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FORE:The purely intellectual view of human nature, the definition of mind in terms of cognition, is one more fallacy from which Aristotle��s teaching, had it not fallen into neglect or contempt, might have guarded Spinoza. Nevertheless, his parallelism between passion and sensuous perception saves him from the worst extravagances of his Greek predecessors. For the senses, however much they might be maligned, never were nor could be altogether rejected; while the passions met with little mercy from Plato and with none from the Stoics, who considered them not only unnecessary but even unnatural. Spinoza more wisely sees in them assertions, however obscure and confused, of the will to be and grow which constitutes individual existence. And he sees that they can no more be removed by pointing out their evil consequences than sense-impressions can be abolished by proving their fallaciousness. On the other hand, when Spinoza speaks as if one emotion could only be conquered or expelled by another emotion, we must not allow his peculiar phraseology to conceal from us the purely intellectual character of his whole ethical system. What he really holds is that emotion can be416 overcome by reason or better knowledge, because it is itself an imperfect cognition. Point by point, an analogy��or something more than an analogy��is made out between the errors of sensuous perception joined to imagination, and the errors of our spontaneous efforts after happiness or self-realisation. Both are imposed on us from without, and neither can be got rid of by a simple act of volition. Both are affected by illusions of perspective: the nearer object of desire, like the nearer object of perception, assuming a disproportionate place in the field of view. In both, accidental contiguity is habitually confounded with causation; while in both the assignment of causes to effects, instead of being traced back through an infinite series of antecedents, stops short with the antecedent nearest to ourselves. If objects are classified according to their superficial resemblances or the usages of common language, so also are the desires sustained and intensified by imitation and rivalry. By parity of reasoning, moral education must be conducted on the same lines as intellectual education. First, it is shown how our individual existence, depending as it does on forces infinitely exceeding our own, is to be maintained. This is chiefly done by cultivating friendly relations with other men; probably, although Spinoza does not himself make the comparison, on the same principle as that observed in the mutual assistance and rectification of the senses, together with their preservation by means of verbal signs. The misleading passions are to be overcome by discovering their origin; by referring the pleasures and pains which produce them to the right causes; by calling in thought to redress the balance of imagination; by dividing the attention among an infinite number of causes; finally, by demonstrating the absolute necessity of whatever actions excite them, and classifying them according to their relations, in the same way that the phenomena of the material world are dealt with when subjected to scientific analysis.In the department of novel writing, no age had yet produced such a constellation as Fielding, Richardson, Sterne, and Smollett. Their works[147] are still read with admiration by all who have a relish for vivid and masterly delineations of life; their only drawback being, that they are all more or less stained with the grossness and licentiousness of the age. From these faults Samuel Richardson (b. 1689; d. 1761) is most free, and in his "Sir Charles Grandison" he hasshown himself ahead of his age in the wisdom and liberality of his ideas. He discountenanced duelling, and taught the soundest principles of honour and morality. The photographic minuteness of his style prevents the general reading of his works in the present day of abundant new literature. The principal novels of Henry Fielding (b. 1707; d. 1754), "Joseph Andrews," "Tom Jones," and "Amelia," abound in wit, vigour, and knowledge of human nature. He wrote also some plays, and edited several periodicals. His sister, Sarah, also wrote "David Simple," a novel, and translated Xenophon's "Memoirs of Socrates." Tobias Smollett (b. 1721; d. 1771) paints life in strong, bold, but somewhat coarse lines, full of vigour, but with even more grossness than Fielding uses. "Peregrine Pickle," "Count Fathom," "Roderick Random," "Humphrey Clinker," and "Sir Launcelot Greaves," if not now generally read, have been carefully studied and made use of by some of our modern novelists. Smollett, besides, wrote plays, satires, poems, and edited "The Briton," a weekly newspaper. Laurence Sterne (b. 1713; d. 1768) struck out a style of writing peculiar to himself, and which still defies all successful imitation. Notwithstanding attempts to represent his pathos as grimace, and his humour as tinsel, the felicity of touch in "Tristram Shandy," and the flashes of wit and feeling in his "Sentimental Journey," will, in spite of detractors, and of the occasional indecency of the author, always send readers to Sterne.

FORE:��Not somebody��something!�� corrected Sandy. ��The same ��something�� that worked the door and shut it!��

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