sentence, of course, is not a definition, since it
merely repeats the word to be explained; and therefore, if we wish to find
out whether or not an unpleasant play is of any real service in the
theatre, we shall have to do some thinking of our own.

It is an axiom that all things in the universe are interesting. The word
_interesting_ means _capable of awakening some activity of human mind_; and
there is no imaginable topic, whether pleasant or unpleasant, which is not,
in one way, or another, capable of this effect. But the activities of the
human mind are various, and there are therefore several different sorts of
interest. The activity of mind awakened by music over waters is very
different from that awakened by the binomial theorem. Some things interest
the intellect, others the emotions; and it is only things of prime
importance that interest them both in equal measure. Now if we compare the
interest of pleasant and unpleasant topics, we shall see at once that the
activity of mind awakened by the former is more complete than that awakened
by the latter. A pleasant topic not only interests the intellect but also
elicits a positive response from the emotions; but most unpleasant topics
are positively interesting to the intellect alone. In so far as the
emotions respond at all to an unpleasant topic, they respond usually with a
negative activity. Regarding a thing which is unpleasant, the healthy mind
will feel aversion--which is a negative emotion--or else will merely think
about it with no feeling whatsoever. But regarding a thing which is
pleasant, the mind may be stirred through the entire gamut of positive
emotions, rising ultimately to that supreme activity which is Love. This
is, of course, the philosophic reason why the thinkers of pleasant thoughts
and dreamers of beautiful dreams stand higher in history than those who
have thought unpleasantness and have imagined woe.

Returning now to that clever title of Mr. Shaw's, we may define an
unpleasant play as one which interests the intellect without at the same
time awakening a positive response from the emotions; and we may define a
pleasant play as one which not only stimulates thought but also elicits
sympathy. To any one who has thoroughly considered the conditions governing
theatric art, it should be evident _a priori_ that pleasant plays are
better suited for service in the theatre than unpleasant plays. This truth
is clearly illustrated by the facts of Mr.