FORE:46
THREE:The idea of virtue as a hedonistic calculus, abandoned by its first originator, and apparently neglected by his immediate successors, was taken up by Epicurus; for that the latter borrowed it from Plato seems to be proved by the exact62 resemblance of their language;125 and M. Guyau is quite mistaken when he represents his hero as the founder of utilitarian morality.126 It was not enough, however, to appropriate the cast-off ideas of Plato; it was necessary to meet the arguments by which Plato had been led to think that pleasure was not the supreme good, and to doubt whether it was, as such, a good at all. The most natural course would have been to begin by exhibiting the hedonistic ideal in a more favourable light. Sensual gratifications, from their remarkable intensity, had long been the accepted types of pleasurable feeling, and from their animal character, as well as from other obvious reasons, had frequently been used to excite a prejudice against it. On the other hand, Plato himself, and Aristotle still more, had brought into prominence the superiority, simply as pleasures, of those intellectual activities which they considered to be, even apart from all pleasure, the highest good. But Epicurus refused to avail himself of this opportunity for effecting a compromise with the opposite school, boldly declaring that he for his part could not conceive any pleasures apart from those received through the five senses, among which he, characteristically enough, included aesthetic enjoyments. The obvious significance of his words has been explained away, and they have been asserted to contain only the very harmless proposition that our animal nature is the basis, the condition, of our spiritual nature.127 But, if this were the true explanation, it would be possible to point out what other pleasures were recognised by Epicurus. These, if they existed at all, must have belonged to the mind as such. Now, we have it on Ciceros authority that, while admitting the existence of mental feelings, both pleasurable and painful, he reduced them to an extension and reflection of bodily feelings, mental happiness properly consisting in the assurance of63 prolonged and painless sensual gratification. This is something very different from saying that the highest spiritual enjoyments are conditioned by the healthy activity of the bodily organs, or that they cannot be appreciated if the animal appetites are starved. It amounts to saying that there are no specific and positive pleasures apart from the five senses as exercised either in reality or in imagination.128 And even without the evidence of Cicero, we can see that some such conclusion necessarily followed from the principles elsewhere laid down by Epicurus. To a Greek, the mental pleasures, par excellence, were those derived from friendship and from intellectual activity. But our philosopher, while warmly panegyrising friendship, recommends it not for the direct pleasure which it affords, but for the pain and danger which it prevents;129 while his restriction of scientific studies to the office of dispelling superstitious fears seems meant for a direct protest against Aristotles opinion, that the highest pleasure is derived from those studies. Equally significant is his outspoken contempt for literary culture.130 In this respect, he offers a marked contrast to Aristippus, who, when asked by some one what good his son would get by education, answered, This much, at least, that when he is at the play he will not sit like a stone upon a stone,131 the customary attitude, it would seem, of an ordinary Athenian auditor.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 versesverse-making had become fashionable just thenbut 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 Platos 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 Platos 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 Platos 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.
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