"The town-clerk, Eug. Marguery. "Oh, but listen: my papers...." 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 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. “Am I? All right. You two go on in—and be held for ransom!” The Sky Patrol saw her expression and each grew taut with excitement at her next words. "Can't I have none of it to eat?" said Shorty, dejectedly, with tears of weakness and longing in his eyes. He was still looking into her eyes, and she was visited by a terrible feeling that came to her sometimes and went as quickly—that he was not so mad as people thought. Pete looked in some surprise at the bruiser, who continued: "Come closer to the table, Mary Byles," said Sir Robert, addressing her in an authoritative, but yet in a familiar tone—"come nearer; and with my Lord de Boteler's leave, I shall ask you a few questions." Mary curtsied, and rather hesitatingly approached the foot of the table. "I was a man, and I felt as a father," said Holgrave, turning again and looking at De Boteler, "and yet I stole your child, and dug that grave, and with my own hands laid in my little one;—and why did I do it? Because I had determined that your child should wear the bondage you had given to me." "My liege, in a private box in the steward's room, which, it seems, he had forgotten to lock," replied Oakley, with that propriety which he knew how to assume. HoMEwww骚碰ENTER NUMBET 008fngyx.com.cn wealfare.com.cn czsmodfzc.com.cn kstory100.com.cn www.lani2.com.cn www.o947.com.cn weilaiyigui.com.cn www.kairuimei.com.cn maoshe8.com.cn hailanhua.com.cn
