FORE:After disposing of the Stoic materialism, according to which the soul, though distinct from the body, is, equally with it, an extended and resisting substance, our philosopher proceeds to discuss the theories which make it a property or function of the body. The Pythagorean notion of the soul as a harmony of the body is met by a reproduction of the well-known arguments used against it in Platos Phaedo. Then comes the Aristotelian doctrine that the soul is the entelechythat is to say, the realised purpose and perfectionof the physical organism to which it belongs. This is an idea which Aristotle himself had failed to make very clear, and the inadequacy of which he had virtually acknowledged by ascribing a different origin to reason, although this is counted as one of the psychic faculties. Plotinus, at any rate, could not appreciate an explanation which, whatever else it implied, certainly involved a considerable departure from his own dualistic interpretation of the difference between spirit and matter. He could not enter into Aristotles view of the one as a lower and less concentrated form of the other. The same arguments which had already been employed against Stoicism are now turned against the Peripatetic psychology. The soul as a principle, not only of memory and desire, but even of nutrition, is declared to be independent of and separable from the body. And, finally, as a result of the whole controversy, its immortality is affirmed. But how far this immortality involves the belief in a prolongation of personal existence after death, is a point297 which still remains uncertain. We shall return to the question in dealing with the religious opinions of Plotinus.In the department of novel writing, no age had yet produced such a constellation as Fielding, Richardson, Sterne, and Smollett. Their works[147] are still read with admiration by all who have a relish for vivid and masterly delineations of life; their only drawback being, that they are all more or less stained with the grossness and licentiousness of the age. From these faults Samuel Richardson (b. 1689; d. 1761) is most free, and in his "Sir Charles Grandison" he hasshown himself ahead of his age in the wisdom and liberality of his ideas. He discountenanced duelling, and taught the soundest principles of honour and morality. The photographic minuteness of his style prevents the general reading of his works in the present day of abundant new literature. The principal novels of Henry Fielding (b. 1707; d. 1754), "Joseph Andrews," "Tom Jones," and "Amelia," abound in wit, vigour, and knowledge of human nature. He wrote also some plays, and edited several periodicals. His sister, Sarah, also wrote "David Simple," a novel, and translated Xenophon's "Memoirs of Socrates." Tobias Smollett (b. 1721; d. 1771) paints life in strong, bold, but somewhat coarse lines, full of vigour, but with even more grossness than Fielding uses. "Peregrine Pickle," "Count Fathom," "Roderick Random," "Humphrey Clinker," and "Sir Launcelot Greaves," if not now generally read, have been carefully studied and made use of by some of our modern novelists. Smollett, besides, wrote plays, satires, poems, and edited "The Briton," a weekly newspaper. Laurence Sterne (b. 1713; d. 1768) struck out a style of writing peculiar to himself, and which still defies all successful imitation. Notwithstanding attempts to represent his pathos as grimace, and his humour as tinsel, the felicity of touch in "Tristram Shandy," and the flashes of wit and feeling in his "Sentimental Journey," will, in spite of detractors, and of the occasional indecency of the author, always send readers to Sterne.
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