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ONE:69 TWO: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.This makes a statement in brief of what comprehends a knowledge of pattern-making, and what must be understood not only by pattern-makers, but also by mechanical engineers who undertake to design machinery or manage its construction successfully.

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ONE:��No,�� Dick admitted. ��He generally had something wrong with the crate, or the wind was too high, or he had stubbed his left foot and met a cross-eyed girl, or saw a funeral passing, and thought something unlucky might happen from those signs.��"I thought you would find a way out," she suggested. TWO:Balmayne glanced miserably about him. He was not listening at all. He was calculating the chances of escape, of the fate that lay before him. Had this thing taken place in Corsica he would have been in no doubt for a moment. All these men were joined together by blood ties or something of that kind, and insult to one was an insult to another.The relation of Spinoza��s Substance to its attributes is ambiguous. It is at once their cause, their totality, and their unity. The highly elastic and indefinite term Power helped these various aspects to play into and replace one another according to the requirements of the system. It is associated with the subjective possibility of multiplying imaginary existences to any amount; with the causal energy in which existence originates; and with the expansiveness characteristic alike of Extension and of Thought. For the two known attributes of the universal substance are not simply related to it as co-predicates of a common subject; they severally express its essential Power, and are, to that extent, identical with one another. But when we ask, How do they express Power? the same ambiguity recurs. Substance is revealed through its attributes, as a cause through its effects; as an aggregate through its constituents; and as an abstract notion through its concrete embodiments. Thus Extension and Thought are identical through their very differences, since these illustrate the versatility of their common source, and at the same time jointly contribute to the realisation of its perfection. But, for all practical purposes, Spinoza deals only with the parallelism and resemblance of the attributes. We have to see how he establishes it, and how far he was helped in so doing by the traditions of Greek philosophy.

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ONE: TWO:To search out the secret of things,

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ONE:From this grand synthesis, however, a single element was omitted; and, like the uninvited guest of fairy tradition, it proved strong enough singly to destroy what had been constructed by the united efforts of all the rest. This was the sceptical principle, the critical analysis of ideas, first exercised by Protagoras, made a new starting-point by Socrates, carried to perfection by Plato, supplementing experience with Aristotle, and finally proclaimed in its purity as the sole function of philosophy by an entire school of Greek thought. TWO:So far Aristotle gives us a purely superficial and sensational view of the drama. Yet he could not help seeing that there was a moral element in tragedy, and he was anxious to show, as against Plato, that it exercised an improving effect on the audience. The result is his famous theory of the Catharsis, so long misunderstood, and not certainly understood even now. The object of Tragedy, he tells us, is to purify (or purge away) pity and terror by means of those emotions themselves. The Poetics seems originally to have contained an explanation of this mysterious utterance, now lost, and critics have endeavoured to supply the gap by writing eighty treatises on the subject. The result has been at least to show what Aristotle did not mean. The popular version of his dictum, which is that tragedy purges the passions by pity and terror, is clearly inconsistent with the wording of the original text. Pity and terror are both the object and the instrument of purification. Nor yet does he mean, as was once supposed,306 that each of these emotions is to counterbalance and moderate the other; for this would imply that they are opposed to one another, whereas in the Rhetoric he speaks of them as being akin; while a parallel passage in the Politics188 shows him to have believed that the passions are susceptible of homoeopathic treatment. Violent enthusiasm, he tells us, is to be soothed and carried off by a strain of exciting, impassioned music. But whence come the pity and terror which are to be dealt with by tragic poetry? Not, apparently, from the piece itself, for to inoculate the patient with a new disease, merely for the sake of curing it, could do him no imaginable good. To judge from the passage in the Politics already referred to, he believes that pity and terror are always present in the minds of all, to a certain extent; and the theory apparently is, that tragedy brings them to the surface, and enables them to be thrown off with an accompaniment of pleasurable feeling. Now, of course, we have a constant capacity for experiencing every passion to which human nature is liable; but to say that in the absence of its appropriate external stimulus we are ever perceptibly and painfully affected by any passion, is to assert what is not true of any sane mind. And, even were it so, were we constantly haunted by vague presentiments of evil to ourselves or others, it is anything but clear that fictitious representations of calamity would be the appropriate means for enabling us to get rid of them. Zeller explains that it is the insight into universal laws controlling our destiny, the association of misfortune with a divine justice, which, according to Aristotle, produces the purifying effect;189 but this would be the purgation of pity and terror, not by themselves, but by the intellectual framework in which they are set, the concatenation of events, the workings of character, or the reference of everything to an eternal cause. The truth is that Aristotle��s explanation of the moral effect produced by tragedy is307 irrational, because his whole conception of tragedy is mistaken. The emotions excited by its highest forms are not terror and pity, but admiration and love, which, in their ideal exercise, are too holy for purification, too high for restriction, and too delightful for relief.

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