-
TWO:"The municipal Government of Lige remind their fellow-citizens, and all staying within this city, that international law most strictly forbids civilians to commit hostilities against the German soldiers occupying the country.Reasons have already been suggested for placing Anaxagoras last in order among the physical philosophers, notwithstanding his priority in point of age to more than one of them. He was born, according to the most credible accounts, 500 B.C., at Clazomenae, an Ionian city, and settled in Athens when twenty years of age. There he spent much the greater part of a long life, illustrating the type of character which Euripidesexpressly referring, as is supposed, to the Ionian sagehas described in the following choric lines:We offer the best Services in our Restarant.
-
TWO:As we left through the Gate-of-Bruges towards242 Thourout we were approached by a small military group, a few German soldiers who escorted about a dozen French and Belgian prisoners of war. Until that moment the street had been relatively quiet, but the inhabitants had scarcely heard that the "boys" came, when each ran into the street, forgetting all fear of the "Duuts," and, breaking through the escort, they gave their "boys" an apple, or a pear, or a packet of cigarettes; so we saw a huge round of white bread fly through the air and land in the hands of one of the "boys." Such a thing touches one always, and even the escorting Germans, who at first were very indignant on account of the sudden and unexpected intrusion, left the citizens alone with a generous gesture, as to say: "Well, have your way."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.We offer the best Services in our Restarant.
-
