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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. TWO:

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ONE:Two precepts stand out before all others, which, trivial as they may seem, are uttered from the very soul of Greek62 experience, ��Be moderate,�� and, ��Know thyself.�� Their joint observance constitutes the characteristic virtue of S?phrosyn��, which means all that we understand by temperance, and a great deal more besides; so much, in fact, that very clever Greeks were hard set to define it, and very wise Greeks could pray for it as the fairest gift of the gods.48 Let us suppose that each individual has a sphere of activity marked out for him by his own nature and his special environment; then to discern clearly the limits of that sphere and to keep within them would be S?phrosyn��, while the discernment, taken alone, would be wisdom. The same self-restraint operating as a check on interference with other spheres would be justice; while the expansive force by which a man fills up his entire sphere and guards it against aggressions may be called courage. Thus we are enabled to comprehend the many-sided significance of S?phrosyn��, to see how it could stand both for a particular virtue and for all virtuousness whatever. We need only glance at Homer��s poems, and in particular at the Iliad��a much deeper as well as a more brilliant work than the Odyssey��to perceive how very early this demand for moderation combined with self-knowledge had embodied itself in Greek thought. Agamemnon violates the rights of Achilles under the influence of immoderate passion, and through ignorance of how little we can accomplish without the hero��s assistance. Achilles, again, carries his vindictiveness too far, and suffers in consequence. But his self-knowledge is absolutely perfect; conscious that he is first in the field while others are better in council, he never undertakes a task to which his powers are not fully adequate; nor does he enter on his final work of vengeance without a clear consciousness of the speedy death which its completion will entail on himself. Hector, too, notwithstanding ominous forebodings, knows his duty and does it, but with much less just an estimate of his own powers, leading him to pursue his success too far, and then, when the63 tide has turned, not permitting him to make a timely retreat within the walls of Troy. So with the secondary characters. Patroclus also oversteps the limits of moderation, and pays the penalty with his life. Diomed silently bears the unmerited rebuke of Agamemnon, but afterwards recalls it at a most effective moment, when rising to oppose the craven counsels of the great king. This the Greeks called observing opportunity, and opportunism was with them, as with French politicians, a form of moderation.49 Down at the very bottom of the scale Thersites and Dolon are signal examples of men who do not know their sphere and suffer for their folly. In the Odyssey, Odysseus is a nearly perfect type of wisdom joined with self-control, erring, if we remember rightly, only once, when he insults Polyphemus before the ship is out of danger; while his comrades perish from want of these same gifts."In and round about Vis�� people sleep in their cellars, as they are threatened frequently that the town will be set on fire." TWO:"Never a truer word in your life," Leona sneered.

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ONE:Forging relates to shaping metal by compression or blows when it is in a heated and softened condition; as a process, it is an intermediate one between casting and what may be called the cold processes. Forging also relates to welding or joining [77] pieces together by sudden heating that melts the surface only, and then by forcing the pieces together while in this softened or semi-fused state. Forging includes, in ordinary practice, the preparation of cutting tools, and tempering them to various degrees of hardness as the nature of the work for which they are intended may require; also the construction of furnaces for heating the material, and mechanical devices for handling it when hot, with the various operations for shaping, which, as in the case of casting, can only be fully understood by experience and observation. TWO:"To listen to your story," said Lawrence.Nor did I see any inhabitants in the burning78 town. It was practically impossible to stay in the streets; burning walls and roofs and gutters crashed down with a great noise, so that the streets were as much on fire as the houses themselves. Only at the crossings were any soldiers to be seen, who, in various stages of intoxication, constantly aimed at the burning houses, and shot everything that tried to escape from the burning stables and barns: pigs, horses, cows, dogs, and so on.

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ONE:��So do you read them��and Dick, too!��One hour before the arrival at Li��ge the engine of our train dashed into another, and got so badly damaged that all the water from our engine ran away. This caused a delay of another two hours, so that we did not arrive at Li��ge before dusk, and could not think of reaching The Netherlands that day. TWO:It is as if the curse of drink always pursued the garrison in Louvain, for when and wherever I met German soldiers in that town, or came into touch with them, they were always drunk. That evening, also, I was glad when I arrived at the mission house, tipped the men, and got rid of them until the next day.

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