THREE:The extreme nicety with which gauging implements are fitted seems at first thought to be unnecessary, but it must be remembered that a cylindrical joint in ordinary machine fitting involves a precision almost beyond the sense of feeling, and that any sensible variation in turning gauges is enough to spoil a fit.
This reaction had begun to make itself felt long before the birth of a philosophical literature in the Latin language. It may be traced to the time when the lecture-halls at Athens were first visited by Roman students, and Greek professors first received on terms of intimate companionship into the houses of Roman nobles. In each instance, but more especially in the latter, not only would the pupil imbibe new ideas from the master, but the master would suit his teaching to the tastes and capacities of the pupil. The result would be an intellectual condition somewhat resembling that which attended the popularisation of philosophy in Athens during the latter half of the fifth century B.C.; and all the more so as speculation had already spontaneously reverted to the Sophistic standpoint. The parallel will be still more complete if we take the word Sophist in its original and comprehensive sense. We may then say that while Carneades, with his entrancing eloquence and his readiness to argue both sides167 of a question, was the Protagoras of the new movement; Panaetius, the dignified rationalist and honoured friend of Laelius and the younger Scipio, its Prodicus; and Posidonius, the astronomer and encyclopaedic scholar, its Hippias, Phaedrus the Epicurean was its Anaxagoras or Democritus.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.It will be proper to mention here, what will be more fully pointed out in the Introduction, that although workshop processes may be scientifically explained and proved, they must nevertheless be learned logically. This view, it is hoped, will not lead to anything in the book being construed as a disparagement of the importance of theoretical studies."I am absolutely certain of it. I took you for a dreamer. I argued that if I used this thing you would not be an atom the wiser. People who talk so much about their own work as you do are generally very foolish."
