The Art of Controversy - Arthur Schopenhauer (the reading strategies book txt) 📗

the same footing as dramatic representations of this character. They are creatures of the same sort of imagination as we see in the story-teller of Venice and Naples, who lays a hat on the ground and waits until an audience is assembled. Then he spins a tale which so captivates his hearers that, when he gets to the catastrophe, he makes a round of the crowd, hat in hand, for contributions, without the least fear that his hearers will slip away. Similar story-tellers ply their trade in this country, though in a less direct fashion. They do it through the agency of publishers and circulating libraries. Thus they can avoid going about in rags, like their colleagues elsewhere; they can offer the children of their imagination to the public under the title of novels, short stories, romantic poems, fairy tales, and so on; and the public, in a dressing-gown by the fireside, sits down more at its ease, but also with a greater amount of patience, to the enjoyment of the interest which they provide.

How very little aesthetic value there generally is in productions of this sort is well known; and yet it cannot be denied that many of them are interesting; or else how could they be so popular?

We see, then, in reply to our second question, that interest does not necessarily involve beauty; and, conversely, it is true that beauty does not necessarily involve interest. Significant characters may be represented, that open up the depths of human nature, and it may all be expressed in actions and sufferings of an exceptional kind, so that the real nature of humanity and the world may stand forth in the picture in the clearest and most forcible lines; and yet no high degree of interest may be excited in the course of events by the continued progress of the action, or by the complexity and unexpected solution of the plot. The immortal masterpieces of Shakespeare contain little that excites interest; the action does not go forward in one straight line, but falters, as in Hamlet , all through the play; or else it spreads out in breadth, as in The Merchant of Venice , whereas length is the proper dimension of interest; or the scenes hang loosely together, as in Henry IV . Thus it is that Shakespeare's dramas produce no appreciable effect on the mob.

The dramatic requirement stated by Aristotle, and more particularly the unity of action, have in view the interest of the piece rather than its artistic beauty. It may be said, generally, that these requirements are drawn up in accordance with the principle of sufficient reason to which I have referred above. We know, however, that the idea , and, consequently, the beauty of a work of art, exist only for the perceptive intelligence which has freed itself from the domination of that principle. It is just here that we find the distinction between interest and beauty; as it is obvious that interest is part and parcel of the mental attitude which is governed by the principle, whereas beauty is always beyond its range. The best and most striking refutation of the Aristotelian unities is Manzoni's. It may be found in the preface to his dramas.

What is true of Shakespeare's dramatic works is true also of Goethe's. Even Egmont makes little effect on the public, because it contains scarcely any complication or development; and if Egmont fails, what are we to say of Tasso or Iphigenia ? That the Greek tragedians did not look to interest as a means of working upon the public, is clear from the fact that the material of their masterpieces was almost always known to every one: they selected events which had often been treated dramatically before. This shows us how sensitive was the Greek public to the beautiful, as it did not require the interest of unexpected events and new stories to season its enjoyment.

Neither does the quality of interest often attach to masterpieces of descriptive poetry. Father Homer lays the world and humanity before us in its true nature, but he takes no trouble to attract our sympathy by a complexity of circumstance, or to surprise us by unexpected entanglements. His pace is lingering; he stops at every scene; he puts one picture after another tranquilly before us, elaborating it with care. We experience no passionate emotion in reading him; our demeanour is one of pure perceptive intelligence; he does not arouse our will, but sings it to rest; and it costs us no effort to break off in our reading, for we are not in condition of eager curiosity. This is all still more true of Dante, whose work is not, in the proper sense of the word, an epic, but a descriptive poem. The same thing may be said of the four immortal romances: Don Quixote, Tristram Shandy, La Nouvelle Heloïse , and Wilhelm Meister . To arouse our interest is by no means the chief aim of these works; in Tristram Shandy the hero, even at the end of the book, is only eight years of age.

On the other hand, we must not venture to assert that the quality of interest is not to be found in masterpieces of literature. We have it in Schiller's dramas in an appreciable degree, and consequently they are popular; also in the Oedipus Rex of Sophocles. Amongst masterpieces of description, we find it in Ariosto's Orlando Furioso ; nay, an example of a high degree of interest, bound up with the beautiful, is afforded in an excellent novel by Walter Scott - The Heart of Midlothian . This is the most interesting work of fiction that I know, where all the effects due to interest, as I have given them generally in the preceding remarks, may be most clearly observed. At the same time it is a very beautiful romance throughout; it shows the most varied pictures of life, drawn with striking truth; and it exhibits highly different characters with great justice and fidelity.

