The scholar, the thinker, the man who stands aside from immediate action, may, often does, help the world of action in a far-reaching way. The researches of a Newton make possible eventually the feats of modern engineering and telegraphy; the abstruse study of the calculus helps to build bridges and skyscrapers.
Both types, in their extremes, have their weaknesses. The extremely practical man "may cut off the limb upon which he is sitting," or "see no further than the end of his nose." A really great administrator is not penny-wise; he thinks far ahead, around and into a problem. He is concerned for tomorrow as well as to-day. The contemplative man may come to be "sicklied o'er with the pale cast of thought." There is the hero of one Russian novel who reflects through three hundred pages on his wasted life, all at the ripe age of twenty-three.[1] The practical man gains width and insight by checking himself with reflection; the contemplative finds thought called home and made meaningful by contacts with the world. It was something of this balance which Plato had in mind when he insisted that his future philosopher-king should, after fifteen years' study, go for fifteen years into the "cave" or world to learn to deal with men and affairs. The "mere theorist" is often an absurd if not a dangerous character; the practical man may come to make the wheels go round without ever taking note of his direction.
[Footnote 1: Contchareff: Oblomoff.]
As pointed out in the beginning of this discussion, no one of these types is exclusively exemplified in any one individual. To be exclusively any one of these would be to be a caricature rather than a character.[2] But to be no one of these types to any degree at all is to be no character at all, is to be socially a nonentity, a minus quantity; it is to be determined by the vicissitudes of chance or circumstance; it is to be a succession of vacillations rather than a distinctive self-determined personality. Each of these types, moreover, if not extreme, has its specific excellences, and their various presence lends richness and diversity to social life.
[Footnote 2: Dickens's success lay, perhaps chiefly, in his ability to draw these unforgettable exaggerations, these outstanding types: "Micawber" waiting for something to turn up; the fiendish cruelty of "Bill Sikes"; the angelic self-effacement of "Little Nell"; the hypocritical "Mr. Pecksniff"; the gossipy "Sairy Gamp." He had a unique gift for representing psychological traits in large. The so-called psychological novelists like Meredith, trace a character through its moods and fluctuations, making truer, more composite, though less memorable characters.]
Emotions aroused in the maintenance of the self. These various types of self may be defended with bitterness and pertinacity, and in their support the most powerful emotions may be enlisted. As pointed out in connection with individuality in opinion, men may be willing to die for their beliefs. Similarly invasion of one's home, infringement or threat against what one regards as one's rights or one's possessions, whether physical or social, may be bitterly contested. And in this conflict in support of the integrity of the self, anger, hate, fear, submissiveness, all the nuances of emotion may be aroused. The themes of great tragedy are built largely on this theme of insistent selfhood. Any obstruction of the self-integrity one has set one's self may provoke a violent reaction. It may be interference with one's love, as in the case of Medea or Othello, the pain of ingratitude as in Lear, the conflict between "the lower and the higher self," as in the case of Macbeth's loyalty and his ambition. These are the staple materials of drama. In common experience, an insult to one's wife or friend, an obstacle placed in the way of one's professional career, deprivation of one's liberty or one's property, or one's unhindered "pursuit of happiness," are the provocations to violent emotions in the sustaining of the self. How violent or what form the reaction will take depends on the situation of the "self" involved. If one has been grossly insulted by another upon whom one is utterly dependent socially and economically, a rankling and impotent rage may be the only outlet. To a person gifted with humility, the disillusions of a false friendship may provoke nothing more than a deep but resigned disappointment. Where passion and determination run high, and retaliation is feasible, a violent hate may find violent fulfillment. In earlier and more bloodthirsty days, the dagger, the duel, and poison were, as illustrated in the history of the Borgias, ways of maintaining the self and venting one's anger or revenge. Even in modern society the still distressingly large number of crimes of violence may be traced in many, perhaps most cases, to blind and bitter hate. To any deep personal injury, hate, whether it takes overt form or not, is still the instinctive answer; just such hate as Euripides represents in the jealous Medea, when she, a barbarian captive among the Greeks, sees Jason, her lover, about to be married to a Greek princess:
"... But I, being citiless, am cast aside,
By him that wedded me, a savage bride.
. . . . .
Some path, if even now my hand can win,
Strength to requite this Jason for his sin,
Betray me not! Oh, in all things but this,
I know how full of fears a woman is,
And faints at need, and shrinking from the light
Of battle; but once spoil her of her right
In man's love, and there moves, I warn thee well,
No bloodier spirit between Heaven and Hell."[1]
[Footnote 1: Euripides: Medea (Gilbert Murray translation), p. 16.]
In defense of the self in its narrower or broader sense, courage and heroism may be displayed. The martyr will die rather than submit; there have been many to whom Patrick Henry's "Give me Liberty or give me death," was something more than rhetoric. The self for which we will fight, of course, varies. A spoilt child will go into a paroxysm of rage if its toy is taken away. Older people will fight for smaller or larger points of social position. There is the familiar citizen who will insist on his rights, often of a petty sort, in a hotel, theater, or department store. Or a man may display the last extremity of courage in defense of some ideal, as in a man's surrender of his life for his country. Something of the same heroism is displayed by individuals who stand out against their group in the face of ridicule or persecution. It is the general sympathy with the desire to preserve one's selfhood untarnished that gives point to Henley's lines:
"Out of the night that covers me,
Black as the pit from pole to pole,
I thank whatever gods may be
For my unconquerable soul.
. . . . .
"It matters not how strait the gate,
How charged with punishments the scroll,
I am the master of my fate,
I am the captain of my soul."[2]