Part 552 (1/2)
The touching and the sublime resemble in this point, that both one and the other produce a pleasure by a feeling at first of displeasure, and that consequently (pleasure proceeding from suitability, and displeasure from the contrary) they give us a feeling of suitability which presupposes an unsuitability.
The feeling of the sublime is composed in part of the feeling of our feebleness, of our impotence to embrace an object; and, on the other side, of the feeling of our moral power--of this superior faculty which fears no obstacle, no limit, and which subdues spiritually that even to which our physical forces give way. The object of the sublime thwarts, then, our physical power; and this contrariety (impropriety) must necessarily excite a displeasure in us. But it is, at the same time, an occasion to recall to our conscience another faculty which is in us--a faculty which is even superior to the objects before which our imagination yields. In consequence, a sublime object, precisely because it thwarts the senses, is suitable with relation to reason, and it gives to us a joy by means of a higher faculty, at the same time that it wounds us in an inferior one.
The touching, in its proper sense, designates this mixed sensation, into which enters at the same time suffering and the pleasure that we find in suffering. Thus we can only feel this kind of emotion in the case of a personal misfortune, only when the grief that we feel is sufficiently tempered to leave some place for that impression of pleasure that would be felt by a compa.s.sionate spectator. The loss of a great good prostrates for the time, and the remembrance itself of the grief will make us experience emotion after a year. The feeble man is always the prey of his grief; the hero and the sage, whatever the misfortune that strikes them, never experience more than emotion.
Emotion, like the sentiment of the sublime, is composed of two affections--grief and pleasure. There is, then, at the bottom a propriety, here as well as there, and under this propriety a contradiction. Thus it seems that it is a contradiction in nature that man, who is not born to suffer, is nevertheless a prey to suffering, and this contradiction hurts us. But the evil which this contradiction does us is a propriety with regard to our reasonable nature in general, insomuch as this evil solicits us to act: it is a propriety also with regard to human society; consequently, even displeasure, which excites in us this contradiction, ought necessarily to make us experience a sentiment of pleasure, because this displeasure is a propriety. To determine in an emotion if it is pleasure or displeasure which triumphs, we must ask ourselves if it is the idea of impropriety or that of propriety which affects us the more deeply. That can depend either on the number of the aims reached or abortive, or on their connection with the final aim of all.
The suffering of the virtuous man moves us more painfully than that of the perverse man, because in the first case there is contradiction not only to the general destiny of man, which is happiness, but also to this other particular principle, viz., that virtue renders happy; whilst in the second case there is contradiction only with regard to the end of man in general. Reciprocally, the happiness of the wicked also offends us much more than the misfortune of the good man, because we find in it a double contradiction: in the first place vice itself, and, in the second place, the recompense of vice.
There is also this other consideration, that virtue is much more able to recompense itself than vice, when it triumphs, is to punish itself; and it is precisely for this that the virtuous man in misfortune would much more remain faithful to the cultus of virtue than the perverse man would dream of converting himself in prosperity.
But what is above all important in determining in the emotions the relation of pleasure and displeasure, is to compare the two ends--that which has been fulfilled and that which has been ignored--and to see which is the most considerable. There is no propriety which touches us so nearly as moral propriety, and no superior pleasure to that which we feel from it. Physical propriety could well be a problem, and a problem forever unsolvable. Moral propriety is already demonstrated. It alone is founded upon our reasonable nature and upon internal necessity. It is our nearest interest, the most considerable, and, at the same time, the most easily recognized, because it is not determined by any external element but by an internal principle of our reason: it is the palladium of our liberty.
