"Bishop," said he, with a slowness which probably arose more from his dignity of soul than from the failing of his strength, "I have passed my life in meditation, study, and contemplation. I was sixty years of age when my country called me and commanded me to concern myself with its affairs. I obeyed. Abuses existed, I combated them; tyrannies existed, I destroyed them; rights and principles existed, I proclaimed and confessed them. Our territory was invaded, I defended it; France was menaced, I offered my breast. I was not rich; I am poor. I have been one of the masters of the state; the vaults of the treasury were encumbered with specie to such a degree that we were forced to shore up the walls, which were on the point of bursting beneath the weight of gold and silver; I dined in Dead Tree Street, at twenty-two sous. I have succored the oppressed, I have comforted the suffering. I tore the cloth from the altar, it is true; but it was to bind up the wounds of my country. I have always upheld the march forward of the human race, forward towards the light, and I have sometimes resisted progress without pity. I have, when the occasion offered, protected my own adversaries, men of your profession. And there is at Peteghem, in Flanders, at the very spot where the Merovingian kings had their summer palace, a convent of Urbanists, the Abbey of Sainte Claire en Beaulieu, which I saved in 1793. I have done my duty according to my powers, and all the good that I was able. After which, I was hunted down, pursued, persecuted, blackened, jeered at, scorned, cursed, proscribed. For many years past, I with my white hair have been conscious that many people think they have the right to despise me; to the poor ignorant masses I present the visage of one damned. And I accept this isolation of hatred, without hating any one myself. Now I am eighty-six years old; I am on the point of death. What is it that you have come to ask of me?"
The aggregate population, according to an official estimate made in 1905, is 500,136, but a complete and satisfactory census cannot be taken throughout the country, since the ignorant masses of the people, and especially the Indians, avoid a census as in some way connected with military conscription or taxation. The bulk of the Spanish population exists on the Pacific slope of the continent, while on the Atlantic declivity the country is uninhabited or but sparsely occupied by Indian tribes, of which the number is wholly unknown. In 1905 there were fewer than 11 inhabitants per sq. m., but all the available data tend to show that the population increases rapidly, owing to the continuous excess of births over deaths. The first census, taken in 1791, gave the total population as only 95,500. There is little emigration or immigration. Entry: HONDURAS
IV. _Middle Ages._--From the point of view of apologetics, we may mass together the long stretch of history which covers the period between the disappearance and the re-appearance of free discussion. When emperors became converts, the church, so lately a victim and a pleader for liberty, readily learned to persecute. Under such conditions there is little scope for apologetics. Force kills argument and drives doubt below the smooth surface of a nominal conformity. But there were two influences beyond the bounds or beyond the power of the christianized empire. The Jew remained, as always, stubbornly unconvinced, and, as often, fond of slanders. Many of the principal medieval attempts in apologetics are directed chiefly against him, e.g. the _Pugio Fidei_ of Raymond Martini (c. 1280), which became one of Pascal's sources (see V. below), or Peter Abelard's _Dialogus inter Judaeum Philosophum et Christianum_. And the Moslem came on the scenes bringing, as a gift for Christendom, fuller knowledge of classical, especially Aristotelian, texts. The Jews, less bitterly opposed to Mahommedanism than the Christians were, caught fire more rapidly, and in some cases served as an intermediate link or channel of communication. These two religions anticipated the discussion of the problem of faith and reason in the Christian church. According to the great Avicenna and Maimonides, faith and the highest reason are sure to coincide (see ARABIAN PHILOSOPHY). According to Ghazali, in his _Destruction of Philosophers_, the various schools of philosophy cancel each other; reason is bankrupt; faith is everything. (So nearly Jehuda Halevi.) According to Averroes, reason suffices, and faith, with (what he considers) its dreams of immortality and the like, is useful only for the ignorant masses. Christian theology, however, strikes out a line of its own. Moslems and Jews were applying Aristotelian