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THREE: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.In making notes, as much as possible of what is written should be condensed into brief formul?, a form of expression which is fast becoming the written language of machine shops. Reading formul? is in a great degree a matter of habit, like studying mechanical drawings; that which at the beginning is a maze of complexity, after a time becomes intelligible and clear at a glance.

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THREE:

Complimenten, bewonderend gefluit en lonkende blikken zijn enkele risico’s die The Garment Club met zichlaim meebrengt. Onze enige missiede

THREE:The qualities which enabled Epicurus to compete successfully with much greater thinkers than himself as the founder of a lasting sect, were practical rather than theoretical. Others before him had taught that happiness was the end of life; none, like him, had cultivated the art of happiness, and pointed out the fittest methods for attaining it. The idea of such an art was a real and important addition to the resources of civilisation. No mistake is greater than to suppose that pleasure is lost by being made an object of pursuit. To single out the most agreeable course among many alternatives, and, when once found, steadily to pursue it, is an aptitude like any other, and is capable of being brought to a high degree of perfection by assiduous attention and self-discipline.211 No doubt the capacity for enjoyment117 is impaired by excessive self-consciousness, but the same is true of every other accomplishment during the earlier stages of its acquisition. It is only the beginner who is troubled by taking too much thought about his own proficiency; when practice has become a second nature, the professor of hedonism reaps his harvest of delight without wasting a thought on his own efforts, or allowing the phantom of pleasure in the abstract to allure him away from its particular and present realisation. And, granting that happiness as such can be made an object of cultivation, Epicurus was perfectly right in teaching that the removal of pain is its most essential condition, faulty as was (from a speculative point of view) his confusion of the condition with the thing itself. If the professed pleasure-seekers of modern society often fail in the business of their lives, it is from neglecting this salutary principle, especially where it takes the form of attention to the requirements of health. In assigning a high importance to friendship, he was equally well inspired. Congenial society is not only the most satisfying of enjoyments in itself, but also that which can be most easily combined with every other enjoyment. It is also true, although a truth felt rather than perceived by our philosopher, that speculative agreement, especially when speculation takes the form of dissent from received opinions, greatly increases the affection of friends for one another. And as theology is the subject on which unforced agreement seems most difficult, to eliminate its influence altogether was a valuable though purely negative contribution to unanimity of thought and feeling in the hedonistic sect.

Complimenten, bewonderend gefluit en lonkende blikken zijn enkele risico’s die The Garment Club met zichlaim meebrengt. Onze enige missiede