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FORE:CHAPTER XXVIII. BAFFLED.I understood only then why the woman was so full of praise of the Germans, although she was shaking in her shoes: she thought I was a soldier! How heavily weighed the oppressor's hand on the wretched population, if now already the honest Belgian heart became hypocritical!

FORE:We have now to see how, granting Epicurus his conception of painlessness as the supreme good, he proceeds to evolve from it a whole ethical, theological, and physical system. For reasons already mentioned, the ethical development must be studied first. We shall therefore begin with an analysis of the particular virtues. Temperance, as the great self-regarding duty, obviously takes precedence of the others. In dealing with this branch of his subject, there was nothing to prevent Epicurus from profiting by the labours of his predecessors, and more especially of the naturalistic school from Prodicus down. So far as moderation is concerned, there need be little difference between a theory of conduct based exclusively on the interests of the individual, and a theory which regards him chiefly as a portion of some larger whole. Accordingly, we find that our philosopher, in his praises of frugality, closely approximated to the Cynic and Stoic standards��so much so, indeed, that his expressions on the subject are repeatedly quoted by Seneca as the best that could be found. Perhaps the Roman moralist valued them less for their own sake than as being, to some extent, the admissions of an opponent. But, in truth, he was only reclaiming what the principles of his own sect had originally inspired. To be content with the barest necessaries was a part of that Nature-worship against which Greek humanism, with its hedonistic and idealistic offshoots, had begun by vigorously protesting. Hence many passages in Lucretius express exactly the same sentiments as those which are most characteristic of Latin literature at a time when it is completely dominated by Stoic influences.

FORE:Righted, Sandy exultantly screeched at the maneuver.As might be expected, the Parmenidean paradoxes provoked a considerable amount of contradiction and ridicule. The Reids and Beatties of that time drew sundry absurd consequences from the new doctrine, and offered them as a sufficient refutation of its truth. Zeno, a young friend and20 favourite of Parmenides, took up arms in his master��s defence, and sought to prove with brilliant dialectical ability that consequences still more absurd might be deduced from the opposite belief. He originated a series of famous puzzles respecting the infinite divisibility of matter and the possibility of motion, subsequently employed as a disproof of all certainty by the Sophists and Sceptics, and occasionally made to serve as arguments on behalf of agnosticism by writers of our own time. Stated generally, they may be reduced to two. A whole composed of parts and divisible ad infinitum must be either infinitely great or infinitely little; infinitely great if its parts have magnitude, infinitely little if they have not. A moving body can never come to the end of a given line, for it must first traverse half the line, then half the remainder, and so on for ever. Aristotle thought that the difficulty about motion could be solved by taking the infinite divisibility of time into account; and Coleridge, according to his custom, repeated the explanation without acknowledgment. But Zeno would have refused to admit that any infinite series could come to an end, whether it was composed of successive or of co-existent parts. So long as the abstractions of our understanding are treated as separate entities, these and similar puzzles will continue to exercise the ingenuity of metaphysicians. Our present business, however, is not to solve Zeno��s difficulties, but to show how they illustrate a leading characteristic of Greek thought, its tendency to perpetual analysis, a tendency not limited to the philosophy of the Greeks, but pervading the whole of their literature and even of their art. Homer carefully distinguishes the successive steps of every action, and leads up to every catastrophe by a series of finely graduated transitions. Like Zeno, again, he pursues a system of dichotomy, passing rapidly over the first half of his subject, and relaxes the speed of his narrative by going into ever-closer detail until the consummation is reached. Such a poem as the ��Achilleis�� of modern critics21 would have been perfectly intolerable to a Greek, from the too rapid and uniform march of its action. Herodotus proceeds after a precisely similar fashion, advancing from a broad and free treatment of history to elaborate minuteness of detail. So, too, a Greek temple divides itself into parts so distinct, yet so closely connected, that the eye, after separating, as easily recombines them into a whole. The evolution of Greek music tells the same tale of progressive subdivision, which is also illustrated by the passage from long speeches to single lines, and from these again to half lines in the dialogue of a Greek drama. No other people could have created mathematical demonstration, for no other would have had skill and patience enough to discover the successive identities interposed between and connecting the sides of an equation. The dialectic of Socrates and Plato, the somewhat wearisome distinctions of Aristotle, and, last of all, the fine-spun series of triads inserted by Proclus between the superessential One and the fleeting world of sense,��were all products of the same fundamental tendency, alternately most fruitful and most barren in its results. It may be objected that Zeno, so far from obeying this tendency, followed a diametrically opposite principle, that of absolutely unbroken continuity. True; but the ��Eleatic Palamedes�� fought his adversaries with a weapon wrested out of their own hands; rejecting analysis as a law of real existence, he continued to employ it as a logical artifice with greater subtlety than had ever yet been displayed in pure speculation.18