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ONE:We have illustrated the position of Cicero by reference to the master who, more than any other Greek philosopher, seems to have satisfied his ideal of perfect wisdom. We must now observe that nothing is better calculated to show how inadequate was the view once universally taken of Socrates, and still, perhaps, taken by all who are not scholars, than that it should be applicable in so many points to Cicero as well. For, while the influence of the one on human thought was the greatest ever exercised by a single individual, the influence of the other was limited to the acceleration of a movement already in full activity, and moreover tending on the whole in a retrograde direction. The immeasurable superiority of the Athenian lies in his dialectical method. It was not by a mere elimination of differences that he hoped to establish a general agreement, but by reasoning down from admitted principles, which were themselves to be the result of scientific induction brought to bear on a comprehensive and ever-widening area of experience. Hence his scepticism, which was directed against authority, tended as much to stimulate enquiry as that of the Roman declaimer, which was directed against reason, tended to deaden or to depress it. Hence, also, the political philosophy of Socrates was as revolutionary as that of his imitator was conservative. Both were, in a certain sense, aristocrats; but while the aristocracy176 of the elegant rhetorician meant a clique of indolent and incapable nobles, that of the sturdy craftsman meant a band of highly-trained specialists maintained in power by the choice, the confidence, and the willing obedience of an intelligent people. And while the religion of Cicero was a blind reliance on providence supplemented by priestcraft in this world, with the hope, if things came to the worst, of a safe retreat from trouble in the next; the religion of Socrates was an active co-operation with the universal mind, an attempt to make reason and the will of God prevail on earth, with the hope, if there was any future state, of carrying on in it the intellectual warfare which alone had made life worth living here. No less a contrast could be expected between the orator who turned to philosophy only for the occupation of a leisure hour, or for relief from the pangs of disappointed ambition, and the thinker who gave her his whole existence as the elect apostle and martyr of her creed.Prout confessed that up to the present he had but the sketchiest idea of the past of the brilliant adventuress who called herself Countess Lalage. He was just a little piqued that he should have been so easily gulled, especially as the case was exciting so ominous an amount of public attention. From all parts of the Continent stories were coming in telling of this and that swindled capitalist. The woman had flaunted for years with the money she had obtained by fraud. It was calculated that besides her debts she had got away with nearly a million of money.

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ONE: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 verses��verse-making had become fashionable just then��but 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 Plato��s 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 Plato��s 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 Plato��s 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."No, only a couple of minutes."

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