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THREE:��I never dreamed you��d be suspicious of me! I made friends with you all and tried you out to be sure you were dependable and honest and all that��and I did bring you to this place because it is so far from telephones and railroads. But I didn��t think you��d get the wrong idea. I only wanted you in a place it would take time to get away from if you refused to help me.��The following propositions will place this subject of aims and objects before the reader in the sense intended:��

FORE:"Have you been there already? I am going there too. How are things there?"This is not making the percipi of objects their esse. Again, in the eighth chapter he tells us that the soul is ��in a certain way�� (π??) all things, since all things are either sensible or cogitable; and then he proceeds to explain what is meant by372 ��in a certain way.�� Sense and knowledge are distributed over things in such wise that their possibility is the possibility, and their actuality the actuality, of the things. They must, then, be either the things themselves or their forms. ��But the things themselves they are surely not, for the stone is not in the soul, but its form.�� In the Metaphysics, Aristotle expresses himself to the same effect, but even more explicitly. Criticising the Protagorean doctrine, he reduces it to an absurdity by urging that if there were nothing but sensibles, then nothing at all could exist in the absence of animated beings, for without them there would be no sensation. He admits that in the case supposed there would be neither feelings nor felt objects, since these presuppose a sentient subject; but adds, that for the substances (τ? ?ποκε?μενα) which produce the feeling not to exist is impossible; ��for there is something else besides the feeling which must necessarily exist before it.��268 And immediately afterwards he clinches the argument by observing that if appearances were the only truth, there would be no independent existences, and everything would be relative, since appearances exist only in relation to some one to whom they appear. Now we need hardly say that this universal relativity was precisely what Ferrier contended for.

TWO: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��

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