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THREE:How far Plotinus was indebted to Ammonius Saccas for his speculative ideas is another question with respect to which the Pythagoreanising tendencies of his biographer may282 possibly have contributed to the diffusion of a serious misconception. What Porphyry tells us is this. Before leaving Alexandria, Plotinus had bound himself by a mutual agreement with two of his fellow-pupils, Herennius and Origines (not the Christian Father, but a pagan philosopher of the same age and name), to keep secret what they had learned by listening to the lectures of Ammonius. Herennius, however, soon broke the compact, and Origines followed his example. Plotinus then considered that the engagement was at an end, and used the results of his studies under Ammonius as the basis of his conversational lectures in Rome, the substance of which, we are left to suppose, was subsequently embodied in his published writings. But, as Zeller has pointed out, this whole story bears a suspicious resemblance to what is related of the early Pythagorean school. There also the doctrines of the master were regarded by his disciples as a mystery which they pledged themselves to keep secret, and were only divulged through the infidelity of one among their number, Philolaus. And the same critic proves by a careful examination of what are known to have been the opinions of Origines and Longinus, both fellow-pupils of Plotinus, that they differed from him on some points of essential importance to his system. We cannot, therefore, suppose that these points were included in the teaching of their common master, Ammonius.425 But if this be so, it follows that Plotinus was the real founder of the Neo-Platonic school; and, in all cases, his writings remain the great source whence our knowledge of its first principles is derived. In one of the provinces of Germany there died, about ten years ago, a certain count, who had been rich and powerful, and, what is astonishing for one of that class, he was, according to the judgment of man, pure in faith and innocent in his life. Some time after his death, a holy man descended in spirit to hell, and beheld the count standing on the topmost rung of a ladder. He tells us that this ladder stood unconsumed amid the crackling flames around; and that it had been placed there to receive the family of the aforesaid count. There was, moreover, the black and frightful abyss out of which rose the fatal ladder. It was so ordered that the last comer took his stand at the top of the ladder, and when the rest of the family arrived he went down one step, and all below him did likewise.

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THREE:Marine and railway engineering have engrossed the best talent in the world; investigation and research has been expended upon these subjects in a degree commensurate with their importance, and it would be hard to suggest a single want in the many able text-books that have been prepared upon the subjects. Marine and railway engineering are sciences that may, in a sense, be separated from the ordinary constructive arts, and studied at the end of a course in mechanical engineering, but are hardly [61] proper subjects for an apprentice to take up at the beginning.A Hellene, and an aristocrat as well. Or, using the word in its most comprehensive sense, we may say that he was an aristocrat all round, a believer in inherent superiorities of race, sex, birth, breeding, and age. Everywhere we find him restlessly searching after the wisest, purest, best, until at last, passing beyond the limits of existence itself, words fail him to describe the absolute ineffable only good, not being and not knowledge, but creating and inspiring both. Thus it came to pass that his hopes of effecting a thorough reform did not lie in an appeal to the masses, but in the selection and198 seclusion from evil influences of a few intelligent youths. Here we may detect a remarkable divergence between him and his master. Socrates, himself a man of the people, did not like to hear the Athenians abused. If they went wrong, it was, he said, the fault of their leaders.126 But according to Plato, it was from the people themselves that corruption originally proceeded, it was they who instilled false lessons into the most intelligent minds, teaching them from their very infancy to prefer show to substance, success to merit, and pleasure to virtue; making the study of popular caprice the sure road to power, and poisoning the very sources of morality by circulating blasphemous stories about the gods��stories which represented them as weak, sensual, capricious beings, setting an example of iniquity themselves, and quite willing to pardon it in men on condition of going shares in the spoil. The poets had a great deal to do with the manufacture of these discreditable myths; and towards poets as a class Plato entertained feelings of mingled admiration and contempt. As an artist, he was powerfully attracted by the beauty of their works; as a theologian, he believed them to be the channels of divine inspiration, and sometimes also the guardians of a sacred tradition; but as a critic, he was shocked at their incapacity to explain the meaning of their own works, especially when it was coupled with ridiculous pretensions to omniscience; and he regarded the imitative character of their productions as illustrating, in a particularly flagrant manner, that substitution of appearance for reality which, according to his philosophy, was the deepest source of error and evil.

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THREE:It was natural that one who united a great intellect to a glowing temperament should turn his thoughts to poetry. Plato wrote a quantity of verses��verse-making had become fashionable just then��but wisely committed them to the flames on making the acquaintance of Socrates. It may well be doubted whether the author of the Phaedrus and the Symposium would ever have attained eminence in metrical composition, even had he lived in an age far more favourable to poetic inspiration than that which came after the flowering time of Attic art. It seems as if Plato, with all his fervour, fancy, and dramatic skill, lacked the most essential quality of a singer; his finest passages are on a level with the highest poetry, and yet they are separated from it by a chasm more easily felt than described. Aristotle, whom we think of as hard and dry and cold, sometimes comes much nearer to the true lyric cry. And, as if to mark out Plato��s style still more distinctly from every other, it is also deficient in oratorical power. The philosopher evidently thought that he could beat the rhetoricians on their own ground; if the Menexenus be genuine, he tried to do so and failed; and even without its191 testimony we are entitled to say as much on the strength of shorter attempts. We must even take leave to doubt whether dialogue, properly so called, was Plato��s forte. Where one speaker is placed at such a height above the others as Socrates, or the Eleatic Stranger, or the Athenian in the Laws, there cannot be any real conversation. The other interlocutors are good listeners, and serve to break the monotony of a continuous exposition by their expressions of assent or even by their occasional inability to follow the argument, but give no real help or stimulus. And when allowed to offer an opinion of their own, they, too, lapse into a monologue, addressed, as our silent trains of thought habitually are, to an imaginary auditor whose sympathy and support are necessary but are also secure. Yet if Plato��s style is neither exactly poetical, nor oratorical, nor conversational, it has affinities with each of these three varieties; it represents the common root from which they spring, and brings us, better than any other species of composition, into immediate contact with the mind of the writer. The Platonic Socrates has eyes like those of a portrait which follow us wherever we turn, and through which we can read his inmost soul, which is no other than the universal reason of humanity in the delighted surprise of its first awakening to self-conscious activity. The poet thinks and feels for us; the orator makes our thoughts and feelings his own, and then restores them to us in a concentrated form, ��receiving in vapour what he gives back in a flood.�� Plato removes every obstacle to the free development of our faculties; he teaches us by his own example how to think and to feel for ourselves. If Socrates personified philosophy, Plato has reproduced the personification in artistic form with such masterly effect that its influence has been extended through all ages and over the whole civilised world. This portrait stands as an intermediary between its original and the far-reaching effects indirectly due to his dialectic inspiration, like that universal soul which Plato himself has placed between192 the supreme artificer and the material world, that it might bring the fleeting contents of space and time into harmony with uncreated and everlasting ideas.

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THREE:PREFACE.CHAPTER IV. THE CONDITIONS OF APPRENTICESHIP.

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