TWO:Felipa smiled again. "I might be happy," she went on, "but I probably should not live very long. I have Indian blood in my veins; and we die easily in a too much civilization."
TWO:All right! All right! Hes an innocent man.But before the dissolving action of Nominalism had become fully manifest, its ascendency was once more challenged; and this time, also, the philosophical impulse came from Constantinople. Greek scholars, seeking help in the West, brought with them to Florence the complete works of Plato; and these were shortly made accessible to a wider public through the Latin translation of Ficino. Their influence seems at first to have told in favour of mysticism, for this was the contemporary tendency to which they could be most readily affiliated; and, besides, in swinging back from Aristotles philosophy to the rival form of spiritualism, mens minds naturally reverted, in the first instance, to what had once linked them togetherthe system of Plotinus. Thus Platonism was studied through an Alexandrian medium, and as the Alexandrians had looked at it, that is to say, chiefly under its theological and metaphysical aspects. As such, it became the accepted philosophy of the Renaissance;369 and much of what we most admire in the literatureat least the English literatureof that period, is directly traceable to Platonic influence. That the Utopia of Sir Thomas More was inspired by the Republic and the Critias is, of course, obvious; and the great part played by the ideal theory in Spensers Faery Queen, though less evident, is still sufficiently clear. As Mr. Green observes in his History of the English People (II., p. 413), Spenser borrows, in fact, the delicate and refined forms of the Platonic philosophy to express his own moral enthusiasm.... Justice, Temperance, Truth are no mere names to him, but real existences to which his whole nature clings with a rapturous affection. Now it deserves observation, as illustrating a great revolution in European thought, that the relation of Plato to the epic of the English Renaissance is precisely paralleled by the relation of Aristotle to the epic of mediaeval Italy. Dante borrows more than his cosmography from the Stagirite. The successive circles of Hell, the spirals of Purgatory, and the spheres of Paradise, are a framework in which the characters of the poem are exhibited, not as individual actors whom we trace through a lifes history, but as types of a class and representatives of a single mental quality, whether vicious or virtuous. In other words, the historical arrangement of all previous poems is abandoned in favour of a logical arrangement. For the order of contiguity in time is substituted the order of resemblance and difference in idea. How thoroughly Aristotelian, indeed, were the lines within which mediaeval imagination moved is proved by the possibility of tracing them in a work utterly different from Dantesthe Decameron of Boccaccio. The tales constituting this collection are so arranged that each day illustrates some one special class of adventures; only, to make good Aristotles principle that earthly affairs are not subject to invariable rules, a single departure from the prescribed subject is allowed in each decade; while370 during one entire day the story-tellers are left free to choose a subject at their own discretion.
TWO:Again, to suppose that the soul shares in the changes of the body is incompatible with the self-identity which memory reveals. To suppose that it is an extended substance is incompatible with its simultaneous presence, as an indivisible whole, at every point to which its activity reaches; as well as with the circumstance that all our sensations, though received through different organs, are referred to a common centre of consciousness. If the sensorium is a fluid body it will have no more power of retaining impressions than water;295 while, if it is a solid, new impressions will either not be received at all, or only when the old impressions are effaced.Brewster told him. "It is Mr. Lawton, of the Circle K Ranch."
TWO:Cairness lay white and still, looking up at her. He was very weak and dazed, and for the instant he could only remember, absurdly enough, the Andromaque he had seen a French actress play once in his very early youth when he had been taken with all the children of the Lyce, where he was then at school, to the theatre on a Thursday afternoon. The Andromaque had been tall and dark and superb, and all in black, like that woman in the doorway there.
