ner of his age, summons as a witness about
ethics and psychology, as well as about diet and medicine; attempting
to distinguish the better lesson from the worse, sometimes altering
the text from design; more than once quoting or alluding to Homer
inaccurately, after the manner of the early logographers turning the
Iliad into prose, and delighting to draw far-fetched inferences from
his words, or to make ludicrous applications of them. He does not, like
Heracleitus, get into a rage with Homer and Archilochus (Heracl.), but
uses their words and expressions as vehicles of a higher truth; not on
a system like Theagenes of Rhegium or Metrodorus, or in later times the
Stoics, but as fancy may dictate. And the conclusions drawn from them
are sound, although the premises are fictitious. These fanciful appeals
to Homer add a charm to Plato's style, and at the same time they have
the effect of a satire on the follies of Homeric interpretation. To us
(and probably to himself), although they take the form of arguments,
they are really figures of speech. They may be compared with modern
citations from Scripture, which have often a great rhetorical power even
when the original meaning of the words is entirely lost sight of. The
real, like the Platonic Socrates, as we gather from the Memorabilia of
Xenophon, was fond of making similar adaptations. Great in all ages and
countries, in religion as well as in law and literature, has been the
art of interpretation.

2. 'The style is to conform to the subject and the metre to the style.'
Notwithstanding the fascination which the word 'classical' exercises
over us, we can hardly maintain that this rule is observed in all the
Greek poetry which has come down to us. We cannot deny that the thought
often exceeds the power of lucid expression in Aeschylus and Pindar;
or that rhetoric gets the better of the thought in the Sophist-poet
Euripides. Only perhaps in Sophocles is there a perfect harmony of the
two; in him alone do we find a grace of language like the beauty of a
Greek statue, in which there is nothing to add or to take away; at
least this is true of single plays or of large portions of them. The
connection in the Tragic Choruses and in the Greek lyric poets is not
unfrequently a tangled thread which in an age before logic the poet was
unable to draw out. Many thoughts and feelings mingled in his mind, and
he had no power of disengaging or arranging them. For there is a subtle
influence