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THREE:With Bacon, experience was the negation of mere authority, whether taking the form of natural prejudice, of individual prepossession, of hollow phrases, or of established systems. The question how we come by that knowledge which all agree to be the most certain, is left untouched in his logic; either of the current answers would have suited his system equally well; nor is there any reason for believing that he would have sided with Mill rather than with Kant respecting the origin of mathematical axioms. With Locke, experience meant the analysis of notions and judgments into the simple data of sense and self-consciousness; and the experientialists of the present day are beyond all doubt his disciples; but the parentage of his philosophy, so far as it is simply a denial of innate ideas, must be sought, not in the Novum Organum, nor in any other modern work, but in the old Organon of Aristotle, or in the comments of the396 Schoolmen who followed Aristotle in protesting against the Platonism of their time, just as Locke protested against the Platonism of Descartes and Malebranche.

THREE:Mr. van Wersch, whom I mentioned above, and who shared imprisonment with me at Bilsen, had a rather disagreeable adventure a few days afterwards, when he had the misfortune of being mistaken for the war-correspondent of De Tijd.

THREE:In that he was beaten by only a hundred feet.

THREE:Apart, however, from abstract speculation, the ideal156 method seems to have exercised an immediate and powerful influence on Art, an influence which was anticipated by Socrates himself. In two conversations reported by Xenophon,102 he impresses on Parrhasius, the painter, and Cleito, the sculptor, the importance of so animating the faces and figures which they represented as to make them express human feelings, energies, and dispositions, particularly those of the most interesting and elevated type. And such, in fact, was the direction followed by imitative art after Pheidias, though not without degenerating into a sensationalism which Socrates would have severely condemned. Another and still more remarkable proof of the influence exercised on plastic representation by ideal philosophy was, perhaps, not foreseen by its founder. We allude to the substitution of abstract and generic for historical subjects by Greek sculpture in its later stages, and not by sculpture only, but by dramatic poetry as well. For early art, whether it addressed itself to the eye or to the imagination, and whether its subjects were taken from history or from fiction, had always been historical in this sense, that it exhibited the performance of particular actions by particular persons in a given place and at a given time; the mode of presentment most natural to those whose ideas are mainly determined by contiguous association. The schools which came after Socrates let fall the limitations of concrete reality, and found the unifying principle of their works in association by resemblance, making their figures the personification of a single attribute or group of attributes, and bringing together forms distinguished by the community of their characteristics or the convergence of their functions. Thus Aphroditê no longer figured as the lover of Arês or Anchisês, but as the personification of female beauty; while her statues were grouped together with images of the still more transparent abstractions, Love, Longing, and Desire. Similarly Apollo became a personification of musical enthusiasm, and Dionysus157 of Bacchic inspiration. So also dramatic art, once completely historical, even with Aristophanes, now chose for its subjects such constantly-recurring types as the ardent lover, the stern father, the artful slave, the boastful soldier, and the fawning parasite.103"Then it really was your face in the window!" Leona cried. "There, I have admitted it, though I had not meant to do so. Not that it matters. I could swear that I had denied it all along. If you have witnesses----"

THREE:The ceremony wound up with a short silent prayer offered at the request of the parson.