, and procures the means for gratifying them by fraud or violence. The assembled multitude resembles a strong and fierce brute expressing its wishes by inarticulate grunts, which the popular leaders make it their business to understand and to comply with.J A statesman of the nobler kind who should attempt to benefit the people by thwarting their foolish appetites will be denounced as a public enemy by the demagogues, and will stand no more chance of acquittal than a physician if he were brought before a jury of children by the pastry-cook.
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:V.48