This moral propriety is never more vividly recognized than when it is found in conflict with another propriety, and still keeps the upper hand; then only the moral law awakens in full power, when we find it struggling against all the other forces of nature, and when all those forces lose in its presence their empire over a human soul. By these words, ”the other forces of nature,” we must understand all that is not moral force, all that is not subject to the supreme legislation of reason: that is to say, feelings, affections, instincts, pa.s.sions, as well as physical necessity and destiny. The more redoubtable the adversary, the more glorious the victory; resistance alone brings out the strength of the force and renders it visible. It follows that the highest degree of moral consciousness can only exist in strife, and the highest moral pleasure is always accompanied by pain.
Consequently, the kind of poetry which secures us a high degree of moral pleasure, must employ mixed feelings, and please us through pain or distress,--this is what tragedy does specially; and her realm embraces all that sacrifices a physical propriety to a moral one; or one moral propriety to a higher one. It might be possible, perhaps, to form a measure of moral pleasure, from the lowest to the highest degree, and to determine by this principle of propriety the degree of pain or pleasure experienced. Different orders of tragedy might be cla.s.sified on the same principle, so as to form a complete exhaustive tabulation of them. Thus, a tragedy being given, its place could be fixed, and its genus determined. Of this subject more will be said separately in its proper place.
A few examples will show how far moral propriety commands physical propriety in our souls.
Theron and Amanda are both tied to the stake as martyrs, and free to choose life or death by the terrible ordeal of fire--they select the latter. What is it which gives such pleasure to us in this scene? Their position so conflicting with the smiling destiny they reject, the reward of misery given to virtue--all here awakens in us the feeling of impropriety: it ought to fill us with great distress. What is nature, and what are her ends and laws, if all this impropriety shows us moral propriety in its full light. We here see the triumph of the moral law, so sublime an experience for us that we might even hail the calamity which elicits it. For harmony in the world of moral freedom gives us infinitely more pleasure than all the discords in nature give us pain.
When Coriola.n.u.s, obedient to duty as husband, son, and citizen, raises the siege of Rome, them almost conquered, withdrawing his army, and silencing his vengeance, he commits a very contradictory act evidently.
He loses all the fruit of previous victories, he runs spontaneously to his ruin: yet what moral excellence and grandeur he offers! How n.o.ble to prefer any impropriety rather than wound moral sense; to violate natural interests and prudence in order to be in harmony with the higher moral law! Every sacrifice of a life is a contradiction, for life is the condition of all good; but in the light of morality the sacrifice of life is in a high degree proper, because life is not great in itself, but only as a means of accomplis.h.i.+ng the moral law. If then the sacrifice of life be the way to do this, life must go. ”It is not necessary for me to live, but it is necessary for Rome to be saved from famine,” said Pompey, when the Romans embarked for Africa, and his friends begged him to defer his departure till the gale was over.
But the sufferings of a criminal are as charming to us tragically as those of a virtuous man; yet here is the idea of moral impropriety. The antagonism of his conduct to moral law, and the moral imperfection which such conduct presupposes, ought to fill us with pain. Here there is no satisfaction in the morality of his person, nothing to compensate for his misconduct. Yet both supply a valuable object for art; this phenomenon can easily be made to agree with what has been said.
We find pleasure not only in obedience to morality, but in the punishment given to its infraction. The pain resulting from moral imperfection agrees with its opposite, the satisfaction at conformity with the law.
Repentance, even despair, have n.o.bleness morally, and can only exist if an incorruptible sense of justice exists at the bottom of the criminal heart, and if conscience maintains its ground against self-love.
Repentance comes by comparing our acts with the moral law, hence in the moment of repenting the moral law speaks loudly in man. Its power must be greater than the gain resulting from the crime as the infraction poisons the enjoyment. Now, a state of mind where duty is sovereign is morally proper, and therefore a source of moral pleasure. What, then, sublimer than the heroic despair that tramples even life underfoot, because it cannot bear the judgment within? A good man sacrificing his life to conform to the moral law, or a criminal taking his own life because of the morality he has violated: in both cases our respect for the moral law is raised to the highest power. If there be any advantage it is in the case of the latter; for the good man may have been encouraged in his sacrifice by an approving conscience, thus detracting from his merit. Repentance and regret at past crimes show us some of the sublimest pictures of morality in active condition. A man who violates morality comes back to the moral law by repentance.
