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ONE:CHAPTER IV. THE CONDITIONS OF APPRENTICESHIP.We may consider it a fortunate circumstance that the philosophy of Form,��that is to say, of description, definition, classification, and sensuous perception, as distinguished from mathematical analysis and deductive reasoning,��was associated with a demonstrably false cosmology, as it thus became much more thoroughly discredited than would otherwise have been possible. At this juncture, the first to perceive and point out how profoundly an acceptance of the Copernican theory must affect men��s beliefs about Nature and the whole universe, was Giordano Bruno; and this alone would entitle him to a great place in the history of philosophy. The383 conception of a single finite world surrounded by a series of eternal and unchangeable crystal spheres must, he said, be exchanged for the conception of infinite worlds dispersed through illimitable space. Once grant that the earth has a double movement round its own axis and round the sun, and Aristotle��s whole system of finite existence collapses at once, leaving the ground clear for an entirely different order of ideas.545 But, in this respect, whatever was established by the new science had already been divined by a still older philosophy than Aristotle��s, as Bruno himself gladly acknowledged,546 and the immediate effect of his reasoning was to revive the Atomic theory. The assumption of infinite space, formerly considered an insuperable objection to that theory, now became one of its chief recommendations; the arguments of Lucretius regained their full force, while his fallacies were let drop; Atomism seemed not only possible but necessary; and the materialism once associated with it was equally revived. But Aristotelianism, as we have seen, was not alone in the field, and on the first symptoms of a successful revolt, its old rival stood in readiness to seize the vacant throne. The question was how far its claim would be supported, and how far disputed by the new invaders. It might be supposed that the older forms of Greek philosophy, thus restored to light after an eclipse of more than a thousand years, would be no less hostile to the poetic Platonism than to the scientific Aristotelianism of the Renaissance. Such, however, was not the case; and we have to show how an alliance was established between these apparently opposite lines of thought, eventually giving birth to the highest speculation of the following century. TWO: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."That you shall know all in good time," Lawrence replied. "It's a pleasure to have you to do anything for one, Hetty. How quickly you took in my parable. It was rather paltry to talk over a child's head like that, but if ever there was a case when the end justifies the means this is one. Of course, you got it?"THREE: