THREE:He pointed to a couple of soldiers, and they laid hold of me. They took me to a small room, where I was astonished to find two soldiers with revolvers guarding a priest and a peasant. As soon as the door was closed behind me I wished to chat with my fellow-prisoners, for even in prison I was not oblivious of my journalistic duties. But they seemed not at all anxious to have anything to do with me, and I soon understood the reason why. At each question they threw timid glances at the two watch-dogs, and I saw that fear of these made them withhold all information. However, after a good deal of trouble I got to know that the priest was the parish priest, and his companion in misery the burgomaster. They had been taken as hostages, and would suffer punishment for acts the villagers might eventually commit against the German usurpers. I contented myself with this, as I felt104 that in the circumstances further questions might make things awkward for these two men.

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THREE:CHAPTER II. THE GREEK HUMANISTS: NATURE AND LAW.LOUVAIN DESTROYED

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THREE:But the mystery had hardly begun!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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THREE:"At about nine o'clock the soldiers drove all who had been found in the houses in front of them by means of blows from their rifle-butts. They crowded them together in the Place d'Armes, where they kept them until six o'clock in the evening. Their guards amused themselves by telling the men repeatedly that they would soon be shot.It is only in this higher region that perfect virtue can be realised. The maintenance of a settled balance between rival solicitations, or between the excess and defect of those impulses which lead us to seek pleasure and avoid pain, is good indeed, but neither the only nor the chief good. The law of moderation does not extend to that supremely happy life which is related to our emotional existence as the aether to the terrestrial elements, as soul to body, as reason to sense, as science to opinion. Here it is the steady subordination of means to ends which imitates the insphering of the heavenly orbs, the hierarchy of psychic faculties, and the chain of syllogistic arguments. Of theoretic activity we cannot have too much, and all other activities, whether public or private, should be regarded as so much machinery for ensuring its peaceful prosecution. Wisdom and temperance had been absolutely identified by Socrates; they are as absolutely held apart by Aristotle. And what we have had occasion to observe in the other departments of thought is verified here once more. The method of analysis and opposition, apparently so prudent, proved, in the end, unfruitful. Notwithstanding his paradoxes, Socrates was substantially right. The moral regeneration of the world was destined to be brought about, not by Dorian discipline, but by free Athenian thought, working on practical conceptions��by the discovery of new moral truth, or rather by the dialectic development of old truth. And, conversely, the highest development of theoretic activity was not attained by isolating it in egoistic self-contemplation from the world of human needs, but by consecrating it to their service, informing it with their vitality, and subjecting it, in common with them, to that law of moderation from which no energy, however godlike, is exempt.

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