THREE: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 destinythe 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.With the Epicurean theory of Justice, the distortion, already sufficiently obvious, is carried still further; although we must frankly admit that it includes some aper?us strikingly in advance of all that had hitherto been written on the subject. Justice, according to our philosopher, is neither an internal balance of the souls faculties, nor a rule imposed by the will70 of the stronger, but a mutual agreement to abstain from aggressions, varying from time to time with the varying interests of society, and always determined by considerations of general utility.141 This is excellent: we miss, indeed, the Stoic idea of a common humanity, embracing, underlying, and transcending all particular contracts; but we have, in exchange, the idea of a general interest equivalent to the sum of private interests, together with the means necessary for their joint preservation; and we have also the form under which the notion of justice originates, though not the measure of its ultimate expansion, which is regard for the general interest, even when we are not bound by any contract to observe it. But when we go on to ask why contracts should be adhered to, Epicurus has no reason to offer beyond dread of punishment. His words, as translated by Mr. Wallace, are:Injustice is not in itself a bad thing, but only in the fear arising from anxiety on the part of the wrong-doer that he will not always escape punishment.142 This was evidently meant for a direct contradiction of Platos assertion, that, apart from its penal consequences, injustice is a disease of the soul, involving more mischief to the perpetrator than to the victim. Mr. Wallace, however, takes a different view of his authors meaning. According to him,
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