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FORE:Pattern-makers have to thoroughly understand drawings, in order to reproduce them on the trestle boards with allowance for shrinkage, and to determine the cores; they must also understand moulding, casting, fitting, and finishing. Pattern-making as a branch of machine manufacture, should rank next to designing and drafting.As might be expected, the Parmenidean paradoxes provoked a considerable amount of contradiction and ridicule. The Reids and Beatties of that time drew sundry absurd consequences from the new doctrine, and offered them as a sufficient refutation of its truth. Zeno, a young friend and20 favourite of Parmenides, took up arms in his master��s defence, and sought to prove with brilliant dialectical ability that consequences still more absurd might be deduced from the opposite belief. He originated a series of famous puzzles respecting the infinite divisibility of matter and the possibility of motion, subsequently employed as a disproof of all certainty by the Sophists and Sceptics, and occasionally made to serve as arguments on behalf of agnosticism by writers of our own time. Stated generally, they may be reduced to two. A whole composed of parts and divisible ad infinitum must be either infinitely great or infinitely little; infinitely great if its parts have magnitude, infinitely little if they have not. A moving body can never come to the end of a given line, for it must first traverse half the line, then half the remainder, and so on for ever. Aristotle thought that the difficulty about motion could be solved by taking the infinite divisibility of time into account; and Coleridge, according to his custom, repeated the explanation without acknowledgment. But Zeno would have refused to admit that any infinite series could come to an end, whether it was composed of successive or of co-existent parts. So long as the abstractions of our understanding are treated as separate entities, these and similar puzzles will continue to exercise the ingenuity of metaphysicians. Our present business, however, is not to solve Zeno��s difficulties, but to show how they illustrate a leading characteristic of Greek thought, its tendency to perpetual analysis, a tendency not limited to the philosophy of the Greeks, but pervading the whole of their literature and even of their art. Homer carefully distinguishes the successive steps of every action, and leads up to every catastrophe by a series of finely graduated transitions. Like Zeno, again, he pursues a system of dichotomy, passing rapidly over the first half of his subject, and relaxes the speed of his narrative by going into ever-closer detail until the consummation is reached. Such a poem as the ��Achilleis�� of modern critics21 would have been perfectly intolerable to a Greek, from the too rapid and uniform march of its action. Herodotus proceeds after a precisely similar fashion, advancing from a broad and free treatment of history to elaborate minuteness of detail. So, too, a Greek temple divides itself into parts so distinct, yet so closely connected, that the eye, after separating, as easily recombines them into a whole. The evolution of Greek music tells the same tale of progressive subdivision, which is also illustrated by the passage from long speeches to single lines, and from these again to half lines in the dialogue of a Greek drama. No other people could have created mathematical demonstration, for no other would have had skill and patience enough to discover the successive identities interposed between and connecting the sides of an equation. The dialectic of Socrates and Plato, the somewhat wearisome distinctions of Aristotle, and, last of all, the fine-spun series of triads inserted by Proclus between the superessential One and the fleeting world of sense,��were all products of the same fundamental tendency, alternately most fruitful and most barren in its results. It may be objected that Zeno, so far from obeying this tendency, followed a diametrically opposite principle, that of absolutely unbroken continuity. True; but the ��Eleatic Palamedes�� fought his adversaries with a weapon wrested out of their own hands; rejecting analysis as a law of real existence, he continued to employ it as a logical artifice with greater subtlety than had ever yet been displayed in pure speculation.18

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FORE:In criticising the Stoic system as a whole, the New Academy and the later Sceptics had incidentally dwelt on sundry absurdities which followed from the materialistic interpretation of knowledge; and Plotinus evidently derived some of his most forcible objections from their writings; but no previous philosopher that we know of had set forth the whole case for spiritualism and against materialism with such telling effect. And what is, perhaps, more important than any originality in detail, is the profound insight shown in choosing this whole question of spiritualism versus materialism for the ground whereon the combined forces of Plato and Aristotle were to fight their first battle against the naturalistic system which had triumphed over them five centuries before. It was on dialectical and ethical grounds that the controversy between Porch and Academy, on ethical and religious grounds that the controversy between Epicureanism and all other schools of philosophy, had hitherto been conducted. Cicero and Plutarch never allude to their opponents as materialists. Only once, in his polemic against Col?tes, does Plutarch observe that neither a soul nor anything else could be made out of atoms, but this is because they are discrete, not because they are extended.446 For the rest, his method is to trip up his opponents by pointing out their inconsistencies, rather than to cut the ground from under their feet by proving that their theory of the universe is wrong.

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