THREE:We now enter on the last period of purely objective philosophy, an age of mediating and reconciling, but still profoundly original speculation. Its principal representatives, with whom alone we have to deal, are Empedocles, the Atomists, Leucippus and Democritus, and Anaxagoras. There is considerable doubt and difficulty respecting the order in which they should be placed. Anaxagoras was unquestionably the oldest and Democritus the youngest of the four, the difference between their ages being forty years. It is also nearly certain that the Atomists came after Empedocles. But if we take a celebrated expression of Aristotles21 literally (as there is no reason why it should not be taken),27 Anaxagoras, although born before Empedocles, published his views at a later period. Was he also anticipated by Leucippus? We cannot tell with certainty, but it seems likely from a comparison of their doctrines that he was; and in all cases the man who naturalised philosophy in Athens, and who by his theory of a creative reason furnishes a transition to the age of subjective speculation, will be most conveniently placed at the close of the pre-Socratic period.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 versesverse-making had become fashionable just thenbut 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 Platos 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 Platos 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 Platos 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.
19 August 2015, John Doe
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THREE:139
THREE:And Im glad Im done with this-here amphibian, he added. Had more trouble than I ever had before. I think the crates hoodooed.Maitrank stirred and stirred uneasily. Then he opened his eyes and stared round him. His quick, active mind was beginning to work. But those eyes were a little uneasy and fearsome as they saw both Leona and Balmayne there.
THREE: