BOOK I. § 62. The active and sluggish touch the general feeling of tenderness. When the object which is regarded as the cause or the inflicter of these griefs is also regarded with love on other grounds, as in the case of regarding afflictions as sent dispositions. by God, then the weakness or softness in resignation becomes, passes into, or coincides with, the tenderness of love; a phenomenon which seems to require the supposition of a common nature and origin. Similarly may be explained the phenomenon of feeling greater tenderness of pity for the sufferings of others when we have a vivid sense of sufferings of our own; a phenomenon which by no means requires, for explaining it, that we should have an accurate knowledge of the sufferings of others derived from our own experience, or that the sufferings which we pity should be similar in kind to those which we have suffered, or may expect to suffer, ourselves. It is not the reference, by similarity, to our own case which arouses tenderness or enables pity to become tender, but the actually existing feeling of tenderness combining itself with the representation of other sufferings. § 63. 1. Let us next examine the intellectual tendency and its subdivisions, together with its relations to the emotional tendency. There seem to be two subdivisions into which the purely intellectual tendency may fall, both of them original tendencies of character. The first is the constructive or organising tendency. Its marks are always to seize first on a whole, the scope, outline, and ultimate end, of any subject or question, and from this to descend to its particulars or details, arranging them subordinately to this most general conception. It forms theories or hypotheses in order by them to interpret old facts § 63. Subdivisions of the intellectual tendency; con structive and accumulative. BOOK I. § 63. and discover new ones. It immediately pushes facts to their ultimate consequences, and from these anSubdivisions of ticipated consequences judges of the nature of the tendency; con- facts. Hence in practical reasoning it is always formaccumulative. ing ideals; in speculative reasoning it is a kind of the intellectual structive and divination of general laws, which after discoveries are to verify or disprove; in practical reasoning it seeks the spirit of the institutions or acts in question, and is satisfied with no partial improvements, hand to mouth remedies, which do not go at once to the modification of the spirit and underlying nature of the customs or laws which are hostile to the spirit which it desires to promote. Its essence seems to be, that it cannot conceive anything without referring it to some complete, organic, whole, of which it is a part. It is the insisting before all things on the statical view of phenomena. 2. The second tendency is founded on the dynamical view of phenomena; it is satisfied with seeing their order of sequence and development. It may be called the accumulative tendency. In practical reasoning it strives to bring new facts under the old theory or the old ideal; its theory is always large enough for it, but appears to it always to want stricter and more detailed application. In speculative reasoning its instrument is induction rather than deduction, and it aims at discovery of new facts, new phenomena, and new relations between them, so as to rise from them, when the series is complete, to a general law which shall be a short-hand expression for them. In practical reasoning, measures of alleviation, temporary improvements, ends near at hand in the immediate future, the advantage of which is obvious, are its choice. The more fundamental im Book I. CH. IV. § 63. Subdivisions of the intellectual tendency; constructive and provements of the opposite tendency it calls change for change's sake, the larger réλos not being within its horizon. Its favourite mode is effective not teleological reasoning. 3. In that portion of practical reasoning which accumulative. includes the fine arts, and especially in poetry, the contrast between these two tendencies is very marked. The statical organising tendency is that which aims at the production of complete or perfect works of art, the characteristic of which is that the artistic harmony of the whole is the main purpose in view, the conditio sine qua non of the whole production. Parts, however beautiful in themselves, images however pleasing, the representation of emotions however interesting in themselves, are stedfastly rejected by artists of this order, unless they are capable of subordination to the scope of the whole work, so as to heighten its effect without obscuring it by their own brilliancy. This is what is sometimes known as the principle of the Classical school of art. On the other hand, the principle of the opposite school, sometimes called the Romantic, founded in the dynamical tendency, looks entirely to the interest of the separate images, and is satisfied with any thread of connection however slight. Hence the chief attention is paid by this school to the emotions, and not to their frameworks of representation; the matter is predominant with the romanticist, the form with the classicist. And, owing to this natural connection, the poetry of modern Europe, the chief part of which sprang directly from the need of expressing emotion, is naturally and originally romantic; and the classic element of artistic form is to it an acquired virtue. 4. The choice and combination of words, tones, BOOK I. $ 63. looks, and gestures, to express feelings accurately, or to produce accurately those same feelings in others, Subdivisions of are modes of effective practical reasoning combined tendency; con- with transeunt action, modes which exhibit these accumulative. same two opposite tendencies. In aiming at rhetorical the intellectual structive and effect upon an audience, one man will study the connection and interdependence of the several parts of his speech, according to their importance and immediate or mediate bearing on the point he wishes to enforce, that is, he will appeal to the reason or at least to the good taste of his hearers; and this supposes a certain degree of cultivation in his audience. Another man will trust entirely to rousing their feelings by vivid pictures, by strong expressions, and by exhibiting himself as moved by the feelings he expresses, trusting to the audience themselves to supply the connection, or to their feelings to make up for the want of connection, between his premises and their desired conclusion. 5. The different directions which may be given to the intellectual tendencies, directions to certain subjects or branches of knowledge, depend upon education and circumstances of life, rather than upon differences of the character itself; except so far as some subjects may require for their satisfactory treatment the constructive tendency rather than the accumulative, or the accumulative rather than the constructive. I will not enter on the enquiry how far this influence is operative, and what branches of knowledge are favoured or furthered by each tendency. The different sciences and arts, however, are distinguished from each other by a natural grouping dependent on similarity in their object-matter, or on the grouping of their phenomena into natural wholes; for instance, the mathematical sciences, chemistry, § 64. 1. In approaching the analysis of the several types of the emotional tendency, we approach the deepest and by far the most important field of differences of character. As the term tendency was employed for distinguishing emotion from intellect generally, and the term disposition for distinguishing between active and sluggish characters, so it will be well perhaps to employ the term type for the several |