EMOTIONS AROUSED IN THE MAINTENANCE OF THE SELF. These various types of self may be defended with bitterness and pertinacity, and in their support the most powerful emotions may be enlisted. As pointed out in connection with individuality in opinion, men may be willing to die for their beliefs. Similarly invasion of one's home, infringement or threat against what one regards as one's rights or one's possessions, whether physical or social, may be bitterly contested. And in this conflict in support of the integrity of the self, anger, hate, fear, submissiveness, all the nuances of emotion may be aroused. The themes of great tragedy are built largely on this theme of insistent selfhood. Any obstruction of the self-integrity one has set one's self may provoke a violent reaction. It may be interference with one's love, as in the case of Medea or Othello, the pain of ingratitude as in Lear, the conflict between "the lower and the higher self," as in the case of Macbeth's loyalty and his ambition. These are the staple materials of drama. In common experience, an insult to one's wife or friend, an obstacle placed in the way of one's professional career, deprivation of one's liberty or one's property, or one's unhindered "pursuit of happiness," are the provocations to violent emotions in the sustaining of the self. How violent or what form the reaction will take depends on the situation of the "self" involved. If one has been grossly insulted by another upon whom one is utterly dependent socially and economically, a rankling and impotent rage may be the only outlet. To a person gifted with humility, the disillusions of a false friendship may provoke nothing more than a deep but resigned disappointment. Where passion and determination run high, and retaliation is feasible, a violent hate may find violent fulfillment. In earlier and more bloodthirsty days, the dagger, the duel, and poison were, as illustrated in the history of the Borgias, ways of maintaining the self and venting one's anger or revenge. Even in modern society the still distressingly large number of crimes of violence may be traced in many, perhaps most cases, to blind and bitter hate. To any deep personal injury, hate, whether it takes overt form or not, is still the instinctive answer; just such hate as Euripides represents in the jealous Medea, when she, a barbarian captive among the Greeks, sees Jason, her lover, about to be married to a Greek princess: