stood as a text for Browning's _Rabbi ben Ezra_. The brands visible on
the tyrant's soul, and the refusal of Lethe as a sufficient punishment
(_Voyage to the lower World_, 24 and 28), have their parallels in our
new eschatology. The decision of _Zeus_ that _Heraclitus_ and
_Democritus_ are to be one lot that laughter and tears will go
together (_Sale of Creeds_, l3)--accords with our views of the
emotional temperament. _Chiron_ is impressive on the vanity of
fruition (_Dialogues of the Dead_, 26). And the figuring of _Truth_ as
'the shadowy creature with the indefinite complexion' (_The Fisher_,
16) is only one example of Lucian's felicity in allegory.

Another weak point, for which many people will have no more
inclination to condemn him than for his moralizing, is his absolute
indifference to the beauties of nature. Having already given him
credit for regarding nothing that is human as beyond his province, it
is our duty to record the corresponding limitation; of everything that
was not human he was simply unconscious; with him it was not so much
that the _proper_ as that the _only_ study of mankind is man. The
apparent exceptions are not real ones. If he is interested in the
gods, it is as the creatures of human folly that he takes them to be.
If he writes a toy essay with much parade of close observation on the
fly, it is to show how amusing human ingenuity can be on an unlikely
subject. But it is worth notice that 'the first of the moderns,'
though he shows himself in many descriptions of pictures quite awake
to the beauty manufactured by man, has in no way anticipated the
modern discovery that nature is beautiful. To readers who have had
enough of the pathetic fallacy, and of the second-rate novelist's
local colour, Lucian's tacit assumption that there is nothing but man
is refreshing. That he was a close enough observer of human nature,
any one can satisfy himself by glancing at the _Feast of Lapithae_,