THREE: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 destinythe 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.A new period begins with the Greek Humanists. We use this term in preference to that of Sophists, because, as has been shown, in specially dealing with the subject, half the teachers known under the latter denomination made it their business to popularise physical science and to apply it to morality, while the other half struck out an entirely different line, and founded their educational system on the express rejection of such investigations; their method being, in this respect, foreshadowed by the greatest poet of the age, who concentrates all his attention on the workings of the human mind, and followed by its greatest historian, with whom a similar study takes the place occupied by geography and natural history in the work of Herodotus. This absorption in human interests was unfavourable alike to the objects and to the methods of previous enquiry: to the former, as a diversion from the new studies; to the latter, as inconsistent with the flexibility and many-sidedness of conscious mind. Hence the true father of philosophical scepticism was Protagoras. With him, for the first time, we find full expression given to the proper sceptical attitude, which is one of suspense and indifference as opposed to absolute denial. He does not undertake to say whether the gods exist or not. He regards the real essence of Nature as unknowable, on account of the relativity which characterises all sensible impressions. And wherever opinions are divided, he undertakes to provide equally strong arguments for both sides of the question. He also anticipates the two principal tendencies exhibited by all future scepticism in its relation to practice. One is its devotion to humanity, under the double form of exclusive attention to human interests, and great mildness in the treatment of human beings. The other is a disposition to take custom and public opinion, rather than any physical or metaphysical law, for the standard and sanction of130 morality. Such scepticism might for the moment be hostile to religion; but a reconciliation was likely to be soon effected between them.
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