ONE:Thus Proclus was to Plotinus what Plotinus himself had been to Plato and Aristotle: that is to say, he stood one degree further removed from the actual truth of things and from the spontaneity of original reflection. And what we have said about the philosophic position of the master may be applied, with some modification, to the claims of his most eminent disciple. From a scientific point of view, the system, of Proclus is a mere mass of wearisome rubbish; from an aesthetic point of view it merits our admiration as the most comprehensive, the most coherent, and the most symmetrical work of the kind that antiquity has to show. It would seem that just as the architectural skill of the Romans survived all their other great gifts, and even continued to improve until the very lastthe so-called temple of Minerva Medica being the most technically perfect of all their monumentsso also did the Greek power of concatenating ideas go on developing itself as long as Greece was permitted to have any ideas of her own.Me? Oh Did the man hesitate, Sandy wondered. It seemed to be so before he continued. Im Everdail.
TWO:Into the murky folds of the thick mist dived the seaplane.
ONE:"Of course. Did we not raise money on the San Salvator property from him also? That was nearly a hundred thousand pounds."
TWO:In studying improvements with a view to practical gain, a learner can have no reasonable hope of accomplishing much in fields already gone over by able engineers, nor in demonstrating anything new in what may be called exhausted subjects, such as steam-engines or water-wheels; he should rather choose new and special subjects, but avoid schemes not in some degree confirmed by existing practice.
ONE:As a result of the foregoing criticism, Aristotle distinguishes four different causes or principles by which all things are determined to be what they areMatter, Form, Agent, and Purpose.226 If, for example, we take a saw, the matter is steel; the form, a toothed blade; the agent or cause of its assuming that shape, a smith; the purpose, to divide wood or stone. When we have enumerated these four principles, we have told everything that can be known about a saw. But Aristotle could not keep the last three separate; he gradually extended the definition of form until it absorbed, or became identified with, agent and purpose.227 It was what we should call the idea of function that facilitated the transition. If the very essence or nature of a saw implies use, activity, movement, how can we define it without telling its purpose? The toothed blade is only intelligible as a cutting, dividing instrument. Again, how came the saw into being? What shaped the steel into that particular form? We have said that it was the smith. But surely that is too vague. The smith is a man, and may be able to exercise other trades as well. Suppose him to be a musician, did he make the saw in that capacity? No; and here comes in a distinction which plays an immense part in Aristotles metaphysics, whence it has passed into our every-day speech. He does not make the saw qua musician but qua smith. He can, however, in the exercise of his trade as smith make many other toolsknives, axes, and so forth. Nevertheless, had he only learned to make saws it would be enough. Therefore, he does not make335 the saw qua axe-maker, he makes it qua saw-maker. Nor, again, does he make it with his whole mind and body, but only with just those thoughts and movements required to give the steel that particular shape. Now, what are these thoughts but the idea of a saw present in his mind and passing through his eyes and hands, till it fixes itself on the steel? The immaterial form of a saw creates the real saw which we use. Let us apply the preceding analogies to a natural object; for example, a man. What is the Form, the definition of a man? Not a being possessing a certain outward shape, for then a marble statue would be a man, which it is not; nor yet a certain assemblage of organs, for then a corpse would be a man, which, according to Aristotle, criticising Democritus, it is not; but a living, feeling, and reasoning being, the end of whose existence is to fulfil all the functions involved in this definition. So, also, the creative cause of a man is another man, who directly impresses the human form on the material supplied by the female organism. In the same way, every definite individual aggregate becomes what it is through the agency of another individual representing the same type in its perfect manifestation.228
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