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32% TWO:From the garret-window of the farm-house I followed the fierce battle for another half-hour, and saw that the Germans suffered enormous losses, but achieved no gains. At last I had to leave this place too, because shells fell again quite near to the house. I stayed another ten minutes near an ambulance, where they were quite unable to attend to the numerous wounded men. Most of them got an emergency dressing, and were advised to go higher up and try to get better attention there.The principle upon which steam-engines operate may be briefly explained as follows:��

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32% TWO:The Academic theory of probability bears some resemblance to the Canonic of Epicurus, and may have been partially suggested by it. Both are distinguished from the Aristotelian and Stoic logic by the care with which they provide for the absence of contradictory evidence. In this point, however, the superiority of Carneades to Epicurus is very marked. It is not enough for him that a present impression should suggest a belief not inconsistent with past experience; in the true inductive spirit, he expressly searches for negative instances, and recommends the employment of experiment for this purpose. Still more philosophical is the careful and repeated analysis of attendant circumstances, a precaution not paralleled by anything in the slovenly method of his predecessor. Here the great value of scepticism as an element in mental training becomes at once apparent. The extreme fallibility of the intellectus sibi permissus had to be established before precautions could be adopted for its restraint. But the evidence accepted in proof of this fallibility has been very different at different times, and has itself given rise to more than one fallacious interpretation. With us it is, for the most part, furnished by experience. The circumstance that many demonstrable errors were formerly received as truths is quite sufficient to put us on our guard against untested opinions. With Bacon, it was not the erroneousness of previous systems, but their barrenness and immobility, which led him to question the soundness of their logic; and his doubts were confirmed by an analysis of the disturbing influences under which men��s judgments are formed. The ancient Sceptics were governed entirely by �� priori considerations. Finding themselves confronted by an immense mass of contradictory opinions, they argued that some of these must be false as all could not possibly be true. And an analysis of the human faculties156 led them, equally on �� priori grounds, to the conclusion that these irreconcilable divergences were but the result and the reproduction of an interminable conflict carried on within the mind itself. They could not foresee how much time would do towards reducing the disagreement of educated opinion within a narrower compass. They did not know what the experience of experience itself would teach. And their criticisms on the logic and metaphysics of their opponents were rendered inconclusive, as against all certainty, by the extent to which they shared that logic and metaphysics themselves. Carneades, at least, seems to assume throughout that all existence is material, that there is a sharp distinction between subject and object in knowledge, and that there is an equally sharp distinction between sensation and reasoning in the processes by which knowledge is obtained. In like manner, his ethical scepticism all turns on the axiom, also shared by him with the Stoics, that for a man to be actuated by any motive but his own interest is mere folly.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 verses��verse-making had become fashionable just then��but 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 Plato��s 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 Plato��s 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 Plato��s 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.

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