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TWO:With regard to those more refined aspects of temperance, in which it appears as a restraint exercised by reason over anger, pity, and grief, Epicurus and his followers refused to go all lengths with the Stoics in their effort to extirpate emotion altogether. But here they seem not to have proceeded on any fixed principle, except that of contradicting the opposite school. That the sage will feel pity, and sometimes shed tears,136 is a sentiment from which few are now likely to dissent; yet the absolute impassivity at which Stoicism aimed seems still more consistent with a philosophy whose ideal was complete exemption from pain; while in practice it would be rather easier to attain than the power of feeling quite happy on the rack, which the accomplished Epicurean was expected to possess.137They crowded threateningly round me, getting more and more excited.

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THREE:From the other side came two soldiers, one of whom she recognised, as he had been billeted on her. Constantly weeping, her face distorted, she sent another glance towards that fiery blaze, looked at the soldier as if reprovingly, hesitated a moment, but then pressed the enemy's hand, sobbing: "Adieu!adieu!"
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THREE:The Poetics of Aristotle contains some hints on the subject of composition which entitle it to be mentioned in the present connexion. The deficiencies, even from a purely theoretical point of view, of this work, once pronounced infallible, have at last become so obvious that elaborate hypotheses have been constructed, according to which the recension handed down to us is a mere mutilated extract from the original treatise. Enough, however, remains to convince us that poetry was not, any more than eloquence, a subject with which Aristotle was fitted to cope. He begins by defining it, in common with all other art, as an imitation. Here, we at once recognise the spirit of a philosophy, the whole power and interest of which lay in knowledge; and, in fact, he tells us that the love of art is derived from the love of knowledge. But the truth seems to be that aesthetic enjoyment is due to an ideal exercise of our faculties, among which the power of perceiving identities is sometimes, though not always, included. That the materials of which every artistic creation is composed are taken from the world of our experience makes no difference; for it is by the new forms in which they are arranged that we are interested, not because we remember having met them in301 some natural combination already. Aristotle could not help seeing that this was true in the case of music at least; and he can only save his principle by treating musical effects as representations of passions in the soul. To say, however, that musical pleasure arises from a perception of resemblance between certain sounds and the emotions with which they are associated, would be an extremely forced interpretation; the pleasure is due rather to a sympathetic participation in the emotion itself. And when Aristotle goes on to tell us that the characters imitated in epic and dramatic poetry may be either better or worse than in ordinary life, he is obviously admitting other aesthetic motives not accounted for by his general theory. If, on the other hand, we start with ideal energising as the secret of aesthetic emotion, we can easily understand how an imaginary exaltation of our faculties is yielded by the spectacle of something either rising above, or falling below, the level on which we stand. In the one case we become momentarily invested with the strength put into action before our eyes; in the other, the consciousness of our own superiority amounts to a fund of reserve power, which not being put into action, is entirely available for ideal enjoyment. And, if this be the correct view, it will follow that Aristotle was quite wrong when he declared the plot to be more important than the characters of a drama. The reason given for his preference is, even on the principles of his own philosophy, a bad one. He says that there can be plot without character-drawing, but never character-drawing without plot. Yet he has taught us elsewhere that the human soul is of more value than the physical organism on which its existence depends. This very parallel suggests itself to him in his Poetics; but, by an almost inconceivable misjudgment, it is the plot which he likens to the soul of the piece, whereas in truth it should be compared to the body. The practice and preference of his own time may have helped to mislead him, for he argues (rather inconsistently, by the way) that plot302 must be more indispensable, as young writers are able to construct good stories before they are able to portray character; and more artistic, as it was developed much later in the historical evolution of tragedy. Fortunately for us, the Alexandrian critics were guided by other canons of taste, or the structurally faulty pieces of Aeschylus might have been neglected, and the ingeniously constructed pieces of Agathon preserved in their place.
