and puppies; from pitchers and soup-ladles; from cooks and criers;
the shops of potters, horse-doctors, butchers, and fishmongers. He
cannot forgive in himself a partiality, but is resolved that the two
poles of thought shall appear in his statement. His arguments and his
sentences are self-poised and spherical. The two poles appear; yes,
and become two hands, to grasp and appropriate their own.

Every great artist has been such by synthesis. Our strength is
transitional, alternating; or, shall I say, a thread of two strands.
The seashore, sea seen from shore, shore seen from sea; the taste of
two metals in contact; and our enlarged powers at the approach and at
the departure of a friend; the experience of poetic creativeness, which
is not found in staying at home, nor yet in traveling, but in
transitions from one to the other, which must therefore be adroitly
managed to present as much transitional surface as possible; this
command of two elements must explain the power and charm of Plato. Art
expresses the one, or the same by the different. Thought seeks to know
unity in unity; poetry to show it by variety; that is, always by an
object or symbol. Plato keeps the two vases, one of aether and one of
pigment, at his side, and invariably uses both. Things added to things,
as statistics, civil history, are inventories. Things used as language
are inexhaustibly attractive. Plato turns incessantly the obverse and
the reverse of the medal of Jove.

To take an example:--The physical philosophers have sketched each his
theory of the world; the theory of atoms, of fire, of flux, of spirit;
theories mechanical and chemical in their genius. Plato, a master of
mathematics, studious of all natural laws and causes, feels these, as
second causes, to be no theories of the world, but bare inventories
and lists. To the study of nature he therefore prefixes the dogma,--"Let