THREE:The evolution of Greek tragic poetry bears witness to the same transformation of taste. On comparing Sophocles with Aeschylus, we are struck by a change of tone analogous to that which distinguishes Thucydides from Herodotus. It has been shown in our first chapter how the elder dramatist delights in tracing events and institutions back to their first origin, and in following derivations through the steps of a genealogical sequence. Sophocles, on the other hand, limits himself to a close analysis of the action immediately represented, the motives by which his characters are in91fluenced, and the arguments by which their conduct is justified or condemned. We have already touched on the very different attitude assumed towards religion by these two great poets. Here we have only to add that while Aeschylus fills his dramas with supernatural beings, and frequently restricts his mortal actors to the interpretation or execution of a divine mandate, Sophocles, representing the spirit of Greek Humanism, only once brings a god on the stage, and dwells exclusively on the emotions of pride, ambition, revenge, terror, pity, and affection, by which men and women of a lofty type are actuated. Again (and this is one of his poetic superiorities), Aeschylus has an open sense for the external world; his imagination ranges far and wide from land to land; his pages are filled with the fire and light, the music and movement of Nature in a Southern country. He leads before us in splendid procession the starry-kirtled night; the bright rulers that bring round winter and summer; the dazzling sunshine; the forked flashes of lightning; the roaring thunder; the white-winged snow-flakes; the rain descending on thirsty flowers; the sea now rippling with infinite laughter, now moaning on the shingle, growing hoary under rough blasts, with its eastern waves dashing against the new-risen sun, or, again, lulled to waveless, windless, noonday sleep; the volcano with its volleys of fire-breathing spray and fierce jaws of devouring lava; the eddying whorls of dust; the resistless mountain-torrent; the meadow-dews; the flowers of spring and fruits of summer; the evergreen olive, and trees that give leafy shelter from dogstar heat. For all this world of wonder and beauty Sophocles offers only a few meagre allusions to the phenomena presented by sunshine and storm. No poet has ever so entirely concentrated his attention on human deeds and human passions. Only the grove of Col?nus, interwoven with his own earliest recollections, had power to draw from him, in extreme old age, a song such as the nightingale might have warbled amid those92 inviolable recesses where the ivy and laurel, the vine and olive gave a never-failing shelter against sun and wind alike. Yet even this leafy covert is but an image of the poets own imagination, undisturbed by outward influences, self-involved, self-protected, and self-sustained. Of course, we are only restating in different language what has long been known, that the epic element of poetry, before so prominent, was with Sophocles entirely displaced by the dramatic; but if Sophocles became the greatest dramatist of antiquity, it was precisely because no other writer could, like him, work out a catastrophe solely through the action of mind on mind, without any intervention of physical force; and if he possessed this faculty, it was because Greek thought as a whole had been turned inward; because he shared in the devotion to psychological studies equally exemplified by his younger contemporaries, Protagoras, Thucydides, and Socrates, all of whom might have taken for their motto the noble lines"Freedom and revenge," she murmured. "What good words they are. Tomorrow! Well, tomorrow shall be my destruction or my Waterloo!"
FORE:Ill have you calling me Successful Sandy before Im through.With regard to the universal soul of Nature, there is, indeed, no difficulty at all. In giving a sensible realisation to the noetic ideas, she suffers no degradation or pollution by contact with the lower elements of matter. Enthroned on the outer verge of the cosmos, she governs the whole course of Nature by a simple exercise of volition, and in the enjoyment of a felicity which remains undisturbed by passion or desire. But just as we have seen the supreme Nous resolving itself into a multitude of individual intelligences, so also does the cosmic soul produce many lesser or partial souls of which our own is one. Now these derivative souls cannot all be equal, for that would be to defeat the purpose of creation, which is to realise all the possibilities of creation from the highest to the lowest. Thus each has an office corresponding to her place in the scale of perfection.452 We may say of the human soul that she stoops to conquer. Her mission is to cope with the more recalcitrant forms of matter. It is to the struggle with their impurities that the troubles and passions of our life are due. By yielding to earthly temptations, we suffer a second fall, and one much more real than the first; by overcoming them, as is perfectly in our power to do, we give scope and exercise to faculties which would otherwise307 have remained dormant and unknown. Moreover, our soul retains the privilege of returning to her former abode, enriched by the experience acquired in this world, and with that clearer perception of good which the knowledge of its opposite alone can supply. Nay, paradoxical as the assertion may seem, she has not entirely descended to earth, but remains in partial communication with the noetic world by virtue of her reasoning faculty; that is to say, when its intuitions are not darkened and disturbed by the triumph of sensuous impressions over the lower soul. On this and on many other occasions, Plotinus betrays a glimmering consciousness that his philosophy is purely subjective, and that its attempted transcendentalism is, in truth, a projection of psychological distinctions into the external world. Starting with the familiar division of human nature into body, soul, and spirit (or reason), he endeavours to find an objective counterpart for each. Body is represented by the material universe, soul by the animating principle of Nature, reason by the extramundane Nous. Under these three heads is comprised the totality of real existence; but existence itself has to be accounted for by a principle lying above and beyond it, which has still to be obtained by an effort of abstraction from the data that self-consciousness supplies.453
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