THREE:We have seen how the idea of Nature, first evolved by physical philosophy, was taken by some, at least, among the Sophists as a basis for their ethical teaching; then how an interpretation utterly opposed to theirs was put on it by practical men, and how this second interpretation was so generalised by the younger rhetoricians as to involve the denial of all morality whatever. Meanwhile, another equally important conception, destined to come into speedy and prolonged antagonism with the idea of Nature, and like it to exercise a powerful influence on ethical reflection, had almost contemporaneously been elaborated out of the materials which earlier speculation supplied. From Parmenides and Heracleitus down, every philosopher who had propounded a theory of the world, had also more or less peremptorily insisted on the fact that his theory differed widely from common belief. Those who held that change is86 impossible, and those who taught that everything is incessantly changing; those who asserted the indestructibility of matter, and those who denied its continuity; those who took away objective reality from every quality except extension and resistance, and those who affirmed that the smallest molecules partook more or less of every attribute that is revealed to senseall these, however much they might disagree among themselves, agreed in declaring that the received opinions of mankind were an utter delusion. Thus, a sharp distinction came to be drawn between the misleading sense-impressions and the objective reality to which thought alone could penetrate. It was by combining these two elements, sensation and thought, that the idea of mind was originally constituted. And mind when so understood could not well be accounted for by any of the materialistic hypotheses at first proposed. The senses must differ profoundly from that of which they give such an unfaithful report; while reason, which Anaxagoras had so carefully differentiated from every other form of existence, carried back its distinction to the subjective sphere, and became clothed with a new spirituality when reintegrated in the consciousness of man."Bishop Rutten and Mr. Kleyer are allowed to leave the citadel for the present, but remain at the disposition of the German commanders as hostages.
FORE:"I have," Gordon said, "but I shan't tell it to you today. Let us talk of something else. Let us forget the world for ourselves."There is but little object in preparing designs, when their counterparts may already exist, so that in making original plans, there should be a careful research as to what has been already done in the same line. It is not only discouraging, but annoying, after studying a design with great care, to find that it has been anticipated, and that the scheme studied out has been one of reproduction only. For this reason, attempts to design should at first be confined to familiar subjects, instead of venturing upon unexplored ground.
THREE:The words last quoted, which in a Christian sense are true enough, lead us over to the contrasting view of Aristotles theology, to the false theory of it held by critics like Prof. St. George Mivart. The Stagirite agrees with Catholic theism in accepting a personal God, and he agrees with the First Article of the English Church, though not with the Pentateuch, in saying that God is without parts or passions; but there his agreement ceases. Excluding such a thing as divine interference with nature, his theology of course excludes the possibility of revelation, inspiration, miracles, and grace. Nor is this a mere omission; it is a necessity of the system. If there can353 be no existence without time, no time without motion, no motion without unrealised desire, no desire without an ideal, no ideal but eternally self-thinking thoughtthen it logically follows that God, in the sense of such a thought, must not interest himself in the affairs of men. Again, Aristotelianism equally excludes the arguments by which modern theologians have sought to prove the existence of God. Here also the system is true to its contemporaneous, statical, superficial character. The First Mover is not separated from us by a chain of causes extending through past ages, but by an intervening breadth of space and the wheels within wheels of a cosmic machine. Aristotle had no difficulty in conceiving what some have since declared to be inconceivable, a series of antecedents without any beginning in time; it was rather the beginning of such a series that he could not make intelligible to himself. Nor, as we have seen, did he think that the adaptation in living organisms of each part to every other required an external explanation. Far less did it occur to him that the production of impressions on our senses was due to the agency of a supernatural power. It is absolutely certain that he would have rejected the Cartesian argument, according to which a perfect being must exist if it be only conceivableexistence being necessarily involved in the idea of perfection.252 Finally, not recognising such a faculty as conscience, he would not have admitted it to be the voice of God speaking in the soul.Before the ideas which we have passed in review could go forth on their world-conquering mission, it was necessary, not only that Socrates should die, but that his philosophy should die also, by being absorbed into the more splendid generalisations of Platos system. That system has, for some time past, been made an object of close study in our most famous seats of learning, and a certain acquaintance with it has almost become part of a liberal education in England. No170 better source of inspiration, combined with discipline, could be found; but we shall understand and appreciate Plato still better by first extricating the nucleus round which his speculations have gathered in successive deposits, and this we can only do with the help of Xenophon, whose little work also well deserves attention for the sake of its own chaste and candid beauty. The relation in which it stands to the Platonic writings may be symbolised by an example familiar to the experience of every traveller. As sometimes, in visiting a Gothic cathedral, we are led through the wonders of the more modern edificeunder soaring arches, over tesselated pavements, and between long rows of clustered columns, past frescoed walls, storied windows, carven pulpits, and sepulchral monuments, with their endless wealth of mythologic imagerydown into the oldest portion of any, the bare stern crypt, severe with the simplicity of early art, resting on pillars taken from an ancient temple, and enclosing the tomb of some martyred saint, to whose glorified spirit an office of perpetual intercession before the mercy-seat is assigned, and in whose honour all that external magnificence has been piled up; so also we pass through the manifold and marvellous constructions of Platos imagination to that austere memorial where Xenophon has enshrined with pious care, under the great primary divisions of old Hellenic virtue, an authentic reliquary of one standing foremost among those who, having worked out their own deliverance from the powers of error and evil, would not be saved alone, but published the secret of redemption though death were the penalty of its disclosure; and who, by their transmitted influence, even more than by their eternal example, are still contributing to the progressive development of all that is most rational, most consistent, most social, and therefore most truly human in ourselves.
