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Plato and Platonism, a non-fiction book by Walter Pater |
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Chapter 6. The Genius Of Plato |
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_ ALL true criticism of philosophic doctrine, as of every other product of human mind, must begin with an historic estimate of the conditions, antecedent and contemporary, which helped to make it precisely what it was. But a complete criticism does not end there. In the evolution of abstract doctrine as we find it written in the history of philosophy, if there is always, on one side, the fatal, irresistible, mechanic play of circumstance--the circumstances of a particular age, which may be analysed and explained; there is always also, as if acting from the opposite side, the comparatively inexplicable force of a personality, resistant to, while it is moulded by, them. It might even be said that the trial-task of criticism, in regard to literature and art no less than to philosophy, begins exactly where the estimate of general conditions, of the conditions common to all the products of this or that particular age--of the "environment"-- leaves off, and we touch what is unique in the individual genius [125] which contrived after all, by force of will, to have its own masterful way with that environment. If in reading Plato, for instance, the philosophic student has to re-construct for himself, as far as possible, the general character of an age, he must also, so far as he may, reproduce the portrait of a person. The Sophists, the Sophistical world, around him; his master, Socrates; the Pre-Socratic philosophies; the mechanic influence, that is to say, of past and present:--of course we can know nothing at all of the Platonic doctrine except so far as we see it in well-ascertained contact with all that; but there is also Plato himself in it. --A personality, we may notice at the outset, of a certain complication. The great masters of philosophy have been for the most part its noticeably single-minded servants. As if in emulation of Aristotle's simplicity of character, his absorbing intellectualism-- impressive certainly, heroic enough, in its way--they have served science, science in vacuo, as if nothing beside, faith, imagination, love, the bodily sense, could detach them from it for an hour. It is not merely that we know little of their lives (there was so little to tell!) but that we know nothing at all of their temperaments; of which, that one leading abstract or scientific force in them was in fact strictly exclusive. Little more than intellectual abstractions themselves, in them [126] philosophy was wholly faithful to its colours, or its colourlessness; rendering not grey only, as Hegel said of it, but all colours alike, in grey. With Plato it was otherwise. In him, the passion for truth did but bend, or take the bent of, certain ineradicable predispositions of his nature, in themselves perhaps somewhat opposed to that. It is however in the blending of diverse elements in the mental constitution of Plato that the peculiar Platonic quality resides. Platonism is in one sense an emphatic witness to the unseen, the transcendental, the non- experienced, the beauty, for instance, which is not for the bodily eye. Yet the author of this philosophy of the unseen was,--Who can doubt it who has read but a page of him? this, in fact, is what has led and kept to his pages many who have little or no turn for the sort of questions Plato actually discusses:--The author of this philosophy of the unseen was one, for whom, as was said of a very different French writer, "the visible world really existed." Austere as he seems, and on well- considered principle really is, his temperance or austerity, aesthetically so winning, is attained only by the chastisement, the control, of a variously interested, a richly sensuous nature. Yes, the visible world, so pre-eminently worth eye-sight at Athens just then, really existed for him: exists still--there's the point!--is active still everywhere, when he seems to have turned away from it to invisible things. [127] To the somewhat sad-coloured school of Socrates, and its discipline towards apathy or contempt in such matters, he had brought capacities of bodily sense with the making in them of an Odyssey; or (shall we say?) of a poet after the order of Sappho or Catullus; as indeed also a practical intelligence, a popular management of his own powers, a skill in philosophic yet mundane Greek prose, which might have constituted him the most successful of Sophists. You cannot help seeing that his mind is a storehouse of all the liveliest imageries of men and things. Nothing, if it really arrests eye or ear at all, is too trivial to note. Passing through the crowd of human beings, he notes the sounds alike of their solemn hymns and of their pettiest handicraft. A conventional philosopher might speak of "dumb matter," for instance; but Plato has lingered too long in braziers' workshops to lapse into so stupid an epithet. And if the persistent hold of sensible things upon him thus reveals itself in trifles, it is manifest no less in the way in which he can tell a long story,--no one more effectively! and again, in his graphic presentment of whole scenes from actual life, like that with which The Republic opens. His Socrates, like other people, is curious to witness a new religious function: how they will do it. As in modern times, it would be a pleasant occasion also for meeting the acquaintance one likes best-- Synesometha pollois [128] ton neon autothi.+ "We shall meet a number of our youth there: we shall have a dialogue: there will be a torchlight procession in honour of the goddess, an equestrian procession: a novel feature!--What? Torches in their hands, passed on as they race? Aye, and an illumination, through the entire night. It will be worth seeing!"-- that old midnight hour, as Carlyle says of another vivid scene, "shining yet on us, ruddy-bright through the centuries." Put alongside of that, and, for life-like charm, side by side with Murillo's Beggar- boys (you catch them, if you look at his canvas on the sudden, actually moving their mouths, to laugh and speak and munch their crusts, all at once) the scene in the Lysis of the dice-players. There the boys are! in full dress, to take part in a religious ceremony. It is scarcely over; but they are already busy with the knuckle-bones, some just outside the door, others in a corner. Though Plato never tells one without due motive, yet he loves a story for its own sake, can make one of fact or fancy at a moment's notice, or re-tell other people's better: how those dear skinny grasshoppers of Attica, for instance, had once been human creatures, who, when the Muses first came on earth, were so absorbed by their music that they forgot even to eat and drink, till they died of it. And then the story of Gyges in The Republic, and the ring that can make its wearer invisible: [129] --it goes as easily, as the ring itself round the finger. Like all masters of literature, Plato has of course varied excellences; but perhaps none of them has won for him a larger number of friendly readers than this impress of visible reality. For him, truly (as he supposed the highest sort of knowledge must of necessity be) all knowledge was like knowing a person. The Dialogue itself, being, as it is, the special creation of his literary art, becomes in his hands, and by his masterly conduct of it, like a single living person; so comprehensive a sense does he bring