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THREE:By destroying the life and possessions of peaceful civilians the Germanswho always boast so much about their military honourgave unconscious expression to their awe of the fearless heroes who still stood their ground to the north of Lige, whilst the Germans were still besieging Antwerp.So far we have followed the evolution of Platos philosophy as it may have been effected under the impulse of purely theoretical motives. We have now to consider what form was imposed on it by the more imperious exigencies of practical experience. Here, again, we find Plato taking up and continuing the work of Socrates, but on a vastly greater scale. There was, indeed, a kind of pre-established harmony between the expression of thought on the one hand and the increasing need for its application to life on the other. For the spread of public corruption had gone on pari passu with the development of philosophy. The teaching of Socrates was addressed to individuals, and dealt chiefly with private morality. On other points he was content to accept the law of the land and the established political constitution as sufficiently safe guides. He was not accustomed to see them defied or perverted into instruments of selfish aggrandisement; nor, apparently, had the possibility of such a contingency occurred to him. Still less did he imagine that all social institutions then existing were radically wrong. Hence the personal virtues held a more important place in his system than the social virtues. His attacks were directed230 against slothfulness and self-indulgence, against the ignorant temerity which hurried some young men into politics before their education was finished, and the timidity or fastidiousness which prevented others from discharging the highest duties of citizenship. Nor, in accepting the popular religion of his time, had he any suspicion that its sanctions might be invoked on behalf of successful violence and fraud. We have already shown how differently Plato felt towards his age, and how much deeper as well as more shameless was the demoralisation with which he set himself to contend. It must also be remembered how judicial proceedings had come to overshadow every other public interest; and how the highest culture of the time had, at least in his eyes, become identified with the systematic perversion of truth and right. These considerations will explain why Greek philosophy, while moving on a higher plane, passed through the same orbit which had been previously described by Greek poetry. Precisely as the lessons of moderation in Homer had been followed by the lessons of justice in Aeschylus, precisely as the religion which was a selfish traffic between gods and men, and had little to tell of a life beyond the grave, was replaced by the nobler faith in a divine guardianship of morality and a retributive judgment after deathso also did the Socratic ethics and the Socratic theology lead to a system which made justice the essence of morality and religion its everlasting consecration.

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Corresponding to the universal space which contains all particular spaces, there was, in the Neo-Platonic system, a universal Thought which contained all particular thoughts,the Nous about which we heard so much in studying Plotinus.405 Such a conception is utterly strange to the modern mind, but it was familiar enough to Spinoza; and we can see how it would be suggested by the common forms of reasoning. The tendency of syllogism is either to subsume lower under higher notions until a summum genus is reached, or to resolve all subjects into a single predicate, or to connect all predicates with a single subject. The analogies of space, too, would tell in the same direction, bringing nearer the idea of a vast thought-sea in which all particular thoughts, or what to a Cartesian meant the same thing, all particular minds, were contained. And Neo-Platonism showed how this universal Mind or Thought could, like the space which it so much resembled, be interpreted as the product of a still higher principle. To complete the parallelism, it remained to show that Thought, which before had seemed essentially finite, is, on the contrary, co-infinite with Extension. How this was done will appear a little further on.Yet Realism concealed a danger to orthodoxy which was not long in making itself felt. Just as the substantiality of individuals disappeared in that of their containing species, so also did every subordinate species tend to vanish in the summum genus of absolute Being. Now such a conclusion was nothing less than full-blown pantheism; and pantheism was, in fact, the system of the first great Schoolman, John Scotus Erigena; while other Realists were only prevented from reaching the same goal by the restraint either of Christian faith or of ecclesiastical authority. But if they failed to draw the logical consequences of their premises, it was drawn for them by others; and Ablard did not fail to twit his opponents with the formidable heresy implied in their realistic prin367ciples.534 As yet, however, the weight of authority inclined towards Platos side; and the persecution suffered by Ablard himself, as compared with the very mild treatment accorded to his contemporary, Gilbert de la Porre, when each was arraigned on a charge of heresy, shows that while the Nominalism of the one was an aggravation, the Realism of the other was an extenuation of his offence.535"Really, I ought to be indignant," she cried.The Countess came sweeping back again with one tiny phial in her hand. Lawrence did not need to look to see that it was the right one. Unknown to the Countess, he had had it in his possession before."Yes, sir," I replied, "excepting my pocket-knife.""I am not going to look at another thing," she said. "But it does seem hard that we have not got another hundred pounds, Gordon."
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