But moral pleasure is sometimes obtained only at the cost of moral pain.
Thus one duty may clash with another. Let us suppose Coriola.n.u.s encamped with a Roman army before Antium or Corioli, and his mother a Volscian; if her prayers move him to desist, we now no longer admire him. His obedience to his mother would be at strife with a higher duty, that of a citizen. The governor to whom the alternative is proposed, either of giving up the town or of seeing his son stabbed, decides at once on the latter, his duty as father being beneath that of citizen. At first our heart revolts at this conduct in a father, but we soon pa.s.s to admiration that moral instinct, even combined with inclination, could not lead reason astray in the empire where it commands. When Timoleon of Corinth puts to death his beloved but ambitious brother, Timophanes, he does it because his idea of duty to his country bids him to do so. The act here inspires horror and repulsion as against nature and the moral sense, but this feeling is soon succeeded by the highest admiration for his heroic virtue, p.r.o.nouncing, in a tumultuous conflict of emotions, freely and calmly, with perfect rect.i.tude. If we differ with Timoleon about his duty as a republican, this does not change our view. Nay, in those cases, where our understanding judges differently, we see all the more clearly how high we put moral propriety above all other.
But the judgments of men on this moral phenomenon are exceedingly various, and the reason of it is clear. Moral sense is common to all men, but differs in strength. To most men it suffices that an act be partially conformable with the moral law to make them obey it; and to make them condemn an action it must glaringly violate the law. But to determine the relation of moral duties with the highest principle of morals requires an enlightened intelligence and an emanc.i.p.ated reason.
Thus an action which to a few will be a supreme propriety, will seem to the crowd a revolting impropriety, though both judge morally; and hence the emotion felt at such actions is by no means uniform. To the ma.s.s the sublimest and highest is only exaggeration, because sublimity is perceived by reason, and all men have not the same share of it. A vulgar soul is oppressed or overstretched by those sublime ideas, and the crowd sees dreadful disorder where a thinking mind sees the highest order.
This is enough about moral propriety as a principle of tragic emotion, and the pleasure it elicits. It must be added that there are cases where natural propriety also seems to charm our mind even at the cost of morality. Thus we are always pleased by the sequence of machinations of a perverse man, though his means and end are immoral. Such a man deeply interests us, and we tremble lest his plan fail, though we ought to wish it to do so. But this fact does not contradict what has been advanced about moral propriety,--and the pleasure resulting from it.
Propriety, the reference of means to an end, is to us, in all cases, a source of pleasure; even disconnected with morality. We experience this pleasure unmixed, so long as we do not think of any moral end which disallows action before us. Animal instincts give us pleasure--as the industry of bees--without reference to morals; and in like manner human actions are a pleasure to us when we consider in them only the relation of means to ends. But if a moral principle be added to these, and impropriety be discovered, if the idea of moral agent comes in, a deep indignation succeeds our pleasure, which no intellectual propriety can remedy. We must not call to mind too vividly that Richard III., Iago, and Lovelace are men; otherwise our sympathy for them infallibly turns into an opposite feeling. But, as daily experience teaches, we have the power to direct our attention to different sides of things; and pleasure, only possible through this abstraction, invites us to exercise it, and to prolong its exercise.
Yet it is not rare for intelligent perversity to secure our favor by being the means of procuring us the pleasure of moral propriety. The triumph of moral propriety will be great in proportion as the snares set by Lovelace for the virtue of Clarissa are formidable, and as the trials of an innocent victim by a cruel tyrant are severe. It is a pleasure to see the craft of a seducer foiled by the omnipotence of the moral sense.
On the other hand, we reckon as a sort of merit the victory of a malefactor over his moral sense, because it is the proof of a certain strength of mind and intellectual propriety.