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FORE:

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FORE:The same fundamental difference comes out strongly in their respective theologies. Plato starts with the conception that God is good, and being good wishes everything to resemble himself; an assumption from which the divine origin and providential government of the world are deduced. Aristotle thinks of God as exclusively occupied in self-contemplation, and only acting on Nature through the love which his perfection inspires. If, further, we consider in what relation the two philosophies stand to ethics, we shall find that, to Plato, its problems were the most pressing of any, that they haunted him through his whole life, and that he made contributions of extraordinary value towards their solution; while to Aristotle, it was merely a branch of natural history, a study of the different types of character to be met with in Greek society, without the faintest perception that conduct required to be set on a wider and firmer basis than the conventional standards of his age. Hence it is that, in reading Plato, we are perpetually reminded of the controversies still raging among ourselves. He gives us an exposition, to which nothing has ever been added, of the theory now known as Egoistic Hedonism; he afterwards abandons that theory, and passes on to the social side of conduct, the necessity of justice, the relation of private to public interest, the bearing of religion, education, and social institutions on morality, along with other kindred topics, which need not be further specified, as295 they have been discussed with sufficient fulness in the preceding chapter. Aristotle, on the contrary, takes us back into old Greek life as it was before the days of Socrates, noticing the theories of that great reformer only that he may reject them in favour of a narrow, common-sense standard. Virtuous conduct, he tells us, consists in choosing a mean between two extremes. If we ask how the proper mean is to be discovered, he refers us to a faculty called φρ?νησι?, or practical reason; but on further enquiry it turns out that this faculty is possessed by none who are not already virtuous. To the question, How are men made moral? he answers, By acquiring moral habits; which amounts to little more than a restatement of the problem, or, at any rate, suggests another more difficult question��How are good habits acquired?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 destiny��the 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.

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FORE:With a thorough knowledge of practical machine operation, and an acquaintance with existing practice, an engineer proceeding upon such a plan, will, if he does not overlook some of the conditions, be able to generate designs which may remain without much modification or change, so long as the purpose to which the machinery is directed remains the same.

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