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Heart of Man by George Edward Woodberry
page 90 of 191 (47%)
energy accumulated, as vital force is stored up and requires to be
loosed in bodily exercise; but this, except in the point that pity and
terror, if they do accumulate in their particular forms latently, are
specifically such as it is wise to be rid of, does not differentiate
emotion from the rest of our powers in all of which there is a similar
pleasure in exercising, an exhaustion and a relief, with less liability
of immediate recurrence; this belongs to all expenditure of life. It is
not credible to me that painful emotion, under the illusions of art, can
become pleasurable in the common sense; what pleasure there is arises
only in the climax and issue of the action, as in case of the drama when
the restoration of the order that is joyful, beautiful, right, and wise
occurs; in other words, in the presence of the final poetic justice or
reconciliation of the disturbed elements of life. But here we come upon
darker and mysterious aspects of our general subject, now to be slightly
touched. Tragedy dealing with the discords of life must present painful
spectacles; and is saved to art only by its just ending. Comedy, which
similarly deals with discords, is endurable only while these remain
painless. Both imply a defect in order, and neither would have any place
in a perfect world, which would be without pity, fear, or humour, all of
which proceed from incongruities in the scheme. Tragedy and comedy
belong alike to low civilizations, to wicked, brutal, or ridiculous
types of character and disorderly events, to the confusion, ignorance,
and ignominies of mankind; the refinement of both is a mark of progress
in both art and civilization, and foretells their own extinction, unless
indeed the principle of evil be more deeply implanted in the universe
than we fondly hope; pathos and humour, which are the milder and the
kindlier forms of tragedy and comedy, must also cease, for both are
equally near to tears. But before leaving this subject it is interesting
to observe how in the Aristotelian scheme of tragedy, where it was
little thought of, the appeal is made to man's whole nature as here
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