TRAGEDIES OF THE STAGE.
"HAPPY ENDINGS" CRITICISED
Few delusions are more widespread than that which has particular reference to the so-called "happy ending." The mistake is natural, owing to the great novelty of psycho-analysis and of the truths which, by means of it, are emerging more and more into the light of modern psychology. The exploration of man's hidden, subconscious emotions has brought out clearly the need, if he is to be kept sane, of what the Greeks called "catharsis"— that is, a purging not only of the body, but of that combination of psychic states which we call the soul.
It is as dangerous to clog the mind with ideas, with fancies that check the flow of the stream of ideation, as it is to clog the alimentary canal with an objective impediment. Consciousness may be likened to a stream or a current, which ought to flow easily and naturally. A thought, an idea, a fancy which is held out of the main stream of consciousness— a repressed complex to use the technical term —may induce such maladies as hysteria, nervous prostration, and even insanity.
Now it is the function of tragedy to act as a temperamental emotional, psychic catharsis. "Tragedy attracts us," in the words of that able young student of psychology. Mr. Albert R. Chandler, "because it depicts situations which our suppressed complexes demand." Shakespeare, whose fame as a poet seems soon to be eclipsed by his greatness as a psychologist, realised this truth perfectly. He sets it down in "Hamlet" rather simply. The guilty king is to be wrought up to the pitch of confession by "a dumb show." Confession thus induced is in reality a blessing, because it releases the suppressed complex. We quote the words of that famous psychologist, Doctor Isador H. Coriat, who has paid special attention to the subject.
"It appears that the ancient Greeks were markedly free from hysteria, although the disease was well known to the Greek physicians, who had a vague conception of it as a form of erotic symbolism. Many of the conditions of furor depicted on the Greek stage were probably epilepsy and not hysteria, as even the excellent descriptions of Hippocrates did not clearly distinguish between the two diseases. Hysteria is the result of unconscious conflicts of complexes, but the Greek stage, by reason of its unique function as a kind of national catharsis, provided an outlet for these repressed conflicts, and therefore served as a protector of the national mental heath.
"It was for this reason that Aristotle defined the function of the tragedy as an aesthetic or emotional catharsis. Tragedy, therefore among the ancient Greeks, was of such a peculiar nature that it provided a channel into which their surplus or repressed emotions might easily flow. The Greek drama arose out of folk festivals dedicated to Dionysus and possessed a more or less sexual or erotic character. It is well known that sexual repressions are the greatest of all repressions and are pre-eminent in producing hysteria."
THE REPRESSED COMPLEX
Highly scientific, therefore, is the impulse of those women who crowd the theatres when plays of the highly emotional type, plays dealing with the problems of life, and of human experience in a spirit of realism, hold the stage. So much is evident in the light of the essay on the subject in the "Monist" by Mr. Chandler, whom we have to some extent, inadequately followed. The idea has been hitherto that audiences, especially the women, seek only as the phrase is, to "live vicariously." They long to observe guilt, passion, crime, as revealed by the mirror of the stage. They want to know what life is like. In reality the impulse is deeper. The personality craves a catharsis. Many plays subserve the purpose of psycho-analysis. They drive the repressed complex to the surface of consciousness by inducing confession, by affecting the spectator as the guilty king was affected through the "dumb show" conceived by Hamlet.
The whole play of "Hamlet," indeed, with its tragedy within a tragedy, shows how carefully Shakespeare has dived below the stream of human consciousness. Dr. Coriat would have us believe that Shakespeare was perhaps one of the greatest psychologists of all times. He understood the repressed complex even if he did not give it that name. To quote the words or Coriat:
"The relentless fate of Greek tragedy, of Hamlet, King Lear, Othello, Rosmersholm, also dominates the tragedy of Macbeth. In Lady Macbeth there is a constant battle between free will and determination. Determinism is triumphant because Lady Macbeth cannot emancipate herself from the suppressed complexes which inevitably led to her mental disorder. She thinks she chooses her actions, whereas in reality they are chosen for her by the unconscious complexes. Macbeth is likewise the victim of the same mental mechanism.