Interest, then, is certainly compatible with beauty. That was our third question. Nevertheless, a comparatively small admixture of the element of interest may well be found to be most advantageous as far as beauty is concerned; for beauty is and remains the end of art. Beauty is in twofold opposition with interest; firstly, because it lies in the perception of the idea, and such perception takes its object entirely out of the range of the forms enunciated by the principle of sufficient reason; whereas interest has its sphere mainly in circumstance, and it is out of this principle that the complexity of circumstance arises. Secondly, interest works by exciting the will; whereas beauty exists only for the pure perceptive intelligence, which has no will. However, with dramatic and descriptive literature an admixture of interest is necessary, just as a volatile and gaseous substance requires a material basis if it is to be preserved and transferred. The admixture is necessary, partly, indeed, because interest is itself created by the events which have to be devised in order to set the characters in motion; partly because our minds would be weary of watching scene after scene if they had no concern for us, or of passing from one significant picture to another if we were not drawn on by some secret thread. It is this that we call interest; it is the sympathy which the event in itself forces us to feel, and which, by riveting our attention, makes the mind obedient to the poet, and able to follow him into all the parts of his story.

If the interest of a work of art is sufficient to achieve this result, it does all that can be required of it; for its only service is to connect the pictures by which the poet desires to communicate a knowledge of the idea, as if they were pearls, and interest were the thread that holds them together, and makes an ornament out of the whole. But interest is prejudicial to beauty as soon as it oversteps this limit; and this is the case if we are so led away by the interest of a work that whenever we come to any detailed description in a novel, or any lengthy reflection on the part of a character in a drama, we grow impatient and want to put spurs to our author, so that we may follow the development of events with greater speed. Epic and dramatic writings, where beauty and interest are both present in a high degree, may be compared to the working of a watch, where interest is the spring which keeps all the wheels in motion. If it worked unhindered, the watch would run down in a few minutes. Beauty, holding us in the spell of description and reflection, is like the barrel which checks its movement.

Or we may say that interest is the body of a poetic work, and beauty the soul. In the epic and the drama, interest, as a necessary quality of the action, is the matter; and beauty, the form that requires the matter in order to be visible.


PSYCHOLOGICAL OBSERVATIONS.


In the moment when a great affliction overtakes us, we are hurt to find that the world about us is unconcerned and goes its own way. As Goethe says in Tasso , how easily it leaves us helpless and alone, and continues its course like the sun and the moon and the other gods:

... die Welt, wie sie so leicht,
Uns hülflos, einsam lässt, und ihren Weg,
Wie Sonn' und Mond und andre Götter geht .

Nay more! it is something intolerable that even we ourselves have to go on with the mechanical round of our daily business, and that thousands of our own actions are and must be unaffected by the pain that throbs within us. And so, to restore the harmony between our outward doings and our inward feelings, we storm and shout, and tear our hair, and stamp with pain or rage.

Our temperament is so despotic that we are not satisfied unless we draw everything into our own life, and force all the world to sympathise with us. The only way of achieving this would be to win the love of others, so that the afflictions which oppress our own hearts might oppress theirs as well. Since that is attended with some difficulty, we often choose the shorter way, and blab out our burden of woe to people who do not care, and listen with curiosity, but without sympathy, and much oftener with satisfaction.

Speech and the communication of thought, which, in their mutual relations, are always attended by a slight impulse on the part of the will, are almost a physical necessity. Sometimes, however, the lower animals entertain me much more than the average man. For, in the first place, what can such a man say? It is only conceptions, that is, the driest of ideas, that can be communicated by means of words; and what sort of conceptions has the average man to communicate, if he does not merely tell a story or give a report, neither of which makes conversation? The greatest charm of conversation is the mimetic part of it, - the character that is manifested, be it never so little. Take the best of men; how little he can say of what goes on within him, since it is only conceptions that are communicable; and yet a conversation with a clever man is one of the greatest of pleasures.

It is not only that ordinary men have little to say, but what intellect they