I went on to say that she seemed now to have learned, herself, that it was on this shoal she grounded at every low water of her physical and mental powers; as when over-fatigued, for instance; and that I should not wonder if she had bound herself never again at such a time to let her judgment follow her impulses. He laid his hand on me: "Stop; stop; you stab too deep. I thought to take her by surprise at that very point, and right there she has countermined. My God! can it be that I am served only right?" "Go along with your doctor," said Maitrank now, in great good humour. "If you will have the goodness to call a cab I will get back to my hotel." CHAPTER XIX. THE ARRANGEMENT OF ENGINEERING ESTABLISHMENTS. Farther on in the Rue de la Station lay nine rotting carcases of horses, the intestines oozing from the bodies, and a greasy substance was poured over their skin. The stench was unbearable and made breathing nearly impossible, which compelled me to jump on my bicycle and escape as quickly as possible from the pestilential surroundings. 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 poet’s 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— Socrates represents the popular Athenian character much as Richardson, in a different sphere, represents the English middle-class character—represents it, that is to say, elevated into transcendent genius. Except this elevation, there was nothing anomalous about him. If he was exclusively critical, rationalising, unadventurous, prosaic; in a word, as the German historians say, something of a Philistine; so, we may suspect, were the mass of his countrymen. His illustrations were taken from such plebeian employments as cattle-breeding, cobbling, weaving, and sailoring. These were his ‘touches of things common’ which at last ‘rose to touch the spheres.’ He both practised and inculcated virtues, the value of which is especially evident in humble life—frugality and endurance. But he also represents the Dêmos in its sovereign capacity as legislator and judge. Without aspiring to be an orator or statesman, he reserves the ultimate power of arbitration and election. He submits candidates for office to a severe scrutiny, and demands from all men an even stricter account of their lives than retiring magistrates had to give of their conduct, when in power, to the people. He applies the judicial method of cross-examination to the detection of error, and the parliamentary method of joint deliberation to the discovery of truth. He follows out the democratic principles of free speech and self-government, by submitting every question that arises to public discussion, and insisting on no conclusion that does not command the willing assent of his audience. Finally, his conversation, popular in form, was popular also in this respect, that everybody who chose to listen might have the130 benefit of it gratuitously. Here we have a great change from the scornful dogmatism of Heracleitus, and the virtually oligarchic exclusiveness of the teachers who demanded high fees for their instruction. At the station pilgrims again, bewildered, shouting, rushing about in search of their lost luggage. One group presently emerged from the crowd, led by a man bareheaded, who rang a big bell with great gesticulations, his arms in the air, and the whole party marched off towards the temples in silent and orderly procession. MARIA THERESA AND THE HUNGARIAN PARLIAMENT. "There, Sammy," he said, as he folded it up and gave it to the boy; "keep that quiet until about bed time, when they begin to inquire about me. By that time I'll 've ketched the train goin' east, and be skippin' out for the army. By the way, Sammy, can't you sneak into Miss Maria's room, and steal a piece o' ribbon, or something that belongs to her?" "Yes," answered Shorty. Behind him, around him, the bombardment continued. "All wot?" Skipwith bowed. HoME泷泽萝拉现身广州 ENTER NUMBET 0015oswze.com.cn
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