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THREE:Turning back once more from the melancholy decline of a great genius to the splendour of its meridian prime, we will endeavour briefly to recapitulate the achievements which entitle Plato to rank among the five or six greatest Greeks, and among the four or five greatest thinkers of all time. He extended the philosophy of mind until it embraced not only ethics and dialectics but also the study of politics, of religion, of social science, of fine art, of economy, of language, and of education. In other words, he showed how ideas could be applied to life on the most comprehensive scale. Further, he saw that the study of Mind, to be complete, necessitates a knowledge of physical phenomena and of the realities which underlie them; accordingly, he made a return on the objective speculations which had been temporarily abandoned, thus mediating between Socrates and early Greek thought; while on the other hand by his theory of classification he mediated between Socrates and Aristotle. He based physical science273 on mathematics, thus establishing a method of research and of education which has continued in operation ever since. He sketched the outlines of a new religion in which morality was to be substituted for ritualism, and intelligent imitation of God for blind obedience to his will; a religion of monotheism, of humanity, of purity, and of immortal life. And he embodied all these lessons in a series of compositions distinguished by such beauty of form that their literary excellence alone would entitle them to rank among the greatest masterpieces that the world has ever seen. He took the recently-created instrument of prose style and at once raised it to the highest pitch of excellence that it has ever attained. Finding the new art already distorted by false taste and overlaid with meretricious ornament, he cleansed and regenerated it in that primal fount of intellectual life, that richest, deepest, purest source of joy, the conversation of enquiring spirits with one another, when they have awakened to the desire for truth and have not learned to despair of its attainment. Thus it was that the philosopher��s mastery of expression gave added emphasis to his protest against those who made style a substitute for knowledge, or, by a worse corruption, perverted it into an instrument of profitable wrong. They moved along the surface in a confused world of words, of sensations, and of animal desires; he penetrated through all those dumb images and blind instincts, to the central verity and supreme end which alone can inform them with meaning, consistency, permanence, and value. To conclude: Plato belonged to that nobly practical school of idealists who master all the details of reality before attempting its reformation, and accomplish their great designs by enlisting and reorganising whatever spontaneous forces are already working in the same direction; but the fertility of whose own suggestions it needs more than one millennium to exhaust. There is nothing in heaven or earth that was not dreamt of in his philosophy:274 some of his dreams have already come true; others still await their fulfilment; and even those which are irreconcilable with the demands of experience will continue to be studied with the interest attaching to every generous and daring adventure, in the spiritual no less than in the secular order of existence.

THREE:This preference of pure abstract speculation to beneficent290 action may be traced to the influence of Aristotle. Some of the most enthusiastic expressions used by Plotinus in speaking of his supreme principle seem to have been suggested by the Metaphysics and the last book of the Nicomachean Ethics. The self-thinking thought of the Stagirite does not, indeed, take the highest rank with him. But it is retained in his system, and is only relegated to a secondary place because, for reasons which we shall explain hereafter, it does not fulfil equally well with Plato��s Idea of Good, the condition of absolute and indivisible unity, without which a first principle could not be conceived by any Greek philosopher. But this apparent return to the standpoint of the Republic really involves a still wider departure from its animating spirit. In other words, Plotinus differs from Aristotle as Aristotle himself had differed from Plato; he shares the same speculative tendency, and carries it to a greater extreme.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.