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THREE:“Sandy can have the run of my library, full of books on engineering and mechanics—and you’ll be learning while you help me get those emeralds and find out who flew the seaplane and who helped them on the yacht.”

THREE:The Platonic influence told even more efficaciously on Galileo’s still greater contemporary, Kepler. With him as with the author of the Republic, mysticism took the direction of seeking everywhere for evidence of mathematical proportions. With what brilliant success the search was attended, it is needless to relate. What interests us here is the fact, vouched for by Arago, that the German astronomer was guided by an idea of Plato’s, that the world must have been created on geometrical principles.552 Had Bacon known anything about the work on which his adventurous contemporary was engaged, we may be sure that it would have afforded him another illustration for his Id?la, the only difficulty being whether it should be referred to the illusions of the Tribe, the Den, or the Theatre.There was no chewing gum in the craft!

THREE:"Well, sir, not much beyond what you are sure to know already: that Japan declared war against Germany; that the Russians invaded Germany; that the French gained some important victories in Alsace; that the German fleet lost some ships....""The acting burgomaster, A. Nerincx.

THREE:Socrates represents the popular Athenian character much as Richardson, in a different sphere, represents the English middle-class character—represents it, that is to say, elevated into transcendent genius. Except this elevation, there was nothing anomalous about him. If he was exclusively critical, rationalising, unadventurous, prosaic; in a word, as the German historians say, something of a Philistine; so, we may suspect, were the mass of his countrymen. His illustrations were taken from such plebeian employments as cattle-breeding, cobbling, weaving, and sailoring. These were his ‘touches of things common’ which at last ‘rose to touch the spheres.’ He both practised and inculcated virtues, the value of which is especially evident in humble life—frugality and endurance. But he also represents the Dêmos in its sovereign capacity as legislator and judge. Without aspiring to be an orator or statesman, he reserves the ultimate power of arbitration and election. He submits candidates for office to a severe scrutiny, and demands from all men an even stricter account of their lives than retiring magistrates had to give of their conduct, when in power, to the people. He applies the judicial method of cross-examination to the detection of error, and the parliamentary method of joint deliberation to the discovery of truth. He follows out the democratic principles of free speech and self-government, by submitting every question that arises to public discussion, and insisting on no conclusion that does not command the willing assent of his audience. Finally, his conversation, popular in form, was popular also in this respect, that everybody who chose to listen might have the130 benefit of it gratuitously. Here we have a great change from the scornful dogmatism of Heracleitus, and the virtually oligarchic exclusiveness of the teachers who demanded high fees for their instruction.

THREE:With Christianity, there came a certain inversion of parts. The external universe again became subjected to narrow limitations, and the flammantia moenia mundi beyond which Epicurus had dared to penetrate, were raised up once more and guarded by new terrors as an impassable barrier to thought. But infinity took refuge within the soul; and, while in this life a sterner self-control than even that of Stoicism was enjoined, perspectives of illimitable delight in another life were disclosed. Finally, at the Renaissance, every barrier was simultaneously overthrown, and the accumulated energies of western civilisation expatiated over a field which, if it was vast in reality, was absolutely unbounded in imagination. Great as were the achievements of that age, its dreams were greater still; and what most excites our wonder in the works of its heroes is but the fragment of an unfinished whole. The ideal of life set up by Aristotle was, like his conception of the world, contradicted in every particular; and the relative positions assigned by him to act and power were precisely reversed. It has been shown how Shakespeare reflected the Platonism of his contemporaries: he reflected also the fierce outburst of their ambition; and in describing what they would dare, to possess solely sovereign sway and masterdom, or wear without corrival all the dignities of honour, he borrowed almost the very words used by Euripides to express the feelings encouraged by some teachers of his time. The same spirit is exhibited a generation later in the dramas of Calderon and Corneille, before their thoughts were forced into a different channel by the stress of the Catholic reaction; while its last and highest manifestation is the sentiment of Milton’s ruined archangel, that to reign in hell is better than to serve in heaven. Thus,400 when Hobbes reduces all the passions to modes of the fundamental desire for power,557 he does but give the scientific theory of that which stands proclaimed in more thrilling accents by the noblest poetry of his age.As a result of the foregoing criticism, Aristotle distinguishes four different causes or principles by which all things are determined to be what they are—Matter, 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 Aristotle’s 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 tools—knives, 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