I do believe that man is a rope between animal and superman. But the superman I'm thinking of isn't Nietzsche's. The real superhuman, man or woman, is the person who's rid himself of all prejudices, neuroses, and psychoses, who realizes his full potential as a human being, who acts naturally on the basis of gentleness, compassion, and love, who thinks for himself and refuses to follow the herd. That's the genuine dyed-in-the-wool superman.
The arc of the moral universe is long, but it bends toward justice. [Speech, “Where Do We Go From Here?” by Martin Luther King, Jr. made to the Tenth Anniversary Convention of the Southern Christian Leadership Conference (S.C.L.C) in Atlanta on August 16, 1967. Dr. King projected in it the issues which led to Poor People’s March on Washington. From Foner, Philip S., The Voice of Black America: New York, 1972.] A nation that will keep people in slavery for 244 years will “thingify” them and make them things. And therefore, they will exploit them and poor people generally economically. And a nation that will exploit economically will have to have foreign investments and everything else, and it will have to use its military might to protect them. All of these problems are tied together. What I’m saying today is that we must go from this convention and say, “America, you must be born again! . . .[ Ibid .] What is needed is a realization that power without love is reckless and abusive, and love without power is sentimental and anemic. Power at its best is love implementing the demands of justice, and justice at its best is power correcting everything that stands against love. . . . [ Ibid .] Another basic challenge is to discover how to organize our strength in terms of economic and political power. [Ibid.] Power properly understood is nothing but the ability to achieve purpose. It is the strength required to bring about social, political and economic change. Walter Reuther defined power one day. He said, “Power is the ability of a labor union like the U.A.W. to make the most powerful corporation in the world, General Motors, say ‘Yes’ when it wants to say ‘No.’ That’s power.” [Ibid.] Now a lot of us are preachers, and all of us have our moral convictions and concerns, and so often have problems with power. There is nothing wrong with power if power is used correctly. [Ibid.] [A] host of positive psychological changes inevitably will result from widespread economic security. The dignity of the individual will flourish when the decisions concerning his life are in his own hands, when he has the means to seek self-improvement. Personal conflicts among husbands, wives and children will diminish when the unjust measurement of human worth on the scale of dollars is eliminated. [Ibid.] [T]he Movement must address itself to the question of restructuring the whole of American society. There are forty million poor people here. And one day we must ask the question, “Why are there forty million poor people in America?” And when you begin to ask that question, you are raising questions about the economic system, about a broader distribution of wealth. When you ask that question, you begin to question the capitalistic economy. And I’m simply saying that more and more, we’ve got to begin to ask questions about the whole society. We are called upon to help the discouraged beggars in life’s market place. But one day we must come to see that an edifice which produces beggars needs restructuring. It means that questions must be raised. You see, my friends, when you deal with this, you begin to ask the question, “Who owns the oil?” You begin to ask the question, “Who owns the iron ore?” [Ibid.] One night, a juror came to Jesus and he wanted to know what he could do to be saved. Jesus didn’t get bogged down in the kind of isolated approach of what he shouldn’t do. Jesus didn’t say, “Now Nicodemus, you must stop lying.” He didn’t say, “Nicodemus, you must stop cheating if you are doing that.” He didn’t say, “Nicodemus, you must not commit adultery.” He didn’t say, “Nicodemus, now you must stop drinking liquor if you are doing that excessively.” He said something altogether different, because Jesus realized something basic – that if a man will lie, he will steal. And if a man will steal, he will kill. So instead of just getting bogged down in one thing, Jesus looked at him and said, “Nicodemus, you must be born again.” He said, in other words, “Your whole structure must be changed.” A nation that will keep people in slavery for 244 years will “thingify” them — make them things. Therefore they will exploit them, and poor people generally, economically. And a nation that will exploit economically will have to have foreign investments and everything else, and will have to use its military might to protect them. All of these problems are