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THREE:The effect aimed at by ancient Scepticism under its last form was to throw back reflection on its original starting-point. Life was once more handed over to the guidance of sense, appetite, custom, and art.303 We may call this residuum the philosophy of the dinner-bell. That institution implies the feeling of hunger, the directing sensation of sound, the habit of eating together at a fixed time, and the art of determining time by observing the celestial revolutions. Even so limited a view contains indefinite possibilities of expansion. It involves the three fundamental relations that other philosophies have for their object to work out with greater distinctness and in fuller detail: the relation between feeling and action, binding together past, present, and future in the consciousness of personal identity; the relation of ourselves to a collective society of similarly constituted beings, our intercourse with whom is subject from the very first to laws of morality and of logic; and, finally, the relation in which we stand, both singly and combined, to that universal order by which all alike are enveloped and borne along, with its suggestions of a still larger logic and an auguster morality springing from the essential dependence of our individual and social selves on an even deeper identity than that which they immediately reveal. We have already had occasion to observe how the noble teaching of Plato and the Stoics resumes itself in a confession of this threefold synthesis; and we now see how, putting them at their very lowest, nothing less than this will content the claims of thought. Thus, in less time than it took Berkeley to pass from tar-water to the Trinity, we have led our Sceptics from their philosophy of the dinner-bell to a philosophy which the Catholic symbols, with their mythologising tendencies, can but imperfectly represent. And to carry them with us thus far, nothing more than one192 of their own favourite methods is needed. Wherever they attempt to arrest the progress of enquiry and generalisation, we can show them that no real line of demarcation exists. Let them once admit the idea of a relation connecting the elements of consciousness, and it will carry them over every limit except that which is reached when the universe becomes conscious of itself. Let them deny the idea of a relation, and we may safely leave them to the endless task of analysing consciousness into elements which are feelings and nothing more. The magician in the story got rid of a too importunate familiar by setting him to spin ropes of sand. The spirit of Scepticism is exorcised by setting it to divide the strands of reason into breadthless lines and unextended points.Apart, however, from abstract speculation, the ideal156 method seems to have exercised an immediate and powerful influence on Art, an influence which was anticipated by Socrates himself. In two conversations reported by Xenophon,102 he impresses on Parrhasius, the painter, and Cleito, the sculptor, the importance of so animating the faces and figures which they represented as to make them express human feelings, energies, and dispositions, particularly those of the most interesting and elevated type. And such, in fact, was the direction followed by imitative art after Pheidias, though not without degenerating into a sensationalism which Socrates would have severely condemned. Another and still more remarkable proof of the influence exercised on plastic representation by ideal philosophy was, perhaps, not foreseen by its founder. We allude to the substitution of abstract and generic for historical subjects by Greek sculpture in its later stages, and not by sculpture only, but by dramatic poetry as well. For early art, whether it addressed itself to the eye or to the imagination, and whether its subjects were taken from history or from fiction, had always been historical in this sense, that it exhibited the performance of particular actions by particular persons in a given place and at a given time; the mode of presentment most natural to those whose ideas are mainly determined by contiguous association. The schools which came after Socrates let fall the limitations of concrete reality, and found the unifying principle of their works in association by resemblance, making their figures the personification of a single attribute or group of attributes, and bringing together forms distinguished by the community of their characteristics or the convergence of their functions. Thus Aphrodit�� no longer figured as the lover of Ar��s or Anchis��s, but as the personification of female beauty; while her statues were grouped together with images of the still more transparent abstractions, Love, Longing, and Desire. Similarly Apollo became a personification of musical enthusiasm, and Dionysus157 of Bacchic inspiration. So also dramatic art, once completely historical, even with Aristophanes, now chose for its subjects such constantly-recurring types as the ardent lover, the stern father, the artful slave, the boastful soldier, and the fawning parasite.103

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