TWO:I had to walk along the very edge of the unstable bridge in order to avoid the wheels of the passing carriages, which shook the whole bridge and made the rather loose boards clatter. In the meantime, at no considerable distance, some shells fell in the Meuse, fired at the bridge from Fort Pontisse. Yet, I did not mind it at all, as all these new experiences stunned me, so to speak; the incessant hellish noises of the batteries, the burning houses, the smoke swooping down, the excited soldiers....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.
TWO:Punctuality costs nothing, and buys a great deal; a learner who reaches the shop a quarter of an hour before starting time, and spends that time in looking about, manifests thereby an interest in the work, and avails himself of an important privilege, one of the most effectual in gaining shop knowledge. Ten minutes spent in walking about, noting the changes wrought in the work from day to day, furnishes constant material for thought, and acquaints a learner with many things which would otherwise escape attention. It requires, however, no little care and discrimination to avoid a kind of resentment which workmen feel in having their work examined, especially if they have met with an accident or made a mistake, and when such inspection is thought to be [168] prompted by curiosity only. The better plan in such cases is to ask permission to examine work in such a way that no one will hear the request except the person addressed; such an application generally will secure both consent and explanation.Gradually Lytton Avenue grew quiet again. Leona Lalage stood up so that the light of a lamp outside showed her up in a ghastly fashion. She had lost her fair wig somewhere, her face was all cut and bleeding, her left ankle was painfully sprained.
