SHAKESPEARE AND PSYCHOGNOSTS 65 



least tried to be objective, and I believe the method will prevail. By 

 its use a great body of valuable knowledge could be extracted from 

 writers like Balzac and Moliere, which would go far to furnish content 

 to the bald abstractions of a worn-out theoretical ethics, and to make the 

 homilies of lecturers on " practical " ethics broader and more helpful. 



But Shakespeare's facts about human nature are reahties to the 

 psychologist, because of the three hundred years' endorsation of all 

 the thinking races, and in this sense his specimens are as valid as those 

 of the botanist ortheHthologist. We may accordingly study his book in 

 the confidence that what we can say of it truthfully will be received as 

 a real contribution to Psychognosis. 



The results of this study of the minor characters have proved such 

 as to require me to offer a new reading of the whole play, which will 

 appear in later essays. The results for Psychognosis in general will 

 be considered in the last essay, and those not interested in the inductive 

 method nor in the meaning of The Tempest will do well to read that 

 essay only.' 



In conclusion let me say that Shakespeare, in the Tempest, has left 

 the world some thirteen types of human character, and some thirty types 

 of human situation, which he manifestly selects as the most clearly 

 distinguishable and important to the student of his kind. And it is not 

 at all improbable that this group of types is the most important chart 

 of the conduct of life that we possess. In my last paper I shall tabulate 

 these types. 



GoNZALO, A Type of Altruism 



The five acts are divided into nine scenes. Gonzalo appears in four of these, 

 the first, third, seventh, and ninth. His first speech is " Nay, good, be patient," 

 addressed to the boatswain, who has been ordering the Duke and the King below. 

 His first speech is a gentle remonstrance against the seaman's speech. His second 

 speech again recommends respect for the nobles; but it, too, is kindly and sym- 

 pathetic. After the boatswain's exit, Gonzalo makes a longer speech showing 



J My study of The Tempest has yielded only one definite scholium which I consider worth offering: 

 Act II, Sc. i., vss., 29s, 296. 



'And how does your content 



Tender your own good fortune? 

 This is like Macbeth's question to his hired assassins. 



It means: How does your patience present your fortune to you? Are you so patient as to think 

 yourself fortunate in your underling situation? Like all Antonio's speeches it is a sneer. Daniel's 

 alteration of the folio shows no regard for the subtle style of this character. 