philosophy to rigorously monotheistic faiths; Christianity had been encouraged by Platonism in teaching a trinity of divine persons, and Platonism of a certain order long dominated the middle ages as part of the Augustinian tradition. In sympathy with this Platonism, the medieval church began by assuming the entire mutual harmony of faith and reason. Such is the teaching, along different lines, alike of St Anselm and of Abelard. But, when increased knowledge of Aristotle's texts (and of the commentaries) led to the victory of a supposed Aristotelianism over a supposed Platonism, Albertus Magnus, and his still more distinguished pupil Thomas Aquinas, mark certain doctrines as belonging to faith but not to reason. They adhere to the general position with exceptions (in the case of what had been considered Platonic doctrines). From the point of view of philosophy, this was a compromise. Faith and reason partly agree, partly diverge. The tendency of the later middle ages is to add to the number of the doctrines with which philosophy cannot deal. Thomas's great rival, Duns Scotus, does this to a large extent, at times affirming "two truths." The latter position, ascribed by the schoolmen to the Averroists, becomes dominant among the later Nominalists, William of Occam and his disciples, who withdraw _all_ doctrines of faith from the sphere of reason. This was a second and a more audacious compromise. It is not exactly an attempt to base Christian faith on rational scepticism. It is a consistent policy of harbouring inconsistencies in the same mind. A statement may be true in philosophy and false in theology, or vice versa. To the standpoint of Aquinas, however, the Church of Rome (at least in regard to the basis of doctrine) has more and more returned. The councils of Trent and of the Vatican mark the Two Truths hypothesis as heretical, when they affirm that there _is_ a natural knowledge of God and natural certainty of immortality. Along with this affirmation, the Church of Rome (if less decisively) has adopted the limitations of the Thomist theory by the condemnation of "Ontologism"; certain mysterious doctrines are beyond reason. This cautious compromise sanctioned by the Church does not represent the _extremest_ reaction against nominalism. Even in the nominalistic epoch we have Raymond of Sabunde's _Natural Theology_ (according to the article in Herzog-Hauck, not the title of the oldest Paris MS., but found in later MSS. and almost all the printed editions) or _Liber Creaturarum_ (c. 1435). The book is not what moderns (schooled unconsciously in post-Reformation developments of Thomist ideas) expect under the name of natural theology. It is an attempt once more to demonstrate _all_ scholastic dogmas out of the book of creation or on principles of natural reason. At many points it follows Anselm closely, and, of course, very often "makes light work" of its task. Entry: IV
A monk was suddenly commanded by his elder to quit Athos, which he loved as a sacred place and a haven of refuge, and to go first to Jerusalem to do homage to the Holy Places and then to go to the north to Siberia: "There is the place for thee and not here." The monk, overwhelmed with sorrow, went to the OEcumenical Patriarch at Constantinople and besought him to release him from his obedience. But the Patriarch replied that not only was he unable to release him, but there was not and could not be on earth a power which could release him except the elder who had himself laid that duty upon him. In this way the elders are endowed in certain cases with unbounded and inexplicable authority. That is why in many of our monasteries the institution was at first resisted almost to persecution. Meantime the elders immediately began to be highly esteemed among the people. Masses of the ignorant people as well as men of distinction flocked, for instance, to the elders of our monastery to confess their doubts, their sins, and their sufferings, and ask for counsel and admonition. Seeing this, the opponents of the elders declared that the sacrament of confession was being arbitrarily and frivolously degraded, though the continual opening of the heart to the elder by the monk or the layman had nothing of the character of the sacrament. In the end, however, the institution of elders has been retained and is becoming established in Russian monasteries. It is true, perhaps, that this instrument which had stood the test of a thousand years for the moral regeneration of a man from slavery to freedom and to moral perfectibility may be a two-edged weapon and it may lead some not to humility and complete self-control but to the most Satanic pride, that is, to bondage and not to freedom.