FORE:The Poetics of Aristotle contains some hints on the subject of composition which entitle it to be mentioned in the present connexion. The deficiencies, even from a purely theoretical point of view, of this work, once pronounced infallible, have at last become so obvious that elaborate hypotheses have been constructed, according to which the recension handed down to us is a mere mutilated extract from the original treatise. Enough, however, remains to convince us that poetry was not, any more than eloquence, a subject with which Aristotle was fitted to cope. He begins by defining it, in common with all other art, as an imitation. Here, we at once recognise the spirit of a philosophy, the whole power and interest of which lay in knowledge; and, in fact, he tells us that the love of art is derived from the love of knowledge. But the truth seems to be that aesthetic enjoyment is due to an ideal exercise of our faculties, among which the power of perceiving identities is sometimes, though not always, included. That the materials of which every artistic creation is composed are taken from the world of our experience makes no difference; for it is by the new forms in which they are arranged that we are interested, not because we remember having met them in301 some natural combination already. Aristotle could not help seeing that this was true in the case of music at least; and he can only save his principle by treating musical effects as representations of passions in the soul. To say, however, that musical pleasure arises from a perception of resemblance between certain sounds and the emotions with which they are associated, would be an extremely forced interpretation; the pleasure is due rather to a sympathetic participation in the emotion itself. And when Aristotle goes on to tell us that the characters imitated in epic and dramatic poetry may be either better or worse than in ordinary life, he is obviously admitting other aesthetic motives not accounted for by his general theory. If, on the other hand, we start with ideal energising as the secret of aesthetic emotion, we can easily understand how an imaginary exaltation of our faculties is yielded by the spectacle of something either rising above, or falling below, the level on which we stand. In the one case we become momentarily invested with the strength put into action before our eyes; in the other, the consciousness of our own superiority amounts to a fund of reserve power, which not being put into action, is entirely available for ideal enjoyment. And, if this be the correct view, it will follow that Aristotle was quite wrong when he declared the plot to be more important than the characters of a drama. The reason given for his preference is, even on the principles of his own philosophy, a bad one. He says that there can be plot without character-drawing, but never character-drawing without plot. Yet he has taught us elsewhere that the human soul is of more value than the physical organism on which its existence depends. This very parallel suggests itself to him in his Poetics; but, by an almost inconceivable misjudgment, it is the plot which he likens to the soul of the piece, whereas in truth it should be compared to the body. The practice and preference of his own time may have helped to mislead him, for he argues (rather inconsistently, by the way) that plot302 must be more indispensable, as young writers are able to construct good stories before they are able to portray character; and more artistic, as it was developed much later in the historical evolution of tragedy. Fortunately for us, the Alexandrian critics were guided by other canons of taste, or the structurally faulty pieces of Aeschylus might have been neglected, and the ingeniously constructed pieces of Agathon preserved in their place.Plato does, no doubt, make it a charge against the Sophists that their doctrines are not only false and immoral, but that they are put together without any regard for logical coherence. It would seem, however, that this style of attack belongs rather to the later and constructive than to the earlier and receptive period of his intellectual development. The original cause of his antagonism to the professional teachers seems to have been their general pretensions to knowledge, which, from the standpoint of universal scepticism, were, of course, utterly illusive; together with a feeling of aristocratic contempt for a calling in which considerations of187 pecuniary interest were involved, heightened in this instance by a conviction that the buyer received nothing better than a sham article in exchange for his money. Here, again, a parallel suggests itself with the first preaching of the Gospel. The attitude of Christ towards the scribes and Pharisees, as also that of St. Paul towards Simon Magus, will help us to understand how Plato, in another order of spiritual teaching, must have regarded the hypocrisy of wisdom, the intrusion of fraudulent traders into the temple of Delphic inspiration, and the sale of a priceless blessing whose unlimited diffusion should have been its own and only reward.
