art of controlling other men's
unconscious impulses from without, there have been of late some
noteworthy declarations as to the need of conscious control from
within. Some of those especially who have been trained in scientific
method at the American Universities are now attempting to extend to
politics the scientific conception of intellectual conduct. But it seems
to me that much of their preaching misses its mark, because it takes the
old form of an opposition between 'reason' and 'passion.' The President
of the University of Yale said, for instance, the other day in a
powerful address, 'Every man who publishes a newspaper which appeals to
the emotions rather than to the intelligence of its readers ... attacks
our political life at a most vulnerable point.'[60] If forty years ago
Huxley had in this way merely preached 'intelligence' as against
'emotion' in the exploration of nature, few would have listened to him.
Men will not take up the 'intolerable disease of thought' unless their
feelings are first stirred, and the strength of the idea of Science has
been that it does touch men's feelings, and draws motive power for
thought from the passions of reverence, of curiosity, and of limitless
hope.

[60] A. T. Hadley in _Munsey's Magazine_, 1907.

The President of Yale seems to imply that in order to reason men must
become passionless. He would have done better to have gone back to that
section of the Republic where Plato teaches that the supreme purpose of
the State realises itself in men's hearts by a 'harmony' which
strengthens the motive force of passion, because the separate passions
no longer war among themselves, but are concentrated on an end
discovered by the intellect.[61]

[61] Cf. Plato's _Republic_, Book IV.

In politics, indeed, the preaching of reason as opposed to feeling is
peculiarly ineffective, because the feelings of mankind not only provide
a motive for political thought but also fix the scale of values which
must be used in political judgment. One finds oneself when trying to
realise this, falling back (perhaps because one gets so little help from
current language) upon Plato's favourite metaphor of the arts. In music
the noble and the base composer are not divided by the fact that the one
appeals to the intellect and the other to the feelings of his hearers.
Both must make their appeal to feeling, and both must therefore realise
intensely the feelings of their audience, and stimulate intense