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FORE:In some respects, Aristotle began not only as a disciple but as a champion of Platonism. On the popular side, that doctrine was distinguished by its essentially religious character, and by its opposition to the rhetorical training then in vogue. Now, Aristotle��s dialogues, of which only a few fragments have been preserved, contained elegant arguments in favour of a creative First Cause, and of human immortality; although in the writings which embody his maturer views, the first of these theories is considerably modified, and the second is absolutely rejected. Further, we are informed that Aristotle expressed himself in terms of rather violent contempt for Isocrates, the greatest living professor of declamation; and284 opened an opposition school of his own. This step has, curiously enough, been adduced as a further proof of disagreement with Plato, who, it is said, objected to all rhetorical teaching whatever. It seems to us that what he condemned was rather the method and aim of the then fashionable rhetoric; and a considerable portion of his Phaedrus is devoted to proving how much more effectually persuasion might be produced by the combined application of dialectics and psychology to oratory. Now, this is precisely what Aristotle afterwards attempted to work out in the treatise on Rhetoric still preserved among his writings; and we may safely assume that his earlier lectures at Athens were composed on the same principle.

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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:Assuming an air of having forgotten all about Dick��s rhyme, he went to his place in the seat behind Jeff and the instant his safety belt was snapped Jeff signaled to a farmer who had come over to investigate and satisfy himself that the airplane had legitimate business there; the farmer kicked the stones used as chocks from under the landing tires and Jeff opened up the throttle.What these frenzied orders have cost in human lives History will tell later on.

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