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THREE:This analogy with subsequent developments is aided, so far as it goes, by the admixture of a certain Platonic element with Virgil��s Stoicism, shown chiefly by the references to an antenatal existence of the soul, introduced for the purpose of bringing Rome��s future heroes on the scene. This, however, is the last example of an attempt on the part of a Roman writer to combine Plato��s teaching with Stoicism.286 At a time when the Romans were more conscious of their literary dependence on Greece than was the case after the Augustan age had reached its zenith, they were probably drawn by the beauty of its literary form to study a system which could otherwise interest them but little. Thus, not only is Cicero full of admiration for Plato��as, indeed, might be expected with so highly cultivated a disciple of the Academy��but Cato, according to the well-known story, spent his last hours reading and re-reading the Phaedo; and his nephew Brutus also occupied an intermediate position between the Old Academy and the Porch. The Roman love of simplification and archaism induced subsequent thinkers either to let Platonism drop altogether, or to study those elements in which it differed from the pure naturalistic doctrine under their Pythagorean form. It may even be doubted whether Virgil��s psychology is not derived from Pythagoras rather than from Plato; Ovid, so far as he philosophises at all, is unquestionably a follower of the former;287 and in the moral teaching of the Sextii, who flourished under Augustus, Pythagorean principles are blended with Stoicism.288 It is another manifestation of the same effort to grasp every Greek doctrine by its roots, that Horace should proclaim himself the disciple of Aristippus rather than of Epicurus.289 Even he, however, feels183 himself drawn with advancing years towards the nobler faith which was now carrying all before it.290

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THREE:

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THREE:But before the dissolving action of Nominalism had become fully manifest, its ascendency was once more challenged; and this time, also, the philosophical impulse came from Constantinople. Greek scholars, seeking help in the West, brought with them to Florence the complete works of Plato; and these were shortly made accessible to a wider public through the Latin translation of Ficino. Their influence seems at first to have told in favour of mysticism, for this was the contemporary tendency to which they could be most readily affiliated; and, besides, in swinging back from Aristotle��s philosophy to the rival form of spiritualism, men��s minds naturally reverted, in the first instance, to what had once linked them together��the system of Plotinus. Thus Platonism was studied through an Alexandrian medium, and as the Alexandrians had looked at it, that is to say, chiefly under its theological and metaphysical aspects. As such, it became the accepted philosophy of the Renaissance;369 and much of what we most admire in the literature��at least the English literature��of that period, is directly traceable to Platonic influence. That the Utopia of Sir Thomas More was inspired by the Republic and the Critias is, of course, obvious; and the great part played by the ideal theory in Spenser��s Faery Queen, though less evident, is still sufficiently clear. As Mr. Green observes in his History of the English People (II., p. 413), ��Spenser borrows, in fact, the delicate and refined forms of the Platonic philosophy to express his own moral enthusiasm.... Justice, Temperance, Truth are no mere names to him, but real existences to which his whole nature clings with a rapturous affection.�� Now it deserves observation, as illustrating a great revolution in European thought, that the relation of Plato to the epic of the English Renaissance is precisely paralleled by the relation of Aristotle to the epic of mediaeval Italy. Dante borrows more than his cosmography from the Stagirite. The successive circles of Hell, the spirals of Purgatory, and the spheres of Paradise, are a framework in which the characters of the poem are exhibited, not as individual actors whom we trace through a life��s history, but as types of a class and representatives of a single mental quality, whether vicious or virtuous. In other words, the historical arrangement of all previous poems is abandoned in favour of a logical arrangement. For the order of contiguity in time is substituted the order of resemblance and difference in idea. How thoroughly Aristotelian, indeed, were the lines within which mediaeval imagination moved is proved by the possibility of tracing them in a work utterly different from Dante��s��the Decameron of Boccaccio. The tales constituting this collection are so arranged that each day illustrates some one special class of adventures; only, to make good Aristotle��s principle that earthly affairs are not subject to invariable rules, a single departure from the prescribed subject is allowed in each decade; while370 during one entire day the story-tellers are left free to choose a subject at their own discretion."What? What? Do you dare to call it stealing, what we Germans take here in Bruges?"

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