_Education._--There were, in 1906, 98 elementary day schools, and 33 night schools. The attendance on the 1st of September 1905 was 16,530, the percentage on those enrolled 84.6; the total enrolment was 18,719. The average cost per pupil in these schools was 35s. 11d. a year on daily attendance. There is a secondary school for girls in Valletta, and one for boys in Gozo. A lyceum in Malta had an average attendance of 464. The number of students at the university was about 150. The average cost per student in the lyceum was £8, 0s. 11d.; in the university £26, 10s. 1d. The fees in these institutions are almost nominal, the middle-classes are thus educated at the expense of the masses. In the 18th century the government of the Knights and of the Inquisition did not favour the education of the people, after 1800 British governors were slow to make any substantial change. About the middle of the 19th century it began to be recognized that the education of the people was more conducive to the safety of the fortress than to leave in ignorance congested masses of southern race liable to be swayed spasmodically by prejudice. At first an attempt was made to make Maltese a literary language by adapting the Arabic characters to record it in print. This failed for several reasons, the foremost being that the language was not Arabic but Phoenician, and because professors and teachers, whose personal ascendancy was based on the official prominence of Italian, did not realize that educational institutions existed for the rising generation rather than to provide salaries for alien teachers and men behind the times. Various educational schemes were proposed, but they were easier to propose than to carry into effect: no one, except Mr Savona, had the ability to urge English as the basis of instruction, and he agitated and was installed as director of education and made a member of the Executive. The obstruction which he encountered alarmed him, and he compromised by adopting a mixed system of both English and Italian, _pari passu_, as the basis of Maltese education; he resigned after a brief effort. Mr Savona's attempt to teach the Maltese children simultaneously two foreign languages (of which they were quite ignorant, and their teachers only partially conversant) without first teaching how to read and write the native Maltese systematically was continued for some years under an eminent archaeologist, Dr A. A. Caruana, who became Director of Education. He began to give some preference to English indirectly. On his resignation Sir G. Strickland established a new system of education based on the principle of beginning from the bottom, by teaching to read and write in Maltese as the medium for assimilating, at a further stage, either English or Italian, one at a time, and aiming at imparting general knowledge in colloquial English. A series of school books, in the Maltese language printed in Roman characters, with translations in English interlined in different type, was produced at the government printing office and sold at cost price. The parents and guardians were called upon to select whether each child should learn English or Italian next after learning reading, writing and arithmetic in Maltese. About 89% recorded their preference in favour of English at the outset; then, as a result of violent political agitation, this percentage was considerably lowered, but soon crept up again. Teachers and professors who were weak in English, lawyers, newspaper men and others, combined to deprive these reforms of their legitimate consequence, viz. that after a number of years English should be the language of the courts as well as of education, and to protect those belonging to the old order of knowledge from the competition of young Maltese better educated than themselves, whose rapid rise everywhere would be assured by knowing English thoroughly. An order in council was enacted in 1899 providing that no Maltese (except students of theology) should thenceforth suffer any detriment through inability to pass examinations in Italian, in either the schools or university, but the fraction of the Maltese who claim to speak Italian (13.24%) still command sufficient influence to hamper the full enjoyment of this emancipation by the majority. In the university most of the textbooks used are English, nevertheless many of the lectures are still delivered in Italian--for the convenience of some professors or to please the politicians, rather than for the benefit of the students. The number of students who enter the university without passing any examination in Italian is rapidly increasing; the longer the period of transition, the greater the detriment to the rising generation. Entry: MALTA
