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ONE:It remains to add a few words on the position which ancient and modern philosophy respectively occupy towards theology. Here their relation is one of contrast rather than of resemblance. The Greek thinkers start at an immense distance from religious belief, and their first allusions to it are marked by a scornful denial of its validity. Gradually, with the transition from physical to ethical enquiries, an approximation between the two is brought about, though not without occasional returns to their former attitude of hostility. Finally, in presence of a common danger they become interwoven and almost identified with one another; while the new religion against which they make common cause, itself presents the same spectacle of metaphysical and moral ideas entering into combination with the spontaneous products of popular mythology. And be it observed that throughout the whole of this process action and reaction were equal and contrary. The decline and corruption of philosophy was the price paid for the elevation and purification of religion. While the one was constantly sinking, the other was constantly rising, until they converged on the plane of dogmatic theology. By the very circumstances of the case, an opposite course has been imposed on the development of modern philosophy. Starting from an intimate union with religion, it slowly disengages itself from the compromising alliance; and, although, here also, the normal course of ideas has been interrupted by frequent reactions, the general movement of European thought has been no less decidedly towards a complete emancipation from the popular beliefs than the movement of Greek thought had been towards their conciliation and support.

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ONE:An apprentice should never ask questions about simple and obvious matters, or about such things as he can easily learn by his own efforts. The more difficult a question is, the more pleasure a skilled man will take in answering it. In short, a learner should carefully consider questions before asking them. A good plan is to write them down, and when information is wanted about casting, never go to a foundry to interrupt a manager or moulder at melting time, nor in the morning, when no one wants to be annoyed with questions.The Poetics of Aristotle contains some hints on the subject of composition which entitle it to be mentioned in the present connexion. The deficiencies, even from a purely theoretical point of view, of this work, once pronounced infallible, have at last become so obvious that elaborate hypotheses have been constructed, according to which the recension handed down to us is a mere mutilated extract from the original treatise. Enough, however, remains to convince us that poetry was not, any more than eloquence, a subject with which Aristotle was fitted to cope. He begins by defining it, in common with all other art, as an imitation. Here, we at once recognise the spirit of a philosophy, the whole power and interest of which lay in knowledge; and, in fact, he tells us that the love of art is derived from the love of knowledge. But the truth seems to be that aesthetic enjoyment is due to an ideal exercise of our faculties, among which the power of perceiving identities is sometimes, though not always, included. That the materials of which every artistic creation is composed are taken from the world of our experience makes no difference; for it is by the new forms in which they are arranged that we are interested, not because we remember having met them in301 some natural combination already. Aristotle could not help seeing that this was true in the case of music at least; and he can only save his principle by treating musical effects as representations of passions in the soul. To say, however, that musical pleasure arises from a perception of resemblance between certain sounds and the emotions with which they are associated, would be an extremely forced interpretation; the pleasure is due rather to a sympathetic participation in the emotion itself. And when Aristotle goes on to tell us that the characters imitated in epic and dramatic poetry may be either better or worse than in ordinary life, he is obviously admitting other aesthetic motives not accounted for by his general theory. If, on the other hand, we start with ideal energising as the secret of aesthetic emotion, we can easily understand how an imaginary exaltation of our faculties is yielded by the spectacle of something either rising above, or falling below, the level on which we stand. In the one case we become momentarily invested with the strength put into action before our eyes; in the other, the consciousness of our own superiority amounts to a fund of reserve power, which not being put into action, is entirely available for ideal enjoyment. And, if this be the correct view, it will follow that Aristotle was quite wrong when he declared the plot to be more important than the characters of a drama. The reason given for his preference is, even on the principles of his own philosophy, a bad one. He says that there can be plot without character-drawing, but never character-drawing without plot. Yet he has taught us elsewhere that the human soul is of more value than the physical organism on which its existence depends. This very parallel suggests itself to him in his Poetics; but, by an almost inconceivable misjudgment, it is the plot which he likens to the soul of the piece, whereas in truth it should be compared to the body. The practice and preference of his own time may have helped to mislead him, for he argues (rather inconsistently, by the way) that plot302 must be more indispensable, as young writers are able to construct good stories before they are able to portray character; and more artistic, as it was developed much later in the historical evolution of tragedy. Fortunately for us, the Alexandrian critics were guided by other canons of taste, or the structurally faulty pieces of Aeschylus might have been neglected, and the ingeniously constructed pieces of Agathon preserved in their place.

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