THREE:So far our investigation has been analytical. We have seen Plotinus acquire, one after another, the elements out of which his system has still to be constructed. The first step was to separate spirit from matter. They are respectively distinguished as principles of union and of division. The bodies given to us in experience are a combination of the two, a dispersion of form over an infinitely extended, infinitely divisible, infinitely changeful substratum. Our own souls, which at first seemed so absolutely self-identical, present, on examination, a similarly composite character. A fresh analysis results in the separation of Nous or Reason from the lower functions of conscious life. And we infer by analogy that the soul in Nature bears the same relation to a transcendent objective Nous. Nous is essentially pure self-consciousness, and from this self-consciousness the world of Ideas is developed. Properly speaking, Ideas are the sole reality: sensible forms are an image of them impressed on matter through the agency of the world-soul. But Nous, or the totality of Ideas, though high, is not the highest. All that has hitherto occupied us, Nature, Soul, and Reason, is316 pervaded by a fundamental unity, without which nothing could exist. But Soul is not herself this unity, nor is Reason. Self-consciousness, even in its purest expression, involves a duality of object and subject. The notion of Being is distinct from the notion of oneness. The principle represented by the latter, as the cause of all things, must itself transcend existence. At the same time, it is revealed to us by the fact of our own personal identity. To be united with oneself is to be united with the One.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 destinythe 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.
