"IN AMBRACIO SINU BARBARUSSUM OTTHO MANICÆ CLASSIS DUCEM INCLUSIT POSTRIDIE AD INTERNITIONEM DELETU RUS NISI FATA CHRISTIANIS ADVERSA VETUISSENT. IN RYZONICO SINU CASTRO NOVO EXPUGNATO DIVI MARCI PROCUR UNIVERSO REIP CONSENSU CREATUS IN PATRIA MORITUR TOTIUS CIVITATIS MOERORE, ANNO ÆTATIS LXXIV. MDCXLII. XIV. KAL SEPT." [39] The Love of God is, however, always shown by the predominance, or greater sum, of good, in the end; but never by the annihilation of evil. The modern doubts of eternal punishment are not so much the consequence of benevolence as of feeble powers of reasoning. Every one admits that God brings finite good out of finite evil. Why not, therefore, infinite good out of infinite evil? [40] Let the reader examine, with special reference to this subject, the general character of the language of Iago. [41] This opposition of art to inspiration is long and gracefully dwelt upon by Plato, in his "Phædrus," using, in the course of his argument, almost the words of St Paul: [Greek: kallion marturousin oi palaioi manian sôphrosynês tên ek Theou tês par anthrôpôn gignomenês]: "It is the testimony of the ancients, that _the madness which is of God is a nobler thing than the wisdom which is of men_;" and again, "He who sets himself to any work with which the Muses have to do," (i. e. to any of the fine arts,) "without madness, thinking that by art alone he can do his work sufficiently, will be found vain and incapable, and the work of temperance and rationalism will be thrust aside and obscured by that of inspiration." The passages to the same effect, relating especially to poetry, are innumerable in nearly all ancient writers; but in this of Plato, the entire compass of the fine arts is intended to be embraced.