But the July Government, born as it was of a popular movement, had to make concessions to popular demands. Casimir Périer had carried a law dealing with municipal organization, which made the municipal councils elective, as they had been before the year VIII.; and in 1833 Guizot had completed it by making the _conseils généraux_ also elective. In the same year the law dealing with primary instruction had also shown the mark of new ideas. But now that the bourgeoisie was raised to power it did not prove itself any more liberal than the aristocracy of birth and fortune in dealing with educational, fiscal and industrial questions. In spite of the increase of riches, the bourgeois régime maintained a fiscal and social legislation which, while it assured to the middle class certainty and permanence of benefits, left the labouring masses poor, ignorant, and in a state of incessant agitation. Entry: A
IBSEN, HENRIK (1828-1906), Norwegian dramatic and lyric poet, eldest son of Knud Henriksen Ibsen, a merchant, and of his wife Marichen Cornelia Altenburg, was born at Skien on the 20th of March 1828. For five generations the family had consisted on the father's side of a blending of the Danish, German and Scottish races, with no intermixture of pure Norwegian. In 1836 Knud Ibsen became insolvent, and the family withdrew, in great poverty, to a cottage in the outskirts of the town. After brief schooling at Skien, Ibsen was, towards the close of 1843, apprenticed to an apothecary in Grimstad; here he remained through seven dreary years of drudgery, which set their mark upon his spirit. In 1847, in his nineteenth year, he began to write poetry. He made a gloomy and almost sinister impression upon persons who met him at this time, and one of his associates of those days has recorded that Ibsen "walked about Grimstad like a mystery sealed with seven seals." He had continued, by assiduous reading, his self-education, and in 1850 he contrived to come up as a student to Christiania. In the same year he published his first work, the blank-verse tragedy of _Catilina_, under the pseudonym Brynjolf Bjarme. A second drama, _The Viking's Barrow_, was acted (but not printed) a few months later; Ibsen was at this time entirely under the influence of the Danish poet Oehlenschläger. During the next year or two he made a very precarious livelihood in Christiania as a journalist, but in November 1851 he had the good fortune to be appointed "stage-poet" at the little theatre of Bergen, with a small but regular salary. He was practically manager at this house, and he also received a travelling stipend. In 1852, therefore, he went for five months to study the stage, to Copenhagen and to Dresden. Among many dramatic experiments which Ibsen made in Bergen, the most considerable and most satisfactory is the saga-drama of _Mistress Inger at Östraat_, which was produced in 1855; and printed at Christiania in 1857; here are already perceptible some qualities of his mature character. Much less significant, although at the time more successful, is _The Feast at Solhaug_, a tragedy produced in Bergen in 1856; here for a moment Ibsen abandoned his own nascent manner for an imitation of the popular romantic dramatist of Denmark, Henrik Hertz. It is noticeable that Ibsen, by far the most original of modern writers for the stage, was remarkably slow in discovering the true bent of his genius. His next dramatic work was the romantic tragedy of _Olaf Liljekrans_, performed in 1857, but unprinted until 1898. This was the last play Ibsen wrote in Bergen. In the summer of the former year his five years' appointment came to an end, and he returned to Christiania. Almost immediately he began the composition of a work which showed an extraordinary advance on all that he had written before, the beautiful saga-drama of _The Warriors in Helgeland_, in which he threw off completely the influence of the Danish romantic tragedians, and took his material directly from the ancient Icelandic sources. This play marks an epoch in the development of Norwegian literature. It was received by the managers, both in Christiania and Copenhagen, with contemptuous disapproval, and in the autumn of 1857 Ibsen could not contrive to produce it even at the new theatre of which he was now the manager. _The Warriors_ was printed at Christiania in 1858, but was not acted anywhere until 1861. During these years Ibsen suffered many reverses and humiliations, but he persisted in his own line in art. Some of his finest short poems, among others the admirable seafaring romance, _Terje Vigen_, belong to the year 1860. The annoyances which Ibsen suffered, and the retrograde and ignorant conditions which he felt around him in Norway, developed the ironic qualities in his genius, and he became an acid satirist. The brilliant rhymed drama, _Love's Comedy_, a masterpiece of lyric wit and incisive vivacity, was published in 1862. This was a protest against the conventionality which deadens the beauty of all the formal relations between men and women, and against the pettiness, the publicity, and the prosiness of betrothed and married life among the middle classes in Norway; it showed how society murders the poetry of love. For some time past Ibsen had been meditating another saga-drama in prose, and