TWO:The glowing enthusiasm of Plato is, however, not entirely derived from the poetic traditions of his native city; or perhaps we should rather say that he and the great writers who preceded him drew from a common fount of inspiration. Mr. Emerson, in one of the most penetrating criticisms ever written on our philosopher,129 has pointed out the existence of two distinct elements in the Platonic Dialoguesone dispersive, practical, prosaic; the other mystical, absorbing, centripetal. The American scholar is, however, as we think, quite mistaken when he attributes the second of these tendencies to Asiatic influence. It is extremely doubtful whether Plato ever travelled farther east than Egypt; it is probable that his stay in that country was not of long duration; and it is certain that he did not acquire a single metaphysical idea from its inhabitants. He liked their rigid conservatism; he liked their institution of a dominant priesthood; he liked their system of popular education, and the place which it gave to mathematics made him look with shame on the swinish ignorance of his own countrymen in that respect;130 but on the whole he classes them among the races exclusively devoted to money-making, and in aptitude for philosophy he places them far below the Greeks. Very different were the impressions brought home from his visits to Sicily and204 Southern Italy. There he became acquainted with modes of thought in which the search after hidden resemblances and analogies was a predominant passion; there the existence of a central unity underlying all phenomena was maintained, as against sense and common opinion, with the intensity of a religious creed; there alone speculation was clothed in poetic language; there first had an attempt been made to carry thought into life by associating it with a reform of manners and beliefs. There, too, the arts of dance and song had assumed a more orderly and solemn aspect; the chorus received its final constitution from a Sicilian master; and the loftiest strains of Greek lyric poetry were composed for recitation in the streets of Sicilian cities or at the courts of Sicilian kings. Then, with the rise of rhetoric, Greek prose was elaborated by Sicilian teachers into a sort of rhythmical composition, combining rich imagery with studied harmonies and contrasts of sense and sound. And as the hold of Asiatic civilisation on eastern Hellas grew weaker, the attention of her foremost spirits was more and more attracted to this new region of wonder and romance. The stream of colonisation set thither in a steady flow; the scenes of mythical adventure were rediscovered in Western waters; and it was imagined that, by grasping the resources of Sicily, an empire extending over the whole Mediterranean might be won. Perhaps, without being too fanciful, we may trace a likeness between the daring schemes of Alcibiades and the more remote but not more visionary kingdom suggested by an analogous inspiration to the idealising soul of Plato. Each had learned to practise, although for far different purposes, the royal art of Socratesthe mastery over mens minds acquired by a close study of their interests, passions, and beliefs. But the ambition of the one defeated his own aim, to the destruction of his country and of himself; while the other drew into Athenian thought whatever of Western force and fervour was needed for the accomplishment of its205 imperial task. We may say of Plato what he has said of his own Theaettus, that he moves surely and smoothly and successfully in the path of knowledge and inquiry; always making progress like the noiseless flow of a river of oil;131 but everywhere beside or beneath that placid lubricating flow we may trace the action of another current, where still sparkles, fresh and clear as at first, the fiery Sicilian wine.Next to its bearing on the question of immortality, the Epicurean psychology is most interesting as a contribution to the theory of cognition. Epicurus holds that all our knowledge is derived from experience, and all our experience, directly or indirectly, from the presentations of sense. So far he says no more than would be admitted by the Stoics, by Aristotle, and indeed by every Greek philosopher except Plato. There is, therefore, no necessary connexion between his views in this respect and his theory of ethics, since others had combined the same views with a very different standard of action. It is in discussing the vexed question of what constitutes the ultimate criterion of truth that he shows to most disadvantage in comparison with the more intellectual96 schools. He seems to have considered that sensation supplies not only the matter but the form of knowledge; or rather, he seems to have missed the distinction between matter and form altogether. What the senses tell us, he says, is always true, although we may draw erroneous inferences from their statements.184 But this only amounts to the identical proposition that we feel what we feel; for it cannot be pretended that the order of our sensations invariably corresponds to the actual order of things in themselves. Even confining ourselves to individual sensations, or single groups of sensations, there are some that do not always correspond to the same objective reality, and others that do not correspond to any reality at all; while, conversely, the same object produces a multitude of different sensations according to the subjective conditions under which it affects us. To escape from this difficulty, Epicurus has recourse to a singularly crude theory of perception, borrowed from Empedocles and the older atomists. What we are conscious of is, in each instance, not the object itself, but an image composed of fine atoms thrown off from the surfaces of bodies and brought into contact with the organs of sense. Our perception corresponds accurately to an external image, but the image itself is often very unlike the object whence it originally proceeded. Sometimes it suffers a considerable change in travelling through the atmosphere. For instance, when a square tower, seen at a great distance, produces the impression of roundness, this is because the sharp angles of its image have been rubbed off on the way to our eyes. Sometimes the image continues to wander about after its original has ceased to exist, and that is why the dead seem to revisit us in our dreams. And sometimes the images of different objects coalesce as they are floating about, thus producing the appearance of impossible monsters, such as centaurs and chimaeras.185
Easy Polo Black Edition
Add to cart
TWO:"And what happened after that?"