tied together. What I am saying today is that we must go from this convention and say, “America, you must be born again!” [Ibid.] [L]et us go out with a “divine dissatisfaction.” Let us be dissatisfied until America will no longer have a high blood pressure of creeds and an anemia of deeds. Let us be dissatisfied until the tragic walls that separate the outer city of wealth and comfort and the inner city of poverty and despair shall be crushed by the battering rams of the forces of justice. Let us be dissatisfied until those that live on the outskirts of hope are brought into the metropolis of daily security. Let us be dissatisfied until slums are cast into the junk heaps of history, and every family is living in a decent sanitary home. Let us be dissatisfied until the dark yesterdays of segregated schools will be transformed into bright tomorrows of quality, integrated education. Let us be dissatisfied until integration is not seen as a problem but as an opportunity to participate in the beauty of diversity. Let us be dissatisfied until men and women, however black they may be, will be judged on the basis of the content of their character and not on the basis of the color of their skin. Let us be dissatisfied. Let us be dissatisfied until every state capitol houses a governor who will do justly, who will love mercy and who will walk humbly with his God. Let us be dissatisfied until from every city hall, justice will roll down like waters and righteousness like a mighty stream. Let us be dissatisfied until that day when the lion and the lamb shall lie down together. and every man will sit under his own vine and fig tree and none shall be afraid. Let us be dissatisfied. And men will recognize that out of one blood God made all men to dwell upon the face of the earth. Let us be dissatisfied until that day when nobody will shout “White Power!” — when nobody will shout “Black Power!” — but everybody will talk about God’s power and human power. [Ibid.]
Higgeldy Piggeldy, Hamlet of Elsinore Ruffled the critics by Dropping this bomb: "Phooey on Freud and his
Oedipus, Shmoedipus,
I just love Mom."
"Yes, one day perhaps the leading intellects of Russia and of Europe will study the psychology of Russian crime, for the subject is worth it. But this study will come later, at leisure, when all the tragic topsy-turvydom of to-day is farther behind us, so that it's possible to examine it with more insight and more impartiality than I can do. Now we are either horrified or pretend to be horrified, though we really gloat over the spectacle, and love strong and eccentric sensations which tickle our cynical, pampered idleness. Or, like little children, we brush the dreadful ghosts away and hide our heads in the pillow so as to return to our sports and merriment as soon as they have vanished. But we must one day begin life in sober earnest, we must look at ourselves as a society; it's time we tried to grasp something of our social position, or at least to make a beginning in that direction.
Here Ippolit Kirillovitch passed to a detailed description of all Mitya's efforts to borrow the money. He described his visit to Samsonov, his journey to Lyagavy. "Harassed, jeered at, hungry, after selling his watch to pay for the journey (though he tells us he had fifteen hundred roubles on him--a likely story), tortured by jealousy at having left the object of his affections in the town, suspecting that she would go to Fyodor Pavlovitch in his absence, he returned at last to the town, to find, to his joy, that she had not been near his father. He accompanied her himself to her protector. (Strange to say, he doesn't seem to have been jealous of Samsonov, which is psychologically interesting.) Then he hastens back to his ambush in the back gardens, and there learns that Smerdyakov is in a fit, that the other servant is ill--the coast is clear and he knows the 'signals'--what a temptation! Still he resists it; he goes off to a lady who has for some time been residing in the town, and who is highly esteemed among us, Madame Hohlakov. That lady, who had long watched his career with compassion, gave him the most judicious advice, to give up his dissipated life, his unseemly love-affair, the waste of his youth and vigor in pot-house debauchery, and to set off to Siberia to the gold- mines: 'that would be an outlet for your turbulent energies, your romantic character, your thirst for adventure.' "
