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FORE:And bring to us the creatures of a day,

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FORE:It is possible, we think, to trace a similar evolution in the history of the Attic drama. The tragedies of Aeschylus resemble the old Ionian philosophy in this, that they are filled with material imagery, and that they deal with remote interests, remote times, and remote places. Sophocles withdraws his action into the subjective sphere, and simultaneously works out a pervading contrast between the illusions by which men are either lulled to false security or racked with needless anguish, and the terrible or consolatory reality to which they finally awaken. We have also, in his well-known irony, in the unconscious self-betrayal of his characters, that subtle evanescent allusiveness to a hidden truth, that gleaming of reality through appearance which constitutes, first the dialectic, then the mythical illustration, and finally the physics of Plato. In Aeschylus also we have the spectacle of sudden and violent vicissitudes, the abasement of insolent prosperity, and the punishment of long successful crime; only with him the characters which attract most interest are not the blind victims, but the accomplices or the confidants of destiny��the great figures of a Prometheus, a Darius, an Eteocles, a Clytemnestra, and a Cassandra, who are raised above the common level to an eminence where the secrets of past and future are unfolded to their gaze. Far otherwise with Sophocles. The leading actors in his most characteristic works, Oedipus, Electra, Dejanira, Ajax, and Philoctetes, are surrounded by forces which they can neither control nor understand; moving in a world of illusion, if they help to work out their own destinies it is unconsciously, or even in direct opposition to their own designs.208 Hence in Aeschylus we have something324 like that superb self-confidence which distinguishes a Parmenides and a Heracleitus; in Sophocles that confession of human ignorance which the Athenian philosophers made on their own behalf, or strove to extract from others. Euripides introduces us to another mode of thought, more akin to that which characterises Aristotle. For, although there is abundance of mystery in his tragedies, it has not the profound religious significance of the Sophoclean irony; he uses it rather for romantic and sentimental purposes, for the construction of an intricate plot, or for the creation of pathetic situations. His whole power is thrown into the immediate and detailed representation of living passion, and of the surroundings in which it is displayed, without going far back into its historical antecedents like Aeschylus, or, like Sophocles, into the divine purposes which underlie it. On the other hand, as a Greek writer could not be other than philosophical, he uses particular incidents as an occasion for wide generalisations and dialectical discussions; these, and not the idea of justice or of destiny, being the pedestal on which his figures are set. And it may be noticed as another curious coincidence that, like Aristotle again, he is disposed to criticise his predecessors, or at least one of them, Aeschylus, with some degree of asperity.

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FORE:Ren�� was silent for a moment. The woman's tongue was getting round him. And the practical part of her story was true.

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FORE:We are told that when his end began to approach, the dying philosopher was pressed to choose a successor in the headship of the School. The manner in which he did this is289 characteristic of his singular gentleness and unwillingness to give offence. It was understood that the choice must lie between his two most distinguished pupils, Theophrastus of Lesbos, and Eud��mus of Rhodes. Aristotle asked for specimens of the wine grown in those islands. He first essayed the Rhodian vintage, and praised it highly, but remarked after tasting the other, ��The Lesbian is sweeter,�� thus revealing his preference for Theophrastus, who accordingly reigned over the Lyceum in his stead.179

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FORE:After much searching, we have not been able to find the originals of the two passages quoted by Sir A. Grant. We have, however, found others setting forth the doctrine of Natural Realism with a clearness which leaves nothing to be desired. Aristotle tells us that former naturalists were wrong when they said that there could be no black or white without vision, and no taste without tasting; that is, they were right about the actuality, and wrong about the possibility; for, as he explains, our sensations are produced by the action of external bodies on the appropriate organs, the activity being the same while the existence is different. A sonorous body produces a sound in our hearing; the sound perceived and the action of the body are identical, but not their existence; for, he adds, the hearer need not be always listening, nor the sonorous body sounding; and so with all the other senses.267Such is the mild and conciliatory mode of treatment at first adopted by Plato in dealing with the principal representative of the Sophists��Protagoras. In the Dialogue which bears his name the famous humanist is presented to us as a professor of popular unsystematised morality, proving by a variety of practical arguments and ingenious illustrations that virtue can be taught, and that the preservation of social order depends upon the possibility of teaching it; but unwilling to188 go along with the reasonings by which Socrates shows the applicability of rigorously scientific principles to conduct. Plato has here taken up one side of the Socratic ethics, and developed it into a complete and self-consistent theory. The doctrine inculcated is that form of utilitarianism to which Mr. Sidgwick has given the name of egoistic hedonism. We are brought to admit that virtue is one because the various virtues reduce themselves in the last analysis to prudence. It is assumed that happiness, in the sense of pleasure and the absence of pain, is the sole end of life. Duty is identified with interest. Morality is a calculus for computing quantities of pleasure and pain, and all virtuous action is a means for securing a maximum of the one together with a minimum of the other. Ethical science is constituted; it can be taught like mathematics; and so far the Sophists are right, but they have arrived at the truth by a purely empirical process; while Socrates, who professes to know nothing, by simply following the dialectic impulse strikes out a generalisation which at once confirms and explains their position; yet from self-sufficiency or prejudice they refuse to agree with him in taking their stand on its only logical foundation.

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FORE:Caloric or air engines.

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