ONE:Superstitions and all! chuckled Dick."It's a queer thing," said Prout, scratching his snaky little head reflectively; "a very queer thing. Now here's a house for you. Given a man of energy and pluck who has learnt its story, and what is to prevent his taking possession and living here as if the place was his own? He comes and picks the lock, he has his servants in, and gives out that he is Jones or Robinson, and there's an end of it so long as he holds his head high and pays his creditors. Of course there is the risk of the real man turning up, but criminals must always take chances. In a way that's what happened. The poor fellow was lured here to be murdered by some one who pretended that the house was his. It's a very pretty case."
ONE:Plato had begun by condemning poetry only in so far as it was inconsistent with true religion and morality. At last, with his usual propensity to generalise, he condemned it and, by implication, every imitative art qua art, as a delusion and a sham, twice removed from the truth of things, because a copy of the phenomena which are themselves unreal representations of an archetypal idea. His iconoclasm may remind us of other ethical theologians both before and after, whether Hebrew, Moslem, or Puritan. If he does not share their fanatical hatred for plastic and pictorial representations, it is only because works of that class, besides being of a chaster character, exercised far less power over the Greek imagination than epic and dramatic poetry. Moreover, the tales of the poets were, according to Plato, the worst lies of any, since they were believed to be true; whereas statues and pictures differed too obviously from their originals for any such illusion to be produced in their case. Like the Puritans, again, Plato sanctioned the use of religious hymns, with the accompaniment of music in its simplest and most elevated forms. Like them, also, he would have approved of literary fiction when it was employed for edifying purposes. Works like the Faery Queen, Paradise Lost, and the Pilgrims Progress, would have been his favourites in English literature; and he might have242 extended the same indulgence to fictions of the Edgeworthian type, where the virtuous characters always come off best in the end.
TWO:Almost immediately the seaplane began to get off the water.Lawrence desired nothing better. In a few minutes the stones lay on the table. The novelist picked them up, and took from his pocket a small file which he coolly rubbed on the facet of two of the larger stones. Maitrank smiled. Any diamond would stand that test. With a grave look, Lawrence handed the stones back--the tested diamonds were dull and flat.
