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The dishonour was for the townsmen who, in an outbreak of insane fanaticism, drove the blameless truthseeker from his adopted home. Anaxagoras was the intimate companion of Pericles, and Pericles had made many enemies by his domestic as well as by his foreign policy. A coalition of harassed interests and offended prejudices was formed against him. A cry arose that religion and the constitution were in danger. The Athenians had too much good sense to dismiss their great democratic Minister, but they permitted the illustrious statesmans political opponents to strike at him through his friends.29 Aspasia was saved only by the tears of her lover. Pheidias, the grandest, most spiritual-minded artist of all time, was arrested on a charge of impiety, and died in a prison of the city whose temples were adorned with the imperishable monuments of his religious inspiration. A decree against astronomers and atheists was so evidently aimed at Anaxagoras that the philosopher retired to Lampsacus, where he died at the age of seventy-two, universally admired and revered. Altars dedicated to Reason and Truth were erected in his honour, and for centuries his memory continued to be celebrated by an annual feast.30 His whole existence had been devoted to science. When asked what made life worth living, he answered, The contemplation of the heavens and of the universal cosmic order. The reply was like a title-page to his works. We can see that specialisation was38 beginning, that the positive sciences were separating themselves from general theories about Nature, and could be cultivated independently of them. A single individual might, indeed, combine philosophy of the most comprehensive kind with a detailed enquiry into some particular order of phenomena, but he could do this without bringing the two studies into any immediate connexion with each other. Such seems to have been the case with Anaxagoras. He was a professional astronomer and also the author of a modified atomic hypothesis. This, from its greater complexity, seems more likely to have been suggested by the purely quantitative conception of Leucippus than to have preceded it in the order of evolution. Democritus, and probably his teacher also, drew a very sharp distinction between what were afterwards called the primary and secondary qualities of matter. Extension and resistance alone had a real existence in Nature, while the attributes corresponding to our special sensations, such as temperature, taste, and colour, were only subjectively, or, as he expressed it, conventionally true. Anaxagoras affirmed no less strongly than his younger contemporaries that the sum of being can neither be increased nor diminished, that all things arise and perish by combination and division, and that bodies are formed out of indestructible elements; like the Atomists, again, he regarded these elementary substances as infinite in number and inconceivably minute; only he considered them as qualitatively distinct, and as resembling on an infinitesimal scale the highest compounds that they build up. Not only were gold, iron, and the other metals formed of homogeneous particles, but such substances as flesh, bone, and blood were, according to him, equally simple, equally decomposable, into molecules of like nature with themselves. Thus, as Aristotle well observes, he reversed the method of Empedocles, and taught that earth, air, fire, and water were really the most complex of all bodies, since they supplied39 nourishment to the living tissues, and therefore must contain within themselves the multitudinous variety of units by whose aggregation individualised organic substance is made up.31 Furthermore, our philosopher held that originally this intermixture had been still more thoroughgoing, all possible qualities being simultaneously present in the smallest particles of matter. The resulting state of chaotic confusion lasted until Nous, or Reason, came and segregated the heterogeneous elements by a process of continuous differentiation leading up to the present arrangement of things. Both Plato and Aristotle have commended Anaxagoras for introducing into speculation the conception of Reason as a cosmic world-ordering power; both have censured him for making so little use of his own great thought, for attributing almost everything to secondary, material, mechanical causes; for not everywhere applying the teleological method; in fact, for not anticipating the Bridgewater Treatises and proving that the world is constructed on a plan of perfect wisdom and goodness. Less fortunate than the Athenians, we cannot purchase the work of Anaxagoras on Nature at an orchestral book-stall for the moderate price of a drachma; but we know enough about its contents to correct the somewhat petulant and superficial criticism of a school perhaps less in sympathy than we are with its authors method of research. Evidently the Clazomenian philosopher did not mean by Reason an ethical force, a power which makes for human happiness or virtue, nor yet a reflecting intelligence, a designer adapting means to ends. To all appearances the Nous was not a spirit in the sense which we attach, or which Aristotle attached to the term. It was, according to Anaxagoras, the subtlest and purest of all things, totally unmixed with other substances, and therefore able to control and bring them into order. This is not how men speak of an immaterial inextended consciousness. The truth is that no40 amount of physical science could create, although it might lead towards a spiritualistic philosophy. Spiritualism first arose from the sophistic negation of an external world, from the exclusive study of man, from the Socratic search after general definitions. Yet, if Nous originally meant intelligence, how could it lose this primary signification and become identified with a mere mode of matter? The answer is, that Anaxagoras, whose whole life was spent in tracing out the order of Nature, would instinctively think of his own intelligence as a discriminating, identifying faculty; would, consequently, conceive its objective counterpart under the form of a differentiating and integrating power. All preceding thinkers had represented their supreme being under material conditions, either as one element singly or as a sum total where elemental differences were merged. Anaxagoras differed from them chiefly by the very sharp distinction drawn between his informing principle and the rest of Nature. The absolute intermixture of qualities which he presupposes bears a very strong resemblance both to the Sphairos of Empedocles and to the fiery consummation of Heracleitus, it may even have been suggested by them. Only, what with them was the highest form of existence becomes with him the lowest; thought is asserting itself more and more, and interpreting the law of evolution in accordance with its own imperious demands.
THREE:I dont think sobut I dont know for sure who it is. But I do mean to ask you if youd like to help me, and I dont think it would be against robbers but against somebody that wants to destroy the Everdail Emeralds.
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TWO:That "being a Netherlander" had become my stock-argument, and, as a matter of fact, it made me feel calmer. Quietly I made myself free of the surrounding crowd, in order to proceed on my way; but then they got hold of my arms and gently tried to induce me to go with them, so I had to speak more firmly to make them understand that they could not prevail on me. When at last I was able to resume my march, they looked back frequently, shaking their heads, and in their anxiety for me, their fellow-creature, they seemed to forget for a moment their own hardly bearable sorrows.Major and Commanding Officer."
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TWO:The Stoic arguments are, indeed, when we come to analyse them, appeal to authority rather than to the logical understanding. We are told again and again that the common objects of desire and dread cannot really be good or evil, because they are not altogether under our control.55 And if we ask why this necessarily excludes them from the class of things to be pursued or avoided, the answer is that man, having been created for perfect happiness, must also have been created with the power to secure it by his own unaided exertions. But, even granting the very doubtful thesis that there is any ascertainable purpose in creation at all, it is hard to see how the Stoics could have answered any one who chose to maintain that man is created for enjoyment; since, judging by experience, he has secured a larger share of it than of virtue, and is just as capable of gaining it by a mere exercise of volition. For the professors of the Porch fully admitted that their ideal sage had never been realised; which, with their opinions about the indivisibility of virtue, was equivalent to saying that there never had been such a thing as a good25 man at all. Or, putting the same paradox into other words, since the two classes of wise and foolish divide humanity between them, and since the former class has only an ideal existence, they were obliged to admit that mankind are not merely most of them fools, but all fools. And this, as Plutarch has pointed out in his very clever attack on Stoicism, is equivalent to saying that the scheme of creation is a complete failure.56



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< "End of the first act," Lawrence said with pardonable triumph. "You are just going into your rooms when a motor comes up. It looks like a coincidence, but the driver has been lurking about waiting for you. Do you suppose it was chance that you were picked out of all the doctors in London?"CHAPTER XVIThe 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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