THREE:Under such guidance as this. Platonism had made but little way. We saw, in the concluding sections of the last chapter and in the opening section of the present chapter, that it profited by the religious and literary revival of the second century, just as it was to profit long afterwards by the greater revival of the fifteenth century, so much so as to become the fashionable philosophy of the age. Yet, even in that period of its renewed splendour, the noblest of contemporary thinkers was not a Platonist but a Stoic; and although it would be unfair to measure the moral distance between the Porch and the Academy by the interval which separates an Aurelius from an Apuleius, still it would seem as if naturalism continued to be the chosen creed of strenuous and dutiful endeavour, while spiritualism was drifting into an alliance with hysterical and sensuous superstition. If we may judge by the points which Sextus Empiricus selects for controversial treatment, Stoicism was still the reigning system in his time, that is to say, about the beginning of the third century; and if, a generation later, it had sunk into neglect, every rival school, except that of Epicurus, was in exactly the same condition. Thus the only advance made was to substitute one form of materialism for another, until Neo-Platonism came and put an end to their disputes by destroying the common foundation on which they stood; while, at the same time, it supplied a completely organised doctrine round which the nobler elements of the Hellenic revival could rally for a last stand against the foes that were threatening it from every side.
THREE:Isaac Isidore was lunching at his chambers in his own simple way. A hard trying life like his, to say nothing of half his nights spent in society, called for a careful regime. Plain food and a total absence from intoxicants enabled the man to get through an enormous amount of work and pleasure.CHAPTER I SUSPICIOUS SANDY
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TWO:Plato 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."I cannot stay here," he cried. "That woman maddens me. It brings back all the recollections that I am trying to forget. I shall forget myself----"
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