tag="{http://www.w3.org/1999/xhtml}a">105
| As we can see exemplified in the case of Othello and Desdemona, etc. |
107 |
| The kind and not the degree of the love is what gives love its special value |
108 |
| And the selection of this kind can be neither made nor justified on positive principles |
109 |
| As the following quotations from Théophile Gautier will show us |
110 |
| Which are supposed by many to embody the true view of love |
110 |
| According to this view, purity is simply a disease both in man and woman, or at any rate no merit |
116 |
| If love is to be a moral end, this view must be absolutely condemned |
117 |
| But positivism cannot condemn it, or support the opposite view |
117 |
| As we shall see by recurring to Professor Huxley's argument |
118 |
| Which will show us that all moral language as applied to love is either distinctly religious or else altogether ludicrous |
122 |
| For it is clearly only on moral grounds that we can give that blame to vice, which is the measure of the praise we give to virtue |
123 |
| The misery of the former depends on religious anticipations |
124 |
| And so does also the blessedness of the latter |
125 |
| As we can see in numerous literary expressions of it |
126 |
| Positivism, by destroying these anticipations, changes the whole character of the love in question |
128 |
| And prevents love from supplying us with any moral standard |
131 |
| The loss sustained by love will indicate the general loss sustained by life |
131 |
CHAPTER VI.
LIFE AS ITS OWN REWARD.
| We must now examine what will be the practical result on life in general of the loss just indicated |
132 |
| To do this, we will take life as reflected in the mirror of the great dramatic art of the world |
134 |
| And this will show us how the moral judgment is the chief faculty to which all that is great or intense in this art appeals |
136 |
| We shall see this, for instance, in Macbeth |
137 |
| In Hamlet |
137 |
| In Antigone |
137 |
| In Measure for Measure, and in Faust |
138 |
| And also in degraded art just as well as in sublime art |
139 |
| In profligate and cynical art, such as Congreve's |
140 |
| And in concupiscent art |
141 |
| Such as Mademoiselle de Maupin |
|
