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Rh some aspect of the picture. The identification, or what Vernon Lee has called empathy, may be almost infinitely subtle and symbolic. The mimicry may be performed without our being aware of it, and sometimes in a way that would horrify those sections of our personality which support our self-respect. In sophisticated people the participation may not be in the fate of the hero, but in the fate of the whole idea to which both hero and villain are essential. But these are refinements.

In popular representation the handles for identification are almost always marked. You know who the hero is at once. And no work promises to be easily popular where the marking is not definite and the choice clear. But that is not enough. The audience must have something to do, and the contemplation of the true, the good and the beautiful is not something to do. In order not to sit inertly in the presence of the picture, and this applies as much to newspaper stories as to fiction and the cinema, the audience must be exercised by the image. Now there are two forms of exercise which far transcend all others, both as to ease with which they are aroused, and eagerness with which stimuli for them are sought. They are sexual passion and fighting, and the two have so many associations with each other, blend into each other so intimately, that a fight about sex outranks every other theme in the breadth of its appeal. There is none so engrossing or so careless of all distinctions of culture and frontiers.