The Egyptian style is the expression of a _brave_ soul. The rigour and force of it Egyptian man himself never felt and never asserted. He dared all, but said nothing. In Gothic and Baroque, on the contrary, the triumph over heaviness became a perfectly conscious motive of the form- language. The drama of Shakespeare deals openly with the desperate conflict of will and world. Classical man, again, was weak in the face of the “powers.” The κάθαρσις of fear and pity, the _relief and recovery_ of the Apollinian soul in the moment of the περιπέτεια was, according to Aristotle, the effect deliberately aimed at in Attic tragedy. As the Greek spectator watched _someone whom he knew_ (for everyone knew the myth and its heroes and lived in them) senselessly maltreated by fortune, without any conceivable possibility of resistance to the Powers, and saw him go under with splendid mien, defiant, heroic, his own Euclidean soul experienced a marvellous uplifting. If life was worthless, at any rate the _grand gesture_ in losing it was not so. The Greek willed nothing and dared nothing, but he found a stirring beauty in _enduring_. Even the earlier figures of Odysseus the patient, and, above all, Achilles the archetype of Greek manhood, have this characteristic quality. The morale of the Cynics, that of the Stoics, that of Epicurus, the common Greek ideals of σωφροσύνη and ἀταραξἰα, Diogenes devoting himself to θεωρία in a tub—all this is masked cowardice in the face of grave matters and responsibilities, and different indeed from the pride of the Egyptian soul. Apollinian man goes below ground out of life’s way, even to the point of suicide, which _in this Culture alone_ (if we ignore certain related Indian ideals) ranked as a high ethical act and was treated with the solemnity of a ritual symbol.[244] The Dionysiac intoxication seems a sort of furious drowning of uneasinesses that to the Egyptian soul were utterly unknown. And consequently the Greek Culture is that of the small, the easy, the simple. Its technique is, compared with Egyptian or Babylonian, a clever nullity.[245] No ornamentation shows such a poverty of invention as theirs, and their stock of sculptural positions and attitudes could be counted on one’s fingers. “In its poverty of forms, which is conspicuous even allowing that at the beginning of its development it may have been better off than it was later, the Doric style pivoted everything on proportions and on measure.”[246] Yet, even so, what adroitness in avoiding! The Greek architecture with its commensuration of load and support and its peculiar smallness of scale suggests a persistent evasion of difficult architectural problems that on the Nile and, later, in the high North were literally looked for, which moreover were known and certainly not burked in the Mycenæan age. The Egyptian loved the strong stone of immense buildings; it was in keeping with his self- consciousness that he should choose only the hardest for his task. But