in 1864 this appeared, _Kongsemnerne_ (The Pretenders). These works, however, now so universally admired, contained an element of strangeness which was not welcome when they were new. Ibsen's position in Christiania grew more and more disagreeable, and he had positive misfortunes which added to his embarrassment. In 1862 his theatre became bankrupt, and he was glad to accept the poorly-paid post of "aesthetic adviser" at the other house. An attempt to obtain a poet's pension (_digtergage_) was unsuccessful; the Storthing, which had just voted one to Björnson, refused to do the same for Ibsen. His cup was full of disillusion and bitterness, and in April 1864 he started, by Berlin and Trieste, ultimately to settle in Rome. His anger and scorn gave point to the satirical arrows which he shot back to his thankless fatherland from Italy in the splendid poem of _Brand_, published in Copenhagen in 1866, a fierce attack on the Laodicean state of religious and moral sentiment in the Norway of that day; the central figure, the stern priest Brand, who attempts to live like Christ and is snubbed and hounded away by his latitudinarian companions, is one of the finest conceptions of a modern poet. Ibsen had scarcely closed _Brand_ before he started a third lyrico-dramatic satire. _Peer Gynt_ (1867), which remains, in a technical sense, the most highly finished of all his metrical works. In _Brand_ the hero had denounced certain weaknesses which Ibsen saw in the Norwegian character, but these and other faults are personified in the hero of _Peer Gynt_; or rather, in this figure the poet pictured, in a type, the Norwegian nation in all the egotism, vacillation, and lukewarmness which he believed to be characteristic of it. Ibsen, however, acted better than he preached, and he soon forgot his abstraction in the portrait of Peer Gynt as a human individual. In this magnificent work modern Norwegian literature first rises to a level with the finest European poetry of the century. In 1869 Ibsen wrote the earliest of his prose dramas, the political comedy, _The Young Men's League_, in which for the first time he exercised his extraordinary gift for perfectly natural and yet pregnant dialogue. Ibsen was in Egypt, in October 1869, when his comedy was put on the stage in Christiania, amid violent expressions of hostility; on hearing the news, he wrote his brilliant little poem of defiance, called _At Port Saïd_. By this time, however, he had become a successful author; _Brand_ sold largely, and has continued to be the most popular of Ibsen's writings. In 1866, moreover, the Storthing had been persuaded to vote him a "poet's pension," and there was now an end of Ibsen's long struggle with poverty. In 1868 he left Rome, and settled in Dresden until 1874, when he returned to Norway. But after a short visit he went back to Germany, and lived first at Dresden, afterwards at Munich, and did not finally settle in Christiania until 1891. His shorter lyrical poems were collected in 1871, and in that year his name and certain of his writings were for the first time mentioned to the English public. At this time he was revising his old works, which were out of print, and which he would not resign again to the reading world until he had subjected them to what in some instances (for example, _Mistress Inger at Östraat_) amounted to practical recomposition. In 1873 he published a double drama, each part of which was of unusual bulk, the whole forming the tragedy of _Emperor and Galilean_; this, Ibsen's latest historical play, has for subject the unsuccessful struggle of Julian the Apostate to hold the world against the rising tide of Christianity. The work is of an experimental kind, and takes its place between the early poetry and the later prose of the author. Compared with the series of plays which Ibsen had already inaugurated with _The Young Men's League_, _Emperor and Galilean_ preserves a colour of idealism and even of mysticism which was for many years to be absent from Ibsen's writings, but to reappear in his old age with _The Master-builder_. There is some foundation for the charge that Ibsen has made his romantic Greek emperor needlessly squalid, and that he has robbed him, at last, too roughly of all that made him a sympathetic exponent of Hellenism. Ibsen was now greatly occupied by the political spectacle of Germany at war first in Denmark, then in France, and he believed that all things were conspiring to start a new epoch of individualism. He was therefore deeply disgusted by the Paris commune, and disappointed by the conservative reaction which succeeded it. This disillusion in political matters had a very direct influence upon Ibsen's literary work. It persuaded him that nothing could be expected in the way of reform from democracies, from large blind masses of men moved capriciously in any direction, but that the sole hope for the future must lie in the study of personality, in the development of individual character. He set himself to diagnose the