_Fiction_.--Although novels are not regarded as an integral part of literature proper, it is generally conceded that some novels may be profitably studied, if for no other reason, from the point of view of style. With the novel, however, we are no longer on perfectly safe ground in regard to that decency which characterizes, as has been above stated, the vast mass of Chinese literature. Chinese novels range, in this sense, from the simplest and most unaffected tale of daily life, down to low--not the lowest--depths of objectionable pornography. The _San Kuo Chih_, an historical romance based upon a period of disruption at the close of the 2nd century A.D., is a delightful book, packed with episodes of battle, heroism, self-sacrifice, skilful strategy, and all that goes to make up a stirring picture of strenuous times. Its author, who might almost have been Walter Scott, cannot be named for certain; but the work itself probably belongs to the 13th century, a date at which the novel begins to make its appearance in China. Previous to that time, there had been current an immense quantity of stories of various kinds, but nothing like a novel, as we understand the term. From the 13th century onwards, the growth of the novel was continuous; and finally, in the 17th century, a point was reached which is not likely to be surpassed. The _Hung Lou Mêng_, the author of which took pains, for political reasons, to conceal his identity, is a creation of a very high order. Its plot is intricate and original, and the _dénouement_ startlingly tragic. In the course of the story, the chief clue of which is love, woven in with intrigue, ambition, wealth, poverty, and other threads of human life, there occur no fewer than over four hundred characters, each one possessed of a distinctive personality drawn with marvellous skill. It contains incidents which recall the licence tolerated in Fielding; but the coarseness, like that of Fielding, is always on the surface, and devoid of the ulterior suggestiveness of the modern psychological novel. But perhaps no work of fiction has ever enjoyed such vogue among literary men as a collection of stories, some graceful, some weird, written in 1679 by P'u Sungling, a disappointed candidate at the public examinations. This collection, known as the _Liao Chai_, is exceedingly interesting to the foreign student for its sidelights on folklore and family life; to the native scholar, who professes to smile at the subject-matter as beyond the pale of genuine literature, it is simply invaluable as an expression of the most masterly style of which his language is capable. Entry: 9
_Transubstantiation_.--In the primitive age no one asked how Christ was present in the Eucharist, or how the elements became his body and blood. The Eucharist formed part of an _agapé_ or love feast until the end of the 2nd century, and in parts of Christendom continued to be so much later. It was, save where animal sacrifices survived, _the_ Christian sacrifice, _par excellence_, the counterpart for the converted of the sacrificial communions of paganism; and though charged with higher significance than these, it yet reposed on a like background of religious usage and beliefs. But when the Agapé on one side and paganism on the other receded into a dim past, owing to the enhanced sacrosanctity of the Eucharist and because of the severe edicts of the emperor Theodosius and his successors, the psychological background fell away, and the Eucharist was left isolated and hanging in the air. Then men began to ask themselves what it meant. Rival schools of thought sprang up, and controversy raged over it, as it had aforetime about the _homoousion_, or the two natures. Thus the sacrament which was intended to be a bond of peace, became a chief cause of dissension and bloodshed, and was often discussed as if it were a vulgar talisman. Entry: 6
Thus, on the whole, the impressive earnestness with which Clarke enforces the doctrine of rational morality only rendered more manifest the difficulty of establishing ethics on an independent philosophical basis; so long at least as the psychological egoism of Hobbes is not definitely assailed and overthrown. Until this is done, the utmost demonstration of the abstract reasonableness of social duty only leaves us with an irreconcilable antagonism between the view of abstract reason and the self-love which is allowed to be the root of man's appetitive nature. Let us grant that there is as much intellectual absurdity in acting unjustly as in denying that two and two make four; still, if a man has to choose between absurdity and unhappiness, he will naturally prefer the former; and Clarke, as we have already seen, is not really prepared to maintain that such preference is irrational.[30] Entry: C
The third poet among the followers of the new school was Cino da Pistoia, of the family of the Sinibuldi. His love poems are so sweet, so mellow and so musical that they are only surpassed by Dante. The pains of love are described by him with vigorous touches; it is easy to see that they are not feigned but real. The psychology of love and of sorrow nearly reaches perfection. Entry: 2
