The new spirit is especially bitter against the Stoical ethics, which as we have seen were taken over, with the Platonic metaphysics, by Christianity. Stoicism teaches men to venerate and obey natural law; to accept with proud equanimity the misfortunes of life; to be beneficent, but to inhibit the emotion of pity; to be self-reliant and self-contained; to practise self-denial for the sake of self-conquest; and to regard this life as a stern school of moral discipline. All this is simply detestable to the new spirit, which is sentimental, undisciplined, and hedonistic. It remembers the hardness of Puritanism, and has no admiration for its virtues. It is often said that the modern man has entirely lost the Greek love of beauty. This is, I think, untrue, and unjust to our present civilization, unlovely as it undoubtedly is in many ways. It is curious that modern critics of the Greeks have not called attention to the _aesthetic_ obtuseness which showed itself in the defective reaction of the ancients against cruelty. It was not that they excluded beautiful actions from the sphere of aesthetics; they never thought of separating the beautiful from the good in this way. But they were not disgusted at the torture of slaves, the exposure of new-born children, or the massacre of the population of a revolted city. The same callousness appears in the Italian cities at the Renaissance; Ezzelino was a contemporary of the great architects and painters. I cannot avoid the conclusion that it is connected in some obscure way with the artistic creativeness of these two closely similar epochs. The extreme sensibility to physical suffering which characterizes modern civilization arose together with industrialism, and is most marked in the most highly industrialized countries. It has synchronized with the complete eclipse of spontaneous and unconscious artistic production, which we deplore in our time. Evelyn, in the seventeenth century, was still able to visit a prison in Paris to gratify his curiosity by seeing a prisoner tortured, and though he did not stay to the end of the exhibition he shows that his stomach was not easily turned. It is certain that our repugnance to such sights is aesthetic rather than moral, and probable that it is strongest in the lower social strata. Several years ago I went to the first night of a rather foolish play about ancient Rome, in which an early Christian is brought in to be very mildly tortured on the stage. At the first crack of the whip my neighbours sprang from their seats, crying, 'Shame! Stop that!'; and the scene had to be removed in subsequent performances. The operatives in a certain factory stopped the engines for an hour because they heard a cat mewing among the machinery. Having with difficulty rescued the animal from being crushed they strangled it. The explanation of this extreme susceptibleness must be left to psychologists; but I am convinced that we have here a case of transferred aesthetic sensibility.