ONE:The inconsistencies of a great philosophical system are best explained by examining its historical antecedents. We have already attempted to disentangle the roots from which Stoicism was nourished, but one of the most important has not yet been taken into account. This was the still continued influence of Parmenides, derived, if not from his original teaching, then from some one or more of the altered shapes through which it had passed. It has been shown how Zeno used the Heracleitean method to break down all the demarcations laboriously built up by Plato and Aristotle. Spirit was identified with matter; ideas with aerial currents; God with the world; rational with sensible evidence; volition with judgment; and emotion with thought. But the idea of a fundamental antithesis, expelled from every other department of enquiry, took hold with all the more energy on what, to Stoicism, was the most vital of all distinctionsthat between right and wrong.57 Once grasp this transformation of a metaphysical into a moral principle, and every paradox of the system will be seen to follow from it with logical necessity. What the supreme Idea had been to Plato and self-thinking thought to Aristotle, that virtue became to the new school, simple, unchangeable, and self-sufficient. It must not only be independent of pleasure and pain, but absolutely 26incommensurable with them; therefore there can be no happiness except what it gives. As an indivisible unity, it must be possessed entirely or not at all; and being eternal, once possessed it can never be lost. Further, since the same action may be either right or wrong, according to the motive of its performance, virtue is nothing external, but a subjective disposition, a state of the will and the affections; or, if these are to be considered as judgments, a state of the reason. Finally, since the universe is organised reason, virtue must be natural, and especially consonant to the nature of man as a rational animal; while, at the same time, its existence in absolute purity being inconsistent with experience, it must remain an unattainable ideal.When I reported the occurrence in De Tijd, I was fully conscious of the frightful accusation implied by my information; but I am prepared to confirm with the most sacred oaths that nothing in this accusation is untrue or exaggerated.
TWO:114
THREE: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 godsstories 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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