ERSKINE, THOMAS, of Linlathen (1788-1870), Scottish theologian, youngest son of David Erskine, writer to the signet in Edinburgh, and of Anne Graham, of the Grahams of Airth, was born on the 13th of October 1788. He was a descendant of John, 1st or 6th earl of Mar, regent of Scotland in the reign of James VI., a grandson of Colonel John Erskine of Carnock. After being educated at the high school of Edinburgh and at Durham, he attended the literary and law classes at the university of Edinburgh, and becoming in 1810 a member of the Edinburgh faculty of advocates, he for some time enjoyed the intimate acquaintance of Cockburn, Jeffrey, Scott and other distinguished men whose talent then lent lustre to the Scottish bar. In 1816 he succeeded to the family estate of Linlathen, near Dundee, and devoted himself to theology. The writings of Erskine, especially his published letters, are distinguished by a graceful style, and possess originality and interest. His theological views have a considerable similarity to those of Frederick Denison Maurice, who acknowledges having been indebted to him for his first true conception of the meaning of Christ's sacrifice. Erskine had little interest in the "historical criticism" of Christianity, and regarded as the only proper criterion of its truth its conformity or nonconformity with man's spiritual nature, and its adaptability or non-adaptability to man's spiritual needs. He considered the incarnation of Christ as the necessary manifestation to man of an eternal sonship in the divine nature, apart from which those filial qualities which God demands from man could have no sanction; by _faith_ as used in Scripture he understood to be meant a certain moral or spiritual activity or energy which virtually implied salvation, because it implied the existence of a principle of spiritual life possessed of an immortal power. This faith, he believed, could be properly awakened only by the manifestation, through Christ, of love as the law of life, and as identical with an eternal righteousness which it was God's purpose to bestow on every individual soul. As an interpreter of the mystical side of Calvinism and of the psychological conditions which correspond with the doctrines of grace Erskine is unrivalled. During the last thirty-three years of his life Erskine ceased from literary work. Among his friends were Madame Vernet, the duchess de Broglie, the younger Mdme de Stael, M. Vinet of Lausanne, Edward Irving, Frederick D. Maurice, Dean Stanley, Bishop Ewing, Dr John Brown and Thomas Carlyle. His wide influence was due to his high character and unassuming earnestness. He died at Edinburgh on the 20th of March 1870. Entry: ERSKINE
This substitution of hypothetical history for direct analysis of the moral sense is really older than the utilitarianism of Paley and Bentham, which it has so profoundly modified. The effects of association in modifying mental phenomena were noticed by Locke, and made a cardinal point in the metaphysic of Hume; who also referred to the principle slightly in his account of justice and other "artificial" virtues. Some years earlier, Gay,[45] admitting Hutcheson's proof of the actual disinterestedness of moral and benevolent impulses, had maintained that these (like the desires of knowledge or fame, the delight of reading, hunting and planting, &c.) were derived from self-love by "the power of association." But a thorough and systematic application of the principle to ethical psychology is first found in Hartley's _Observations on Man_ (1748). Hartley, too, was the first to conceive association as producing, instead of mere cohesion of mental phenomena, a quasi-chemical combination of these into a compound apparently different from its elements. He shows elaborately how the pleasures and pains of "imagination, ambition, self-interest, sympathy, theopathy, and the moral sense" are developed out of the elementary pleasures and pains of sensation; by the coalescence into really complex but apparently single ideas of the "miniatures" or faint feelings which the repetition of sensations contemporaneously or in immediate succession tends to produce in cohering groups. His theory assumes the correspondence of mind and body, and is applied _pari passu_ to the formation of ideas from sensations, and of "compound vibratiuncules in the medullary substance" from the original vibrations that arise in the organ of sense.