THREE:CHAPTER IV MYSTERY OVER THE OCEANPlato had begun by condemning poetry only in so far as it was inconsistent with true religion and morality. At last, with his usual propensity to generalise, he condemned it and, by implication, every imitative art qua art, as a delusion and a sham, twice removed from the truth of things, because a copy of the phenomena which are themselves unreal representations of an archetypal idea. His iconoclasm may remind us of other ethical theologians both before and after, whether Hebrew, Moslem, or Puritan. If he does not share their fanatical hatred for plastic and pictorial representations, it is only because works of that class, besides being of a chaster character, exercised far less power over the Greek imagination than epic and dramatic poetry. Moreover, the tales of the poets were, according to Plato, the worst lies of any, since they were believed to be true; whereas statues and pictures differed too obviously from their originals for any such illusion to be produced in their case. Like the Puritans, again, Plato sanctioned the use of religious hymns, with the accompaniment of music in its simplest and most elevated forms. Like them, also, he would have approved of literary fiction when it was employed for edifying purposes. Works like the Faery Queen, Paradise Lost, and the Pilgrims Progress, would have been his favourites in English literature; and he might have242 extended the same indulgence to fictions of the Edgeworthian type, where the virtuous characters always come off best in the end.
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THREE:"Well, what have you got for me to eat?"
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THREE:But when Neo-Platonism, as a literature and a system, had given way to the original authorities from which it was derived, its influence did not, on that account, cease to be felt. In particular, Plotinus gave currency to a certain interpretation of Platos teaching which has been universally352 accepted until a comparatively recent period, perhaps one may say until the time of Schleiermacher. We have seen how many elements of Platonism he left out of sight; and, thanks to his example, followed as it naturally was by Catholic theologians, the world was content to leave them out of sight as well. The charming disciple of Socrates whom we all know and lovethe literary and dramatic artist, the brilliant parodist, the sceptical railleur from the shafts of whose irony even his own theories are not safe, the penetrating observer of human life, the far-seeing critic and reformer of social institutionsis a discovery of modern scholarship. Not as such did the master of idealism appear to Marsilio Ficino and Michael Angelo, to Lady Jane Grey and Cudworth and Henry More, to Berkeley and Hume and Thomas Taylor, to all the great English poets from Spenser to Shelley; not as such does he now appear to popular imagination; but as a mystical enthusiast, a dreamer of dreams which, whether they be realised or not in some far-off sphere, are, at any rate, out of relation to the world of sensuous experience and everyday life. So absolute, indeed, is the reaction from this view that we are in danger of rushing to the contrary extreme, of forgetting what elements of truth the Plotinian interpretation contained, and substituting for it an interpretation still more one-sided, still more inadequate to express the scope and splendour of Platos thoughts. Plato believed in truth and right and purity, believed in them still more profoundly than Plotinus; and his was a more effectual faith precisely because he did not share the sterile optimism of his Alexandrian disciple, but worked and watched for the realisation of what, as yet, had never been realised.523
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THREE:[50]There is one more aspect deserving our attention, under which the theory of Nature has been presented both in ancient and modern times. A dialogue which, whether rightly or wrongly attributed to Plato, may be taken as good evidence on the subject it relates to,65 exhibits Hippias in the character of a universal genius, who can not only teach every science and practise every kind of literary composition, but has also manufactured all the clothes and other articles about his person. Here we have precisely the sort of versatility which characterises uncivilised society, and which believers in a state of nature love to encourage at all times. The division of labour, while it carries us ever farther from barbarism, makes us more dependent on each other. An Odysseus is master of many arts, a Themistocles of two, a Demosthenes of only one. A Norwegian peasant can do more for himself than an English countryman, and therefore makes a better colonist. If we must return to Nature, our first step should be to learn a number of trades, and so be better able to shift for ourselves. Such was the ideal of Hippias, and it was also the ideal of the eighteenth century. Its literature begins with Robinson Crusoe, the story of a man who is accidentally compelled to provide himself, during many years, with all the necessaries of life. Its educational manuals are, in France, Rousseaus mile; in England, Days Sandford and Merton, both teaching that the young should be thrown as much as possible on their own resources. One of its types is Diderot, who learns handicrafts that he may describe them in the Encyclopdie. Its two great spokesmen are Voltaire and Goethe, who, after cultivating every department of literature, take in statesmanship as well. And its last word is Schillers Letters on Aesthetic Culture, holding up totality of existence as the supreme ideal to be sought after.
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ONE:
ONE:There was a faint moaning cry in the doorway, a tiny white figure stood there. Mamie had been awakened by the ringing of the bell, she had missed Hetty, and had come down in her childish way to see what was the matter."So am I; I am a Netherlander!"
ONE:In his attacks on the prevalent theories of ethics, Aenesidmus again reminds us both of Protagoras and of modern agnosticism. According to him, the general disagreement of mankind proves, among other things, that there is no definable highest goodit is neither virtue, nor pleasure, nor knowledge.298 In the absence of any dogmatic teaching on the subject at the time when he lived, Protagoras could not give an opinion with regard to the summum bonum; but Platos famous dialogue represents him as one who, from his point of view, would be unwilling to admit the possibility of introducing fixed principles into conduct; and in like manner, Mr. Herbert Spencer, while accepting the hedonistic principle, gives it such an extremely general signification that he is thrown back on the sceptical principle of leaving everyone free to follow his own inclinations, provided that, in so doing, he does not interfere with the liberty of others.
