ONE:The theological interest and the scholastic interest, though not necessarily associated, have, as already observed, a point of contact in their common exaltation of authority. Thus, for our present purpose they may be classified under the more general notion of traditionalism. By this term I understand a disposition to accept as true opinions received either by the mass of mankind or by the best accredited teachers, and to throw these opinions into a form adapted for easy transmission to others. In this sense, traditionalism is Janus-faced, looking on one side to the past and on the other to the future. Now philosophy could only gain general acceptance by becoming a tradition. For a long time the Greek thinkers busied themselves almost exclusively with the discovery of truth, remaining comparatively indifferent to its diffusion. As Plato says, they went their own way without caring whether they took us along with them or not.3 And it was at this period that the most valuable speculative ideas were first originated. At last a strong desire arose among the higher classes to profit by the results of the new learning, and a class of men came into existence whose profession was to gratify this desire. But the Sophists, as they were called,xiii soon found that lessons in the art of life were more highly appreciated and more liberally rewarded than lessons in the constitution of Nature. Accordingly, with the facile ingenuity of Greeks, they set to work proving, first that Nature could not be known, and finally that there was no such thing as Nature at all. The real philosophers were driven to secure their position by a change of front. They became teachers themselves, disguising their lessons, however, under the form of a search after truth undertaken conjointly with their friends, who, of course, were not expected to pay for the privilege of giving their assistance, and giving it for so admirable a purpose. In this co-operative system, the person who led the conversation was particularly careful to show that his conclusions followed directly from the admissions of his interlocutors, being, so to speak, latent in their minds, and only needing a little obstetric assistance on his part to bring them into the light of day. And the better to rivet their attention, he chose for the subject of discussion questions of human interest, or else, when the conversation turned to physical phenomena, he led the way towards a teleological or aesthetical interpretation of their meaning.II.
FORE:It is evident that when the parts of a machine are joined together, each piece which has contact on more than one side must have specific dimensions; it is farther evident that as many of the joints in a machine as are to accommodate the exigencies of construction must be without space, that is, they represent continued sections of what should be solid material, if it were possible to construct the parts in that manner. This also demands specific dimensions.
FORE:Sitting until he dried, Larry donned his garments.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 poets 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
