THREE:His expression, as Sandy watched narrowly, became one of amusement, he smiled broadly, threw back his head and as he answered Dick��s phrase about superstitions and all, he laughed.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 poet��s 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��

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THREE:If the Roman conquest did not altogether put an end to these sentiments, it considerably mitigated their intensity. The imperial city was too strong to feel endangered by the introduction of alien deities within its precincts. The subject states were relieved from anxiety with regard to a political independence which they had irrecoverably lost. Moreover, since the conquests of Alexander, vast aggregations of human beings had come into existence, to which the ancient exclusiveness was unknown, because they never had been cities at all in the ancient sense of the word. Such were Alexandria and Antioch, and these speedily became centres of religious syncretism. Rome herself, in becoming the capital of an immense empire, acquired the same cosmopolitan character. Her population consisted for the most part of emancipated slaves, and of adventurers from all parts of the world, many of whom had brought their national faiths with them, while all were ready to embrace any new faith which had superior attractions to offer. Another important agent in the diffusion and propagation of new religions was the army. The legions constituted a sort of migratory city, recruited from all parts of the empire, and moving over its whole extent. The dangers of a military life combined with its authoritative ideas are highly favourable to devotion; and the soldiers could readily adopt new modes for the expression of this feeling both from each other and from the inhabitants of the countries where they were stationed, and would in turn204 become missionaries for their dissemination over the most distant regions. That such was actually the case is proved by numerous religious inscriptions found in the neighbourhood of Roman camps.313

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THREE:Presuming the vertical shaft and the horizontal arms of a Barker wheel to be filled with water under a head of sixteen feet, there would be a pressure of about seven pounds upon each superficial inch of surface within the cross arm, exerting an equal force in every direction. By opening an orifice at the sides of these arms equal to one inch of area, the pressure would at that point be relieved by the escape of the water, and the internal [40] pressure be unbalanced to that extent. In other words, opposite this orifice, and on the other side of the arm, there would be a force of seven pounds, which being unbalanced, acts as a propelling power to drive the wheel.

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