FORE:"Nothing the matter, I hope?" he asked.No word of commendation can be pronounced on the Epicurean psychology and logic. They are both bad in themselves, and inconsistent with the rest of the system. Were all knowledge derived from sense-impressionsespecially if those impressions were what Epicurus imagined them to bethe atomic theory could never have been discovered or even conceived, nor could an ideal of happiness have been thought out. In its theory of human progress, Epicureanism once more shows to advantage; although in denying all inventiveness to man, and making him the passive recipient of external impressions, it differs widely from the modern school which it is commonly supposed to have anticipated. And we may reasonably suspect that, here as elsewhere, earlier systems embodied sounder views on the same subject.
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FORE:Nor is this all. After sharply distinguishing what is from what is not, and refusing to admit any intermediary between them, Aristotle proceeds to discover such an intermediary in the shape of what he calls Accidental Predication.236 An accident is an attribute not necessarily or usually inhering in its subjectin other words, a co-existence not dependent on causation. Aristotle could never distinguish between the two notions of cause and kind, nor yet between interferences with the action of some particular cause and exceptions to the law of causation in general; and so he could not frame an intelligible theory of chance. Some propositions, he tells us, are necessarily true, others are only generally true; and it is the exceptions to the latter which constitute accident; as, for instance, when a cold day happens to come in the middle341 of summer. So also a man is necessarily an animal, but only exceptionally white. Such distinctions are not uninteresting, for they prove with what difficulties the idea of invariable sequence had to contend before even the highest intellects could grasp it. There was a constant liability to confound the order of succession with the order of co-existence, the order of our sensations with the order of objective existence, and the subjection of human actions to any fixed order, with the impossibility of deliberation and choice. The earlier Greek thinkers had proclaimed that all things existed by necessity; but with their purely geometrical or historical point of view, they entirely ignored the more complex questions raised by theories about classification, logical attribution, and moral responsibility. And the modifications introduced by Epicurus, into the old physics, show us how unanswerable Aristotles reasonings seemed to some of his ablest successors.
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FORE:Apart, however, from abstract speculation, the ideal156 method seems to have exercised an immediate and powerful influence on Art, an influence which was anticipated by Socrates himself. In two conversations reported by Xenophon,102 he impresses on Parrhasius, the painter, and Cleito, the sculptor, the importance of so animating the faces and figures which they represented as to make them express human feelings, energies, and dispositions, particularly those of the most interesting and elevated type. And such, in fact, was the direction followed by imitative art after Pheidias, though not without degenerating into a sensationalism which Socrates would have severely condemned. Another and still more remarkable proof of the influence exercised on plastic representation by ideal philosophy was, perhaps, not foreseen by its founder. We allude to the substitution of abstract and generic for historical subjects by Greek sculpture in its later stages, and not by sculpture only, but by dramatic poetry as well. For early art, whether it addressed itself to the eye or to the imagination, and whether its subjects were taken from history or from fiction, had always been historical in this sense, that it exhibited the performance of particular actions by particular persons in a given place and at a given time; the mode of presentment most natural to those whose ideas are mainly determined by contiguous association. The schools which came after Socrates let fall the limitations of concrete reality, and found the unifying principle of their works in association by resemblance, making their figures the personification of a single attribute or group of attributes, and bringing together forms distinguished by the community of their characteristics or the convergence of their functions. Thus Aphrodit no longer figured as the lover of Ars or Anchiss, but as the personification of female beauty; while her statues were grouped together with images of the still more transparent abstractions, Love, Longing, and Desire. Similarly Apollo became a personification of musical enthusiasm, and Dionysus157 of Bacchic inspiration. So also dramatic art, once completely historical, even with Aristophanes, now chose for its subjects such constantly-recurring types as the ardent lover, the stern father, the artful slave, the boastful soldier, and the fawning parasite.103
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