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Updated: May 15, 2025
Having decided to compose the work, he continues, I divided the subject into ten fundamental principles, and devoted a section of the book to each principle. I endeavored to write in a plain and easy style, omitting difficult expressions, technical terms and demonstrations in the manner of the dialecticians.
For abundant examples of scenes rendered obligatory by the logic of the theme, we have only to turn to the works of those remorseless dialecticians, MM. Hervieu and Brieux. In such a play as La Course du Flambeau, there is scarcely a scene that may not be called an obligatory deduction from the thesis duly enunciated, with no small parade of erudition, in the first ten minutes of the play. It is that, in handing on the vital lampada, as Plato and "le bon poète Lucrèce" express it, the love of the parent for the child becomes a devouring mania, to which everything else is sacrificed, while the love of the child for the parent is a tame and essentially selfish emotion, absolutely powerless when it comes into competition with the passions which are concerned with the transmission of the vital flame. This theorem having been stated, what is the first obligatory scene? Evidently one in which a mother shall refuse a second marriage, with a man whom she loves, because it would injure the prospects and wound the feelings of her adored daughter. Then, when the adored daughter herself marries, the mother must make every possible sacrifice for her, and the daughter must accept them all with indifference, as mere matters of course. But what is the final, triumphant proof of the theorem? Why, of course, the mother must kill her mother to save the daughter's life! And this ultra-obligatory scene M. Hervieu duly serves up to us. Marie-Jeanne (the daughter) is ordered to the Engadine; Sabine (the mother) is warned that Madame Fontenais (the grandmother) must not go to that altitude on pain of death; but, by a series of violently artificial devices, things are so arranged that Marie-Jeanne cannot go unless Madame Fontenais goes too; and Sabine, rather than endanger her daughter's recovery, does not hesitate to let her mother set forth, unwittingly, to her doom. In the last scene of all, Marie-Jeanne light-heartedly prepares to leave her mother and go off with her husband to the ends of the earth; Sabine learns that the man she loved and rejected for Marie-Jeanne's sake is for ever lost to her; and, to complete the demonstration, Madame Fontenais falls dead at her feet. These scenes are unmistakably scènes
Speaking generally, society in Germany during the Saxon line of its princes, was always improving. State of Literature during the Saxon Dynasty. "In the school of Paderborn," says the biographer of Meinwert, as he is cited by Schmidt, "there are famous musicians, dialecticians, orators, grammarians, mathematicians, astronomers and geometricians.
The glamour of Clarke's name may have partly explained the secret of his charm, but, even in circles where literary fame is no passport, he could, if he chose, exercise an almost terrible fascination. Subtle and profound, he had ransacked the coffers of mediæval dialecticians and plundered the arsenals of the Sophists.
The passages I have quoted were uttered by John Stuart Mill; but you cannot hear inverted commas, and it is therefore right that I should add, without delay, that I have taken the liberty of substituting "workers in science" for "ancient dialecticians," and "Science as an essential ingredient in education" for "the ancient languages as our best literary education."
For Aristotle himself has given many rules for arguing: and those who followed him, and who are called dialecticians, have delivered many very difficult rules. Therefore I think, that the man who is tempted by the glory of eloquence, is not utterly ignorant of those things; but that he has been brought up either in that old school, or in the school of Chrysippus.
It knows nothing of the rules of the dialecticians, of the syllogism, the dilemma, the enthymeme, or the sorites, but it recurs to the homely implements of its operative parent for its methods of instruction, and with the plumb-line it inculcates rectitude of conduct, and draws lessons of morality from the workman's square.
Here is the swimming bath; here are the cool, dark rooms for the ladies of the harem in the hottest days, with odd corners where Akbar is said to have played hide-and-seek with them; here is the hall where Akbar, who kept an open mind on religion, listened to, and disputed with, dialecticians of varying creeds himself seated in the middle, and the doctrinaires in four pulpits around him; here is the Mint; here is the house of the Turkish queen, with its elaborate carvings and decorations; here is the girls' school, with a courtyard laid out for human chess, the pieces being slave-girls; here is a noble mosque; here is the vast court where the great father of his people administered justice, or what approximated to it, and received homage.
And from those conclusions which I have mentioned above, the former is called by the dialecticians the fourth mood, and the latter the fifth. Then they add a negation of conjunctive propositions; as, "It is not both this and that; but it is this; therefore it is not that." This is the sixth mood. The seventh is, "It is not both this and that; but it is not this; therefore it is that."
An articulate voice, according to the dialecticians, hath naturally no signification at all; for that the sense and meaning thereof did totally depend upon the good will and pleasure of the first deviser and imposer of it. I do not tell you this without a cause; for Bartholus, Lib. 5. de Verb.
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