THREE:Bruce glanced carelessly at the paragraph. Then his eye brightened. It ran as follows:

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THREE:Prout felt that he was getting on.

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THREE:Balmayne concealed a smile. He had got it. There was only one way in which Hetty could have summoned her lover, and that was by means of the telephone. That there was such an instrument in the house he knew quite well. And why did Hetty Lawrence do this thing? Was she merely frightened, or had she learnt a great deal more than the conspirators imagined?Thus, while Spinoza draws to a head all the tendencies inherited from Greek philosophy, borrowing from the early physicists their necessarianism; from the Atomists, their exclusion of final causes, their denial of the supernatural, and their infinite worlds; from the Athenian school, their distinction between mind and body and between reason and sense; from Aristotle, his parallelism between causation and syllogism; from the Epicureans, their vindication of pleasure; and from the Stoics, their identification of belief with action, their conquest of passion and their devotion to humanity;��it is to the dominant Platonism of the seventeenth century that his system owes its foundation, its development, and its crown; for he begins by realising the abstract conception of being, and infers its absolute infinity from the misleading analogy of space, which is not an abstraction at all; deduces his conclusions according to the geometrical method recommended by Plato; and ends, like Plato, by translating dialectic formulas into the emotional language of religious faith.573

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THREE:Another circumstance which led Aristotle to disregard the happy aper?us of earlier philosophers was his vast superiority to them in positive knowledge. It never occurred to him that their sagacity might be greater than his, precisely because its exercise was less impeded by the labour of acquiring and retaining such immense masses of irrelevant facts. And his confidence was still further enhanced by the conviction that all previous systems were absorbed into his own, their scattered truths co-ordinated, their aberrations corrected, and their discords reconciled. But in striking a general average of existing philosophies, he was in reality bringing them back to that anonymous philosophy which is embodied in common language and common opinion. And if he afterwards ruled the minds of men with a more despotic sway than any other intellectual master, it was because he gave an organised expression to the principle of authority, which, if it could, would stereotype and perpetuate the existing type of civilisation for all time.

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THREE:"Go farther, sir? But ... but ... sir, don't do that! The Germans shoot every civilian whom they set eyes on."

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THREE:It has been mentioned that Carneades was the head of the Academic school. In that capacity, he was the lineal inheritor of Plato��s teaching. Yet a public apology for injustice, even when balanced by a previous panegyric on its opposite, might seem to be of all lessons the most alien from Platonism; and in a State governed by Plato��s own laws, it would certainly have been punishable with death. To explain this anomaly is to relate the history of Greek scepticism, which is what we shall now attempt to do.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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