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ONE: We believe, then, that the whole heaven is one and everlasting, without beginning or end through all eternity, but holding infinite time within its orb; not, as some say, created or capable of being destroyed. We believe it on account of the grounds already stated, and also on account of the consequences resulting from a different hypothesis. For, it must add great weight to our assurance of its immortality and everlasting duration that this opinion may, while the contrary opinion cannot possibly, be true. Wherefore, we may trust the traditions of old time, and especially of our own race, when they tell us that there is something deathless and divine about the things which, although moving, have a movement that is not bounded, but is itself the universal bound, a perfect circle enclosing in its revolutions the imperfect motions that are subject to restraint and arrest; while this, being without beginning or end or rest through infinite time, is the one from which all others originate, and into which they disappear. That heaven which antiquity assigned to the gods as an immortal abode, is shown by the present argument to be uncreated and indestructible, exempt alike from mortal weakness and from the weariness of subjection to a force acting in opposition to its natural inclination; for in proportion to its everlasting continuance such a compulsion would be laborious, and unparticipant in the highest perfection of design. We must not, then, believe with the old mythologists that an Atlas is needed to uphold it; for they, like some in more recent times, fancied that the heavens were made of heavy earthy matter, and so fabled an animated necessity for their support; nor yet that, as Empedocles says, they will last only so long as their own proper momentum is exceeded by the whirling motion of which they partake.255 Nor, again, is it likely that their everlasting revolution can be kept up by the exercise of a conscious will;358 for no soul could lead a happy and blessed existence that was engaged in such a task, necessitating, as it would, an unceasing struggle with their native tendency to move in a different direction, without even the mental relaxation and bodily rest which mortals gain by sleep, but doomed to the eternal torment of an Ixion��s wheel. Our explanation, on the other hand, is, as we say, not only more consistent with the eternity of the heavens, but also can alone be reconciled with the acknowledged vaticinations of religious faith.256It 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 destiny��the 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.