[46] The same general view was afterwards developed with much vigour and clearness on the psychical side alone by James Mill in his _Analysis of the Human Mind_. The whole theory has been persistently controverted by writers of the intuitional school, who (unlike Hartley) have usually thought that this derivation of moral sentiments from more primitive feelings would be detrimental to the authority of the former. The chief argument against this theory has been based on the early period at which these sentiments are manifested by children, which hardly allows time for association to produce the effects ascribed to it. This argument has been met in recent times by the application to mind of the physiological theory of heredity, according to which changes produced in the mind (brain) of a parent, by association of ideas or otherwise, tend to be inherited by his offspring; so that the development of the moral sense or any other faculty or susceptibility of existing man may be hypothetically carried back into the prehistoric life of the human race, without any change in the manner of derivation supposed. At present, however, the theory of heredity is usually held in conjunction with Darwin's theory of natural selection; according to which different kinds of living things in the course of a series of generations come gradually to be endowed with organs, faculties and habits tending to the preservation of the individual or species under the conditions of life in which it is placed. Thus we have a new zoological factor in the history of the moral sentiments; which, though in no way opposed to the older psychological theory of their formation through coalescence of more primitive feelings, must yet be conceived as controlling and modifying the effects of the law of association by preventing the formation of sentiments other than those tending to the preservation of human life. The influence of the Darwinian theory, moreover, has extended from historical psychology to ethics, tending to substitute "preservation of the race under its conditions of existence" for "happiness" as the ultimate end and standard of virtue. Entry: J
Some foolish admirers have placed him on a level with Molière, but it will be enough to say that he was something better than a public _amuseur_. Many of his plays have been transferred to the English stage. They are, on the whole, as sound as they are entertaining. Love is practically absent from his theatre. In none of his plays did he ever venture into the depths of feminine psychology, and womankind is only represented in them by pretentious old maids and silly, insipid, almost dumb, young ladies. He ridiculed marriage according to the invariable custom of French playwrights, but in a friendly and good-natured manner which always left a door open to repentance and timely amendment. He is never coarse, never suggestive. After he died the French farce, which he had raised to something akin to literature, relapsed into its former grossness and unmeaning complexity. (A. Fi.) Entry: LABICHE
In November 1881 there died a youth named Jacques Perk (1860-1881), who had done no more than publish a few sonnets in the _Spectator_, a journal published by Vosmaer. He was no sooner dead, however, than his posthumous poems, and in particular a cycle of sonnets called _Mathilde_, were published (1882), and awakened extraordinary emotion. Perk had rejected all the formulas of rhetorical poetry, and had broken up the conventional rhythms. There had been heard no music like his in Holland for two hundred years. A group of young men, united in a sort of esoteric adoration of the memory of Perk, collected around his name. They joined to their band a man somewhat older than themselves, Marcellus Emants (born 1848), poet, novelist and dramatist, who had come forward in 1879 with a symbolical poem called _Lilith_, which had been stigmatized as audacious and meaningless; encouraged by the admiration of his juniors, Emants published in 1881 a treatise on _Young Holland_, in the form of a novel in which the first open attack was made on the old school. The next appearance was that of Willem Kloos (born 1857), who had been the editor and intimate friend of Perk, and who now undertook to lead the army of rebellion. His violent attacks on recognized authority in aesthetics began in 1882, and created a considerable scandal. For some time, however, the new poets and critics found a great difficulty in being heard, since all the channels of periodical literature were closed to them. But in 1883 Emants expressed his intellectual aspirations in his poem _The Twilight of the Gods_, and in 1884 the young school founded a review, _De Nieuwe Gids_, which was able to offer a direct challenge to _De Gids_, the ultra-respectable Dutch quarterly. In this year a new element was introduced: hitherto the influences of the young Dutch poetry had chiefly come from England; they were those of Shelley, Mrs Browning, the Rossettis. In 1884 Frans Netscher began to imitate with avidity the French naturalists. For some time, then, the new Dutch literature became a sort of mixture of Shelley and Zola, very violent, heady and bewildering. In 1885 the _Persephone and other Poems_ of Albert Verwey (b. 1865) introduced a lyrical