"This ethical relentlessness of the tragedy is due to the hysteria of Lady Macbeth, with its strong deterministic factors. Because Lady Macbeth in her somnambulistic state was different from Lady Macbeth in her waking condition, she suffered from a disintegration or a dissociation of the personality. In fact, it has been particularly pointed out by Morton Prince that all hysteria is a mental dissociation. Lady Macbeth's personality was doubled, normal and abnormal, alternating, but at the same time co-conscious. The dissociation resulted from repressed, unconscious emotional shock but to a series or repressed complexes"
AND EMOTIONAL REVULSIONS
It is obvious that a play in which the theme subserves no purpose of this kind— a play which cannot unburden the mind by a process of psycho-analysis— is not efficacious from a psychological point of view. The plot may be new, the situation laughable, the comedy brilliant, but it can have no such effect upon the nerves, the mind, the seat of disturbance, as a tragedy in the Shakespearean sense or in the Greek sense. "When laments are presented on the stage," to quote again Mr. Chandler, "our vitality is not depressed, for the disaster has not fallen upon us but our suppressed tendencies to emotional revulsions are satisfied." The whole modern attitude to tragedy is in great need of revision. We are beginning to perceive that the Greeks with their Euripides and their Aeschylus and the Elizabethans with their Shakespeare and their Marlowe were truer psychologists than are we. The tremendous tragedies of the Elizabethan stage account plausibly for the gay, optimistic, light-hearted spirit of the age. The greater freedom of the German stage in reflecting life as it is explains, seemingly, the cheerful temper of the Teutonic peoples not only at Berlin, but at Vienna.
It might be said that the tendency to acquire a complex, or rather to suppress a complex, is checked by familiarity with the supreme themes of tragedy on the stage. Complexes are in the main of the sexual type. It happens that the themes repressed on our stage have to do with the theme of sex. Now the great tragedy enables the beholder in reality to discuss his own griefs, his own loves, his own sexual repressions under cover of a discussion of the play which handles these themes. It is a form of confession. It may in the end induce the kind of psychological state which frees the spirit. The light thrown by these considerations upon literature and the stage is unexpected.
DRAMA MADE TO TEACH A LESSON.
In the creation of poetry, as in the creation of drama, two mental mechanisms are uniformly at work— an imaginary wish fulfilment, or a tendency in that direction and a repression of painful experiences and memories in to the unconscious. As Mr. Chandler presents the matter:
"The structure of tragedy is like the structure of a dream, since its fundamental motives are derived from the lower stratum and these motives are formed to express themselves in a guise acceptable to the upper stratum. The complexes which produce the dream are often survivals from the experiences of early childhood. So in the case of tragedy, the legends on which it is based have come down from the childhood of the race. And since each individual has to recapitulate the development of the race in his own development, these ancient legends remain significant to every generation.
"Tragedy may also be compared, not to the symptoms of hysteria, but to its cure. In the cathartic treatment of hysteria the purpose is to secure a vigorous emotional expression of the suppressed complex that shall drain off its energy and restore serenity to the mind as a whole. This is precisely what tragedy does for us. It furnishes an emotional outlet for our suppressed complexes. The relief which follows constitutes a sort of catharsis. "But the tragic catharsis is not merely relief; it also has a higher aspect, that of sublimation. Tragedy does not merely release the energy of the suppressed complexes, but turns it into more profitable channels. That is why tragedy gives us a sense of expansion and elevation, and makes us feel that our taste for it is not merely permissible but salutary.
"Many of the devices for conciliating the upper stratum consist in appealing to some of its component complexes.
"When disaster is depicted as due to moral or natural law, a strong appeal is made to our ethical and philosophical interests. It is vividly impressed upon us that man is mortal and must think thoughts that benefit morality, that revolt against the state brings disastrous results, and the violation of family ties is horrible in the extreme, that oracles are sure to be fulfilled at last, and that the gods must be reverenced. The drama is thus made to teach a lesson, but the lesson is effective only because the play has held the attention and stirred the imagination.
"When once the dramatist has us under his spell we are receptive to his message, but the spell of tragedy depends on its appeal to our suppressed complexes. It is they that furnish the energy which rivets our attention on the drama, which in turn embodies the message. A channel of discharge is thus established, leading from the suppressed complexes to those complexes of the upper stratum which centre in ethical and philosophical interests. The former are therefore made tributary to the latter. The lower complexes are relieved and the higher are strengthened and stimulated. Discord is replaced by harmony.
Evening News (Sydney, NSW : 1869 - 1931), Saturday 28 June 1913, page 16