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 Aristotle’s philosophy to the rival form of spiritualism, men’s minds naturally reverted, in the first instance, to what had once linked them together—the 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 literature—at least the English literature—of 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 Spenser’s 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 life’s 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 Dante’s—the 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 Aristotle’s 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. “There’s an airplane in there—it looks to be an amphibian—I see pontoons!” Larry stated. "They're out from Apache, two troops under Kimball and Dutton; Morris has a band of scouts, Bayard has sent two troops, Wingate one. Oh! it's going to be grim-visaged war and all that, this time, sure," Brewster prophesied. "Never mind all that. I'm here to question, not to be questioned. Now listen to me." And he went on to point out how she could not possibly get away from him and the troops until they were across the border, and that once there, it lay with him to turn her over to the authorities or to set her free. "You can take your choice, of course. I give you my word—and I think you are quite clever enough to believe me—that if you do not tell me what I want to know about Stone, I will land you where I've landed your husband; and that if you do, you shall go free after I've done with you. Now I can wait until you decide to answer," and he rolled over on his back, put his arms under his head, and gazed up at the jewel-blue patch of sky. [121] "I'll not go a step under guard, and you can't make me," answered Shorty furiously, snatching up the heavy poker from the stove. "You lunkheaded, feather-bed soldiers jest keep your distance, if you know what's good for you. I didn't come back here from the front to be monkeyed with by a passel o' fellers that wear white gloves and dresscoats, and eat soft bread. Go off, and 'tend your own bizniss, and I'll 'tend to mine." "Wonder which one o' them is the 200th Injianny's?" said Si to Shorty. "And didn't I shoot one, too?" put in Gid Mackall. "Just as much as you did. They want tall men in the company, don't they, Corpril? Not little runts." He halted there, pulled out his pocket-knife, and judicially selected a hickory limb, which he cut and carefully pruned. "A master tells you what to do," Marvor said. "I am training and there is more training to come and then work. This is because of the masters." The crest of Boarzell was marked by a group of firs, very gaunt and wind-bitten, rising out of a mass of gorse, as the plumes of some savage chief might nod mangily above his fillet. When the gorse was in bloom,[Pg 2] one caught the flare of it from the Kentish hills, or away westward from Brightling and Dallington. This day in the October of 1835, the flowerets were either nipped or scattered, or hidden by the cloths the gipsies had spread to dry on the bushes. "You dare miscall me," and the two men, mad with private hate and public humiliation, flew at each other's throats. "Baroness de Boteler, I said not that your child lives." HoME泰国一级aV免费人妖 ENTER NUMBET 0017
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