ONE:The evolution of Greek tragic poetry bears witness to the same transformation of taste. On comparing Sophocles with Aeschylus, we are struck by a change of tone analogous to that which distinguishes Thucydides from Herodotus. It has been shown in our first chapter how the elder dramatist delights in tracing events and institutions back to their first origin, and in following derivations through the steps of a genealogical sequence. Sophocles, on the other hand, limits himself to a close analysis of the action immediately represented, the motives by which his characters are in91fluenced, and the arguments by which their conduct is justified or condemned. We have already touched on the very different attitude assumed towards religion by these two great poets. Here we have only to add that while Aeschylus fills his dramas with supernatural beings, and frequently restricts his mortal actors to the interpretation or execution of a divine mandate, Sophocles, representing the spirit of Greek Humanism, only once brings a god on the stage, and dwells exclusively on the emotions of pride, ambition, revenge, terror, pity, and affection, by which men and women of a lofty type are actuated. Again (and this is one of his poetic superiorities), Aeschylus has an open sense for the external world; his imagination ranges far and wide from land to land; his pages are filled with the fire and light, the music and movement of Nature in a Southern country. He leads before us in splendid procession the starry-kirtled night; the bright rulers that bring round winter and summer; the dazzling sunshine; the forked flashes of lightning; the roaring thunder; the white-winged snow-flakes; the rain descending on thirsty flowers; the sea now rippling with infinite laughter, now moaning on the shingle, growing hoary under rough blasts, with its eastern waves dashing against the new-risen sun, or, again, lulled to waveless, windless, noonday sleep; the volcano with its volleys of fire-breathing spray and fierce jaws of devouring lava; the eddying whorls of dust; the resistless mountain-torrent; the meadow-dews; the flowers of spring and fruits of summer; the evergreen olive, and trees that give leafy shelter from dogstar heat. For all this world of wonder and beauty Sophocles offers only a few meagre allusions to the phenomena presented by sunshine and storm. No poet has ever so entirely concentrated his attention on human deeds and human passions. Only the grove of Col?nus, interwoven with his own earliest recollections, had power to draw from him, in extreme old age, a song such as the nightingale might have warbled amid those92 inviolable recesses where the ivy and laurel, the vine and olive gave a never-failing shelter against sun and wind alike. Yet even this leafy covert is but an image of the poets own imagination, undisturbed by outward influences, self-involved, self-protected, and self-sustained. Of course, we are only restating in different language what has long been known, that the epic element of poetry, before so prominent, was with Sophocles entirely displaced by the dramatic; but if Sophocles became the greatest dramatist of antiquity, it was precisely because no other writer could, like him, work out a catastrophe solely through the action of mind on mind, without any intervention of physical force; and if he possessed this faculty, it was because Greek thought as a whole had been turned inward; because he shared in the devotion to psychological studies equally exemplified by his younger contemporaries, Protagoras, Thucydides, and Socrates, all of whom might have taken for their motto the noble lines
THREE:Before entering on our task of reconstruction, we must turn aside to consider with what success the same enterprise has been attempted by modern German criticism, especially by its chief contemporary representative, the last and most distinguished historian of Greek philosophy. The result at which Zeller, following Schleiermacher, arrives is that the great achievement of Socrates was to put forward an adequate idea of knowledge; in other words, to show what true science ought to be, and what, as yet, it had never been, with the addition of a demand that all action should be based on such a scientific knowledge as its only sure foundation.87 To know a thing was to know its essence, its concept, the assemblage of qualities which together constitute its definition, and make it to be what it is. Former thinkers had also sought for knowledge, but not as knowledge, not with a clear notion of what it was that they really wanted. Socrates, on the other hand, required that men should always be prepared to give a strict account of the end which they had in view, and of the means by which they hoped to gain it. Further, it had been customary to single out for exclusive attention that quality of an object by which the observer happened to be most strongly impressed, passing over all the others; the consequence of which was that the philosophers had taken a one-sided view of facts, with the result of falling into hopeless disagreement among themselves; the Sophists had turned these contradictory points of view against one another, and thus effected their mutual destruction; while the dissolution of objective certainty had led to a corresponding dissolution of moral truth. Socrates accepts the Sophistic scepticism so far as it applies to the existing state of science, but does not push it to the same fatal con118clusion; he grants that current beliefs should be thoroughly sifted and, if necessary, discarded, but only that more solid convictions may be substituted for them. Here a place is found for his method of self-examination, and for the self-conscious ignorance attributed to him by Plato. Comparing his notions on particular subjects with his idea of what knowledge in general ought to be, he finds that they do not satisfy it; he knows that he knows nothing. He then has recourse to other men who declare that they possess the knowledge of which he is in search, but their pretended certainty vanishes under the application of his dialectic test. This is the famous Socratic irony. Finally, he attempts to come at real knowledge, that is to say, the construction of definitions, by employing that inductive method with the invention of which he is credited by Aristotle. This method consists in bringing together a number of simple and familiar examples from common experience, generalising from them, and correcting the generalisations by comparison with negative instances. The reasons that led Socrates to restrict his enquiries to human interests are rather lightly passed over by Zeller; he seems at a loss how to reconcile the alleged reform of scientific method with the complete abandonment of those physical investigations which, we are told, had suffered so severely from being cultivated on a different system.
