ONE:According to Bacon, the object of science is to analyse the complex of Forms making up an individual aggregate into its separate constituents; the object of art, to superinduce one or more such Forms on a given material. Hence his manner of regarding them differs in one important respect from Aristotles. The Greek naturalist was, before all things, a biologist. His interest lay with the distinguishing characteristics of animal species. These are easily discovered by the unassisted eye; but while they are comparatively superficial, they are also comparatively unalterable. The English experimenter, being primarily concerned with inorganic bodies, whose properties he desired to utilise for industrial purposes, was led to consider the attributes of an object as at once penetrating its inmost texture, and yet capable of being separated from it, like heat and colour for instance. But, like every other thinker of the age, if he escapes from the control of Aristotle it is only to fall under the dominion of another Greek masterin this instance, Democritus. Bacon had a great admiration for the Atomists, and although his inveterate Peripatetic proclivities prevented him from embracing their theory as a whole, he went along with it so far as to admit the dependence of the secondary on the primary qualities of matter; and on the strength of this he concluded that the way to alter the properties of an object was to alter the arrangement of its component particles.
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- imperdiet doming
THREE:Im letting you see I am straight with you, he remarked.Before the ideas which we have passed in review could go forth on their world-conquering mission, it was necessary, not only that Socrates should die, but that his philosophy should die also, by being absorbed into the more splendid generalisations of Platos system. That system has, for some time past, been made an object of close study in our most famous seats of learning, and a certain acquaintance with it has almost become part of a liberal education in England. No170 better source of inspiration, combined with discipline, could be found; but we shall understand and appreciate Plato still better by first extricating the nucleus round which his speculations have gathered in successive deposits, and this we can only do with the help of Xenophon, whose little work also well deserves attention for the sake of its own chaste and candid beauty. The relation in which it stands to the Platonic writings may be symbolised by an example familiar to the experience of every traveller. As sometimes, in visiting a Gothic cathedral, we are led through the wonders of the more modern edificeunder soaring arches, over tesselated pavements, and between long rows of clustered columns, past frescoed walls, storied windows, carven pulpits, and sepulchral monuments, with their endless wealth of mythologic imagerydown into the oldest portion of any, the bare stern crypt, severe with the simplicity of early art, resting on pillars taken from an ancient temple, and enclosing the tomb of some martyred saint, to whose glorified spirit an office of perpetual intercession before the mercy-seat is assigned, and in whose honour all that external magnificence has been piled up; so also we pass through the manifold and marvellous constructions of Platos imagination to that austere memorial where Xenophon has enshrined with pious care, under the great primary divisions of old Hellenic virtue, an authentic reliquary of one standing foremost among those who, having worked out their own deliverance from the powers of error and evil, would not be saved alone, but published the secret of redemption though death were the penalty of its disclosure; and who, by their transmitted influence, even more than by their eternal example, are still contributing to the progressive development of all that is most rational, most consistent, most social, and therefore most truly human in ourselves.
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