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Too many of us look upon Americans as dollar chasers. This is a cruel libel, even if it is reiterated thoughtlessly.
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TWO:
FORE:
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TWO:
FORE:"Because it wasn't there when he passed, Prout," said a quick voice that caused the detective to turn with a start. "There was a confederate, of course. Nothing easier than for the confederate to listen for the officer's footsteps and put out the gas till he had gone by. Other people didn't matter."
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TWO:It was their habit of teaching rhetoric as an art which raised the fiercest storm of indignation against Protagoras and his colleagues. The endeavour to discover rules for addressing a tribunal or a popular assembly in the manner best cal94culated to win their assent had originated quite independently of any philosophical theory. On the re-establishment of order, that is to say of popular government, in Sicily, many lawsuits arose out of events which had happened years before; and, owing to the lapse of time, demonstrative evidence was not available. Accordingly, recourse was had on both sides to arguments possessing a greater or less degree of probability. The art of putting such probable inferences so as to produce persuasion demanded great technical skill; and two Sicilians, Corax and Tisias by name, composed treatises on the subject. It would appear that the new-born art was taken up by Protagoras and developed in the direction of increased dialectical subtlety. We are informed that he undertook to make the worse appear the better reason; and this very soon came to be popularly considered as an accomplishment taught by all philosophers, Socrates among the rest. But if Protagoras merely meant that he would teach the art of reasoning, one hardly sees how he could have expressed himself otherwise, consistently with the antithetical style of his age. We should say more simply that a case is strengthened by the ability to argue it properly. It has not been shown that the Protagorean dialectic offered exceptional facilities for maintaining unjust pretensions. Taken, however, in connexion with the humanistic teaching, it had an unsettling and sceptical tendency. All belief and all practice rested on law, and law was the result of a convention made among men and ultimately produced by individual conviction. What one man had done another could undo. Religious tradition and natural right, the sole external standards, had already disappeared. There remained the test of self-consistency, and against this all the subtlety of the new dialectic was turned. The triumph of Eristic was to show that a speaker had contradicted himself, no matter how his statements might be worded. Moreover, now that reference to an objective reality was disallowed, words were put in the place95 of things and treated like concrete realities. The next step was to tear them out of the grammatical construction, where alone they possessed any truth or meaning, each being simultaneously credited with all the uses which at any time it might be made to fulfil. For example, if a man knew one thing he knew all, for he had knowledge, and knowledge is of everything knowable. Much that seems to us tedious or superfluous in Aristotles expositions was intended as a safeguard against this endless cavilling. Finally, negation itself was eliminated along with the possibility of falsehood and contradiction. For it was argued that nothing had no existence and could not be an object of thought.71
FORE:301Apart, however, from abstract speculation, the ideal156 method seems to have exercised an immediate and powerful influence on Art, an influence which was anticipated by Socrates himself. In two conversations reported by Xenophon,102 he impresses on Parrhasius, the painter, and Cleito, the sculptor, the importance of so animating the faces and figures which they represented as to make them express human feelings, energies, and dispositions, particularly those of the most interesting and elevated type. And such, in fact, was the direction followed by imitative art after Pheidias, though not without degenerating into a sensationalism which Socrates would have severely condemned. Another and still more remarkable proof of the influence exercised on plastic representation by ideal philosophy was, perhaps, not foreseen by its founder. We allude to the substitution of abstract and generic for historical subjects by Greek sculpture in its later stages, and not by sculpture only, but by dramatic poetry as well. For early art, whether it addressed itself to the eye or to the imagination, and whether its subjects were taken from history or from fiction, had always been historical in this sense, that it exhibited the performance of particular actions by particular persons in a given place and at a given time; the mode of presentment most natural to those whose ideas are mainly determined by contiguous association. The schools which came after Socrates let fall the limitations of concrete reality, and found the unifying principle of their works in association by resemblance, making their figures the personification of a single attribute or group of attributes, and bringing together forms distinguished by the community of their characteristics or the convergence of their functions. Thus Aphrodit no longer figured as the lover of Ars or Anchiss, but as the personification of female beauty; while her statues were grouped together with images of the still more transparent abstractions, Love, Longing, and Desire. Similarly Apollo became a personification of musical enthusiasm, and Dionysus157 of Bacchic inspiration. So also dramatic art, once completely historical, even with Aristophanes, now chose for its subjects such constantly-recurring types as the ardent lover, the stern father, the artful slave, the boastful soldier, and the fawning parasite.103
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