[Footnote 17: See its psychology and dangers well pointed out by M.H. Small: Psychical Relations of Society and Solitude. Pedagogical Seminary, April, 1900, vol. 7, pp. 13-69] * * * * * CHAPTER VIII BIOGRAPHIES OF YOUTH Knightly ideals and honor--Thirty adolescents from Shakespeare--Goethe--C.D. Warner--Aldrich--The fugitive nature of adolescent experience--Extravagance of autobiographies--Stories that attach to great names--Some typical crazes--Illustrations from George Eliot, Edison, Chatterton, Hawthorne, Whittier, Spencer, Huxley, Lyell, Byron, Heine, Napoleon, Darwin, Martineau, Agassiz, Madame Roland, Louisa Alcott, F.H. Burnett, Helen Keller, Marie Bashkirtseff, Mary MacLane, Ada Negri, De Quincey, Stuart Mill, Jefferies, and scores of others. The knightly ideals and those of secular life generally during the middle ages and later were in striking contrast to the ascetic ideals of the early Christian Church; in some respects they were like those of the Greeks. Honor was the leading ideal, and muscular development and that of the body were held in high respect; so that the spirit of the age fostered conceptions not unlike those of the Japanese Bushido. Where elements of Christianity were combined with this we have the spirit of the pure chivalry of King Arthur and the Knights of the Round Table, which affords perhaps the very best ideals for youth to be found in history, as we shall see more fully later. In a very interesting paper, entitled "Shakespeare and Adolescence," Dr. M.F. Libby[1] very roughly reckons "seventy-four interesting adolescents among the comedies, forty-six among the tragedies, and nineteen among the histories." He selects "thirty characters who, either on account of direct references to their age, or because of their love-stories, or because they show the emotional and intellectual plasticity of youth, may be regarded as typical adolescents." His list is as follows: Romeo, Juliet, Hamlet, Ophelia, Imogen, Perdita, Arviragus, Guiderius, Palamon, Arcite, Emilia, Ferdinand, Miranda, Isabella, Mariana, Orlando, Rosalind, Biron, Portia, Jessica, Phebe, Katharine, Helena, Viola, Troilus, Cressida, Cassio, Marina, Prince Hal, and Richard of Gloucester. The proof of the youth of these characters, as set forth, is of various kinds, and Libby holds that besides these, the sonnets and poems perhaps show a yet greater, more profound and concentrated knowledge of adolescence. He thinks "Venus and Adonis" a successful attempt to treat sex in a candid, naive way, if it be read as it was meant, as a catharsis of passion, in which is latent a whole philosophy of art. To some extent he also finds the story of the Passionate Pilgrim "replete with the deepest knowledge of the passions of early adolescence" The series culminates in Sonnet 116, which makes love the sole beacon of humanity. It might be said that it is connected by a straight line