quickness and quality, the accipitrine intensity, the olfactory choice, of his νοῦς. Does he hawk at game or carrion? What you choose to grasp with your mind is the question;—not how you handle it afterwards. What does it matter how you build, if you have bad bricks to build with; or how you reason, if every idea with which you begin is foul or false? And in general all fatal false reasoning proceeds from people’s having some one false notion in their hearts, with which they are resolved that their reasoning shall comply.
But, for better illustration, I will now take my own special subject out of the three;—τεχνὴ. I have said that we have, for its zero, ἀτεχνία, or artlessness—in Latin, ‘inertia,’ opposed to ‘ars.’ Well, then, we have, from that zero, wise art on the one side, foolish art on the other; and the finer the art, the more it is capable of this living increase, or deadly defect. I will take, for example, first, a very simple art, then a finer one; but both of them arts with which most of you are thoroughly acquainted.
12. One of the simplest pieces of perfect art, which you are yourselves in the habit of practising, is the stroke of an oar given in true time. We have defined art to be the wise modification of matter by the body (substantial things by substantial power, § 3). With a good oar-stroke you displace a certain quantity of water in a wise way. Supposing you missed your stroke, and caught a crab, you would displace a certain quantity of water in a foolish way, not only ineffectually, but in a way the reverse of what you intended. The perfectness of the stroke implies not only absolutely accurate knowledge or science of the mode in which water resists the blade of an oar, but the having in past time met that resistance repeatedly with greater and greater rightness of adaptation to the end proposed. That end being perfectly simple,—the advance of the boat as far as possible with a given expenditure of strength, you at once recognize the degree in which the art falls short of, or the artlessness negatives, your purpose. But your being ‘σοφός,’ as an oarsman, implies much more than this mere art founded on pure science. The fact of your being able to row in a beautiful manner depends on other things than the knowledge of the force of water, or the repeated practice of certain actions in resistance to it. It implies the practice of those actions under a resolved discipline of the body, involving regulation of the passions. It signifies submission to the authority, and amicable concurrence with the humours, of other persons; and so far as it is beautifully done at last, absolutely signifies therefore a moral and intellectual rightness, to the necessary extent influencing the character honourably and graciously. This is the sophia, or wit, of what is most honourable, which is concerned in rowing, without which it must become no rowing, or the reverse of rowing.
13. Let us next take example in an art which perhaps you will think (though I hope not) much inferior to rowing, but which is in reality a much higher art—dancing. I have just told you (§ 11) how to test the rank of arts—namely, by their corruptibility, as you judge of the fineness of organic substance. The moria,3 or folly, of rowing, is only ridiculous, but the moria, or folly, of dancing, is much worse than ridiculous; and, therefore, you may know that its sophia, or wisdom, will be much more beautiful than the wisdom of rowing. Suppose, for instance, a minuet danced by two lovers, both highly bred, both of noble character, and very much in love with each other. You would see, in that, an art of the most highly finished kind, under the government of a sophia which dealt with the strongest passions, and most exquisite perceptions of beauty, possible to humanity.
14. For example of the contrary of these, in the same art, I cannot give you one more definite than that which I saw at, I think, the Gaiety Theatre—but it might have been at any London theatre now,—two years ago.
The supposed scene of the dance was Hell, which was painted in the background with its flames. The dancers were supposed to be demons, and wore black masks, with red tinsel for fiery eyes; the same red light was represented as coming out of their ears also. They began their dance by ascending through the stage on spring trap-doors, which threw them at once ten feet into the air; and its performance consisted in the expression of every kind of evil passion, in frantic excess.
15. You will not, I imagine, be at a loss to understand the sense in which the words sophia and moria are to be rightly used of these two methods of the same art. But those of you who are in the habit of accurate thinking will at once perceive that I have introduced a new element into my subject by taking an instance in a higher art. The folly of rowing consisted mainly in not being able to row; but this folly of dancing does not consist in not being able to dance, but in dancing well with evil purpose; and the better the dancing, the worse the result.
And now I am afraid I must tease you by asking your attention to what you may at first think a vain nicety in analysis, but the nicety is here essential, and I hope throughout this course of Lectures, not to be so troublesome to you again.
16. The mere negation of the power of art—the zero of it—you say, in rowing, is ridiculous. It is, of course, not less ridiculous in dancing. But what do you mean by ridiculous? You mean contemptible, so as to provoke laughter. The contempt, in either case, is slight, in ordinary society; because, though a man may neither know how to row, or dance, he may know many other things. But suppose he lived where he could not know many other things? By a stormy sea-coast, where there could be no fresco-painting, in a poor country, where could be none of the fine arts connected with wealth, and in a simple, and primitive society, not yet reached by refinements of literature; but where good rowing was necessary for the support of life, and good dancing, one of the most vivid aids to domestic pleasure. You would then say that inability to row, or to dance, was far worse than ridiculous; that it marked a man for a good-for-nothing fellow, to be regarded with indignation, as well as contempt.
Now, remember, the inertia or zero of art always involves this kind of crime, or at least, pitiableness. The want of opportunity of learning takes away the moral guilt of artlessness; but the want of opportunity of learning such arts as are becoming in given circumstances, may indeed be no crime in an individual, but cannot be alleged in its defence by a nation. National ignorance of decent art is always criminal, unless in earliest conditions of society; and then it is brutal.
17. To that extent, therefore, culpably or otherwise, a kind of moria, or folly, is always indicated by the zero of art-power. But the true folly, or assuredly culpable folly, is in the exertion of our art power in an evil direction. And here we need the finesse of distinction, which I am afraid will be provoking to you. Observe, first, and simply, that the possession of any art-power at all implies a sophia of some kind. These demon dancers, of whom I have just spoken, were earning their bread by severe and honest labour. The skill they possessed could not have been acquired but by great patience and resolute self-denial; and the very power with which they were able to express, with precision, states of evil passion, indicated that they had been brought up in a society which, in some measure, knew evil from good, and which had, therefore, some measure of good in the midst of it. Nay, the farther probability is, that if you inquired into the life of these men, you would find that this demon dance had been invented by some one of them with a great imaginative power, and was performed by them not at all in preference of evil, but to meet the demand of a public whose admiration was capable of being excited only by violence of gesture, and vice of emotion.
18. In all cases, therefore, observe, where the opportunity of learning has been given; the existence of the art-power indicates sophia and its absence indicates moria. That great fact I endeavoured to express to you, two years since, in my third introductory Lecture. In the present course I have to show you the action of the final, or higher sophia, which directs the skill of art to the best purposes; and of the final, or lower moria, which misdirects them to the worst. And the two points I shall endeavour to bring before you throughout will be these:—First, that the object of University teaching is to form your conceptions; not to acquaint you with arts, nor sciences. It is to give you a notion of what is meant by smith’s work, for instance;—but not to make you blacksmiths. It is to give you a notion of what is meant by medicine, but not to make you physicians. The proper academy for blacksmiths is a blacksmith’s forge; the proper academy for physicians is an hospital. Here
If the English reader will pronounce the o in this word as in fold, and in sophia as in sop, but accenting the o, not the i, I need not any more disturb my pages with Greek types.