conditions of society, which he had convinced himself lay sick unto death. Hitherto Ibsen had usually employed rhymed verse for his dramatic compositions, or, in the case of his saga-plays, a studied and artificial prose. Now, in spite of the surprising achievements of his poetry, he determined to abandon versification, and to write only in the language of everyday conversation. In the first drama of this his new period, _The Pillars of Society_ (1877), he dealt with the problem of hypocrisy in a small commercial centre of industry, and he drew in the Bernick family a marvellous picture of social egotism in a prosperous seaport town. There was a certain similarity between this piece and _A Doll's House_ (1879), although the latter was much the more successful in awakening curiosity. Indeed, no production of Ibsen's has been so widely discussed as this, which is nevertheless not the most coherently conceived of his plays. Here also, social hypocrisy, was the object of the playwright's satire, but this time mainly in relation to marriage. In _A Doll's House_ Ibsen first developed his views with regard to the individualism of woman. In his previous writings he had depicted woman as a devoted and willing sacrifice to man; here he begins to explain that she has no less a duty to herself, and must keep alive her own conception of honour and of responsibility. The conclusion of _A Doll's House_ was violently and continuously discussed through the length and breadth of Europe, and to the situation of Nora Helmer is probably due more than to anything else the long tradition that Ibsen is "immoral." He braved convention still more audaciously in _Ghosts_ (1881), perhaps the most powerful of the series of plays in which Ibsen diagnoses the diseases of modern society. It was received in Norway with a tumult of ill-will, and the author was attacked no less venomously than he had been twenty years before. Ibsen was astonished and indignant at the reception given to _Ghosts_, and at the insolent indifferentism of the majority to all ideas of social reform. He wrote, more as a pamphlet than as a play, what is yet one of the most effective of his comedies, _An Enemy of the People_ (1882). Dr Stockmann, the hero of that piece, discovers that the drainage system of the bathing-station on which the little town depends is faulty, and the water impure and dangerous. He supposes that the corporation will be grateful to have these deficiencies pointed out; on the contrary, they hound him out of their midst as an "enemy of the people." In this play occurs Ibsen's famous and typical saying, "a minority may be right--a majority is always wrong." This polemical comedy seemed at first to be somewhat weakened by the personal indignation which runs through it, but it has held the stage. Ibsen's next drama, _The Wild Duck_ (1884), was written in singular contrast with the zest and fire which had inspired _An Enemy of the People_. Here he is squalid and pessimistic to a degree elsewhere unparalleled in his writings; it is not quite certain that he is not here guilty of a touch of parody of himself. The main figure of the play is an unhealthy, unlucky enthusiast, who goes about making hopeless mischief by exposing weak places in the sordid subterfuges of others. This drama contains a figure, Hjálmar Ekdal, who claims the bad pre-eminence of being the meanest scoundrel in all drama. _The Wild Duck_ is the darkest, the least relieved, of Ibsen's studies of social life, and his object in composing it is not obvious. With _Rosmersholm_ (1886) he rose to the height of his genius again; this is a mournful, but neither a pessimistic nor a cynical play. The fates which hang round the contrasted lives of Rosmer and Rebecca, the weak-willed scrupulous man and the strong-willed unshrinking woman, the old culture and the new, the sickly conscience and the robust one, create a splendid dramatic antithesis. Ibsen then began to compose a series of dramas, of a more and more symbolical and poetic character; the earliest of these was the mystical _The Lady from the Sea_ (1888). At Christmas 1890 he brought out _Hedda Gabler_; two years later _The Master-builder_ (_Bygmester Solnaes_), in which many critics see the highest attainment of his genius; at the close of 1894 _Little Eyolf_; in 1896 _John Gabriel Borkman_; and in 1900 _When We Dead Awaken_. On the occasion of his seventieth birthday (1898) Ibsen was the recipient of the highest honours from his own country and of congratulations and gifts from all parts of the world. A colossal bronze statue of him was erected outside the new National Theatre, Christiania, in September 1899. In 1901 his health began to decline, and he was ordered by the physician to abandon every species of mental effort. The evil advanced, and he became unconscious of the passage of events. After lingering in this sad condition he died, without suffering, on the 23rd of May 1906, and was accorded a public funeral, with the highest national honours. Entry: IBSEN