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THREE:If, however, we pass to the second point of view, and judge Neo-Platonism according to the requirements, not of truth or of usefulness, but of beauty, our first verdict of utter condemnation will be succeeded by a much more favourable opinion. Plotinus has used the materials inherited from his predecessors with unquestionable boldness and skill; and the constructive power exhibited in the general plan of his vast system is fully equalled by the close reasoning with which every detail is elaborated and fitted into its proper place. Nothing can be imagined more imposing than this wondrous procession of forms defiling from the unknown to the unknown��from the self-developing consciousness of Reason as it breaks and flames and multiplies into a whole universe of being and life and thought, ever returning, by the very law of their production, to the source whence they have sprung��onward and outward on the wings of the cosmic Soul, through this visible world, where they reappear as images of intellectual beauty in the eternal revolutions of the starry spheres above, in the everlasting reproduction of organic species below, in the loveliest thoughts and actions of the loveliest human souls��till339 the utmost limits of their propagation and dispersion have been reached, till the last faint rays of existence die out in the dark and void region that extends to infinity beyond. Nothing in the realm of abstractions can be more moving than this Odyssey of the human soul, wakened by visions of earthly loveliness to a consciousness of her true destiny, a remembrance of her lost and forgotten home; then abandoning these for the possession of a more spiritual beauty, ascending by the steps of dialectic to a contemplation of the archetypal Ideas that lie folded and mutually interpenetrated in the bosom of the eternal Reason where thought and being are but the double aspect of a single absolute reality; seeking farther and higher, beyond the limits of existence itself, for a still purer unity, and finding in the awful solitude of that supreme elevation that the central source of all things does not lie without but within, that only in returning to self-identity does she return to the One; or, again, descending to the last confines of light and life that she may prolong their radiation into the formless depths of matter, projecting on its darkness an image of the glory whose remembrance still attends her in her fall.With "The Battle of the Books" appeared "The Tale of a Tub;" and though these were anonymous, it was soon well known that they were from the hand of Jonathan Swift, a friend of Harley and Bolingbroke, who now assumed a position in the public eye destined to be rendered yet more remarkable. Swift was of English parentage, but born in Dublin in 1667. He was educated at Kilkenny and the University of Dublin. In early life he became private secretary to Sir William Temple, and at this time he wrote his "Tale of a Tub," which cut off all his hopes of a bishopric. He edited a selection from the papers of Temple, and then accompanied Lord Berkeley to Ireland as chaplain. Disappointed of the preferment which he had hoped for, he went over from the Whigs to the Tories in 1710, and thenceforward was an unscrupulous adherent of Harley and Bolingbroke, defending all their measures in the "Examiner," and pouring out his vengeance on all opponents with unflinching truculence. In his political[148] character Swift has been styled the great blackguard of the age, and certainly with too much truth. In spite of rare intellectual power, wit, and sarcasm, no principle or tenderness of feeling restrained him in his attacks on his enemies. If Harley and Bolingbroke are guilty of inflicting the disgraceful peace of Utrecht on the nation, simply to avenge themselves on the Whigs, no man so thoroughly abetted them in that business as Swift. His "Conduct of the Allies," his "Public Spirit of the Whigs," and other political tracts and articles, bear testimony to his unscrupulous political rancour. His "Drapier's Letters," and his treatment of Wood in the affair of the Irish halfpence, show that no means, however base and false, came amiss to him in serving the objects of his ambition. The great work of Swift is his "Gulliver's Travels," a work characterised by a massive intellect and a fertile invention, but defiled by the grossness that was inseparable from his mind, and that equally pollutes his poems, in which there is much wit and humour, but not a trace of pathos or tenderness. There is none of that divine glow of love and human sympathy, mingled with the worship of beauty and truth, which courts our affections in the works of the greatest masters. When we are told that Swift's grossness is merely the grossness of the time, we point to "Robinson Crusoe," to "The Seasons" and "Castle of Indolence" of Thomson, and to the works of Addison, for the most admirable contrast. Swift��who died in the famous year of the '45��was one of the most vigorous writers of the age, but he was one of the most unamiable. He was the Mephistopheles of the eighteenth century.

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THREE:��Long Distance Operator, please,�� he spoke into the transmitter.While they discussed these proofs of Dick��s quick wit, the sound of an airplane engine turned all eyes skyward.

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