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FORE:The next great forward step in speculation was taken by Anaximander, another Milesian, also of distinguished attainments in mathematics and astronomy. We have seen that to Thales water, the all-embracing element, became, as such, the first cause of all things, the absolute principle of existence. His successor adopted the same general point of view, but looked out from it with a more penetrating gaze. Beyond water lay something else which he called the Infinite. He did not mean the empty abstraction which has stalked about in modern times under that ill-omened name, nor yet did he mean infinite space, but something richer and more concrete than either; a storehouse of materials whence the waste of existence could be perpetually made good. The growth and decay of individual forms involve a ceaseless drain on Nature, and the deficiency must be supplied by a corresponding influx from without.A For, be it observed that, although the Greek thinkers were at this period well aware that nothing can come from nothing, they had not yet grasped the complementary truth inalienably wedded to it by Lucretius in one immortal couplet, that nothing can return to nothing; and Kant is quite mistaken when he treats the two as historically inseparable. Common experience forces the one on our attention much sooner than the other. Our incomings are very strictly measured out and accounted for without difficulty, while it is hard to tell what becomes of all our expenditure, physical and economical. Yet, although the indestructibility of matter was a conception which had not yet dawned on Anaximander, he seems to have been feeling his way towards the recognition of a circulatory movement pervading all Nature. Everything, he says, must at last be reabsorbed in the Infinite as a punishment for the sin of its separate existence.10 Some may find in this sentiment a note of Oriental10 mysticism. Rather does its very sadness illustrate the healthy vitality of Greek feeling, to which absorption seemed like the punishment of a crime against the absolute, and not, as to so many Asiatics, the crown and consummation of spiritual perfection. Be this as it may, a doctrine which identified the death of the whole world with its reabsorption into a higher reality would soon suggest the idea that its component parts vanish only to reappear in new combinations.

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FORE:"Just a moment," Leona said eagerly. "Suppose I deny that. How are you going to prove that I did so?""After all, they can't definitely say that those notes were ever in the possession of the murdered man," she whispered to Bruce. "He wrote the letter, of course, but they don't know he really possessed the notes."

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FORE:

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FORE:A trip from Brussels to the scene of the fight convinced me still more. I passed some time with the artillery which had already silenced Waelhem, and was now used against the other defences. The sight of such an action was less interesting than one might think, as I could not get to the places where the infantry were storming. Only the thunder of all these guns overwhelmed and gave me an idea of the terror that was created.

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FORE: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 poet��s 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��

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FORE:Direct action and reaction are equal; if a force is exerted in any direction there must be an equal force acting in the opposite direction; a machine must absorb its own strains.

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