THREE:It was not, however, in any of these concessions that the Stoics found from first to last their most efficient solution for the difficulties of practical experience, but in the countenance they extended to an act which, more than any other, might have seemed fatally inconsistent both in spirit and in letter with their whole system, whether we choose to call it a defiance of divine law, a reversal of natural instinct, a selfish abandonment of duty, or a cowardly shrinking from pain. We allude, of course, to their habitual recommendation of suicide. If you are not satisfied with life, they said,31 you have only got to rise and depart; the door is always open. Various circumstances were specified in which the sage would exercise the privilege of taking himself off, as they euphemistically expressed it. Severe pain, mutilation, incurable disease, advanced old age, the hopelessness of escaping from tyranny, and in general any hindrance to leading a natural life, were held to be a sufficient justification for such a step.71 The first founders of the school set an example afterwards frequently followed. Zeno is said to have hanged himself for no better reason than that he fell and broke his finger through the weakness of old age; and Cleanthes, having been ordered to abstain temporarily from food, resolved, as he expressed it, not to turn back after going half-way to death.72 This side of the Stoic doctrine found particular favour in Rome, and the voluntary death of Cato was always spoken of as his chief title to fame. Many noble spirits were sustained in their defiance of the imperial despotism by the thought that there was one last liberty of which not even Caesar could deprive them. Objections were silenced by the argument that, life not being an absolute good, its loss might fairly be preferred to some relatively greater inconvenience.73 But why the sage should renounce an existence where perfect happiness depends entirely on his own will, neither was, nor could it be, explained.The glowing enthusiasm of Plato is, however, not entirely derived from the poetic traditions of his native city; or perhaps we should rather say that he and the great writers who preceded him drew from a common fount of inspiration. Mr. Emerson, in one of the most penetrating criticisms ever written on our philosopher,129 has pointed out the existence of two distinct elements in the Platonic Dialoguesone dispersive, practical, prosaic; the other mystical, absorbing, centripetal. The American scholar is, however, as we think, quite mistaken when he attributes the second of these tendencies to Asiatic influence. It is extremely doubtful whether Plato ever travelled farther east than Egypt; it is probable that his stay in that country was not of long duration; and it is certain that he did not acquire a single metaphysical idea from its inhabitants. He liked their rigid conservatism; he liked their institution of a dominant priesthood; he liked their system of popular education, and the place which it gave to mathematics made him look with shame on the swinish ignorance of his own countrymen in that respect;130 but on the whole he classes them among the races exclusively devoted to money-making, and in aptitude for philosophy he places them far below the Greeks. Very different were the impressions brought home from his visits to Sicily and204 Southern Italy. There he became acquainted with modes of thought in which the search after hidden resemblances and analogies was a predominant passion; there the existence of a central unity underlying all phenomena was maintained, as against sense and common opinion, with the intensity of a religious creed; there alone speculation was clothed in poetic language; there first had an attempt been made to carry thought into life by associating it with a reform of manners and beliefs. There, too, the arts of dance and song had assumed a more orderly and solemn aspect; the chorus received its final constitution from a Sicilian master; and the loftiest strains of Greek lyric poetry were composed for recitation in the streets of Sicilian cities or at the courts of Sicilian kings. Then, with the rise of rhetoric, Greek prose was elaborated by Sicilian teachers into a sort of rhythmical composition, combining rich imagery with studied harmonies and contrasts of sense and sound. And as the hold of Asiatic civilisation on eastern Hellas grew weaker, the attention of her foremost spirits was more and more attracted to this new region of wonder and romance. The stream of colonisation set thither in a steady flow; the scenes of mythical adventure were rediscovered in Western waters; and it was imagined that, by grasping the resources of Sicily, an empire extending over the whole Mediterranean might be won. Perhaps, without being too fanciful, we may trace a likeness between the daring schemes of Alcibiades and the more remote but not more visionary kingdom suggested by an analogous inspiration to the idealising soul of Plato. Each had learned to practise, although for far different purposes, the royal art of Socratesthe mastery over mens minds acquired by a close study of their interests, passions, and beliefs. But the ambition of the one defeated his own aim, to the destruction of his country and of himself; while the other drew into Athenian thought whatever of Western force and fervour was needed for the accomplishment of its205 imperial task. We may say of Plato what he has said of his own Theaettus, that he moves surely and smoothly and successfully in the path of knowledge and inquiry; always making progress like the noiseless flow of a river of oil;131 but everywhere beside or beneath that placid lubricating flow we may trace the action of another current, where still sparkles, fresh and clear as at first, the fiery Sicilian wine.
FORE:The title of a drawing is a feature that has much to do with its appearance, and the impression conveyed to the mind of an observer. While it can add nothing to the real value of a drawing, it is so easy to make plain letters, that the apprentice is urged to learn this as soon as he begins to draw; not to make fancy letters, nor indeed any kind except plain block letters, which can be rapidly laid out and finished, and consequently employed to a greater extent. By drawing six parallel lines, making five spaces, and then crossing them with equidistant lines, the points and angles in block letters are determined; after a little practice, it becomes the work of but a few minutes to put down a title or other matter on a drawing so that it can be seen and read at a glance in searching for sheets or details.
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THREE:"Don't laugh at me, Gordon," Hetty whispered. "I knew there was something wrong with that dreadful corner house. You have heard of the tragedy?"
THREE:
