THREE:Hetty smiled lightly. She had her own reward. It would be mainly due to her that her lover's good name would be cleared.
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TWO:Could he help her. She was in great trouble, and she knew that she could trust him. She owed Maitrank a lot of money; he had chosen to humiliate her by actually putting these vulgar bailiffs in tonight, of all times. Those pleading eyes would have melted a heart of stone. Lawrence seemed to be greatly distressed.We have now concluded our survey of the first great mental antithesis, that between reason on the one hand, and sense and opinion on the other. The next antithesis, that between reason and passion, will occupy us a much shorter time. With it we pass from theory to practice, from metaphysics and logic to moral philosophy. But, as we saw in the preceding chapter, Aristotle is not a practical genius; for him the supreme interest of life is still the acquisition of knowledge. Theorising activity corresponds to the celestial world, in which there can be neither opposition nor excess; while passion corresponds to the sublunary sphere, where order is only preserved by the balancing of antithetical forces; and the moderating influence of reason, to the control exercised by the higher over the lower system.
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TWO:"Are they bad?" Lady Longmere asked quizzically?"I am afraid I am utterly in the dark, Lawrence," said Charlton.
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ONE:CHAPTER LVIII. NEARING THE END.
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TWO:It was natural that one who united a great intellect to a glowing temperament should turn his thoughts to poetry. Plato wrote a quantity of versesverse-making had become fashionable just thenbut wisely committed them to the flames on making the acquaintance of Socrates. It may well be doubted whether the author of the Phaedrus and the Symposium would ever have attained eminence in metrical composition, even had he lived in an age far more favourable to poetic inspiration than that which came after the flowering time of Attic art. It seems as if Plato, with all his fervour, fancy, and dramatic skill, lacked the most essential quality of a singer; his finest passages are on a level with the highest poetry, and yet they are separated from it by a chasm more easily felt than described. Aristotle, whom we think of as hard and dry and cold, sometimes comes much nearer to the true lyric cry. And, as if to mark out Platos style still more distinctly from every other, it is also deficient in oratorical power. The philosopher evidently thought that he could beat the rhetoricians on their own ground; if the Menexenus be genuine, he tried to do so and failed; and even without its191 testimony we are entitled to say as much on the strength of shorter attempts. We must even take leave to doubt whether dialogue, properly so called, was Platos forte. Where one speaker is placed at such a height above the others as Socrates, or the Eleatic Stranger, or the Athenian in the Laws, there cannot be any real conversation. The other interlocutors are good listeners, and serve to break the monotony of a continuous exposition by their expressions of assent or even by their occasional inability to follow the argument, but give no real help or stimulus. And when allowed to offer an opinion of their own, they, too, lapse into a monologue, addressed, as our silent trains of thought habitually are, to an imaginary auditor whose sympathy and support are necessary but are also secure. Yet if Platos style is neither exactly poetical, nor oratorical, nor conversational, it has affinities with each of these three varieties; it represents the common root from which they spring, and brings us, better than any other species of composition, into immediate contact with the mind of the writer. The Platonic Socrates has eyes like those of a portrait which follow us wherever we turn, and through which we can read his inmost soul, which is no other than the universal reason of humanity in the delighted surprise of its first awakening to self-conscious activity. The poet thinks and feels for us; the orator makes our thoughts and feelings his own, and then restores them to us in a concentrated form, receiving in vapour what he gives back in a flood. Plato removes every obstacle to the free development of our faculties; he teaches us by his own example how to think and to feel for ourselves. If Socrates personified philosophy, Plato has reproduced the personification in artistic form with such masterly effect that its influence has been extended through all ages and over the whole civilised world. This portrait stands as an intermediary between its original and the far-reaching effects indirectly due to his dialectic inspiration, like that universal soul which Plato himself has placed between192 the supreme artificer and the material world, that it might bring the fleeting contents of space and time into harmony with uncreated and everlasting ideas.
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