poet of real merit to Holland; Emants published his novel _Goudakker's Illusions_. This was the great flowering moment of the new school. It was at this juncture that the principal recent writer of Holland, Louis Couperus (b. 1863), made his first definite appearance. Born in the Hague, the opening years of his boyhood were spent in Java, and he had preserved in all his nature a certain tropical magnificence. In 1884 a little volume of lyrics, and in 1886 the more important _Orchids_, showed in Couperus a poet whose sympathies were at first entirely with the new school. But he was destined to be a novelist, and his earliest story, _Eline Vere_ (1889), already took him out of the ranks of his contemporaries. In 1890 he published _Destiny_ (known as _Footsteps of Fate_ in the English version), and in 1892 _Ecstasy_. This was followed in 1894 by _Majesty_, in 1896 by _World-wide Peace_, in 1898 by _Metamorphosis_, a delicate study of character, in 1899 by Fidessa, in 1901 by _Quiet Force_, and in 1902 by the first volume of a tetralogy called _The Books of Small Souls_. Of all these later books, some of which have been translated into English, by Couperus, it is perhaps _Ecstasy_ in which the peculiar quality of his work is seen at present to the greatest advantage. This is an extreme sensitiveness to psychological phenomena, expressed in terms of singular delicacy and beauty. The talent of Couperus is like a rich but simple tropical flower laden with colour and odour. He separated himself, as he developed, from the more fanatical members of the group, and addressed himself to the wider public. Another writer, of a totally different class, resembling Couperus only in his defiance of the ruling system of aesthetics, is the prominent Ultramontane politician and bishop, E.J.A.M. Schaepmann (born 1844), whose poem of _Aja Sofia_ originally appeared in 1886. Recent novelists of some polemical vigour are H. Borel and van Hulzen. A very delightful talent was revealed by Frederick van Eeden in _Little Johnny_ (1887), a prose fairy-tale; in _Ellen_ (1891), a cycle of mysterious and musical elegies; and in _From the Cold Pools of Death_ (1901), a very melancholy novel. Another poet of less refinement of spirit, but even greater sumptuousness of form, appeared in Helène Swarth-Lapidoth (born 1859), whose _Pictures and Voices_ belongs to 1887. In that year also, in which Dutch literature reached its height of fecundity, was published the powerful and scandalous naturalistic novel, _A Love_, by L. van Deyssel (K.J.L. Alberdingk Thijm) who had hitherto been known chiefly as a most uncompromising critic. After 1887 the condition of modern Dutch literature remained comparatively stationary, and within the last decade of the 19th century was definitely declining. In 1889, it is true, a new poet Herman Gorter, made his appearance with a volume of strange verses called _May_, eccentric both in prosody and in treatment. He held his own without any marked advance towards lucidity or variety. Since the recognition of Gorter, however, no really remarkable talent has made itself prominent in Dutch poetry, unless we except P.C. Boutens, whose _Verses_ in 1898 were received with great respect. Willem Kloos, still the acute and somewhat turbulent leader of the school, collected his poems in 1894 and his critical essays in 1896. L. van Deyssel, though an effective reviewer, continued to lack the erudition which years should have brought to him. Gorter remained tenebrous, Helène Swarth-Lapidoth still gorgeous; the others, with the exception of Couperus, showed symptoms of sinking into silence. The entire school, now that the struggle for recognition is over, and its members are accepted as little classics and the tyrants of taste, rests on its triumphs and seems to limit itself to a repetition of its old experiments. The leading dramatist of the close of the century was Hermann Heijermans (b. 1864), a Jew of strong realistic and socialistic tendencies, and the author of innumerable gloomy plays. His _Ghetto_ (1898) and _Ora et Labora_ (1901) particularly display his peculiar talent. Other notable products of drama are those of de Koo, whose _Tobias Bolderman_ (1900) and _Vier Ton_ (1901) are effective comedies. Dutch literature presented features of remarkable interest between 1882 and 1888, but since that time the general heightening of the average of merit, the abandonment of the old dry conventions, and a recognition of the artistic value of words and forms, are more evident to a foreign observer than any very important single expression of the national genius in literary art. An exception should be made in favour of the powerful peasant-stories of Steijn Streuvels (Frank Lateur), a young baker by trade, whose _Summer Land_ (1901) was a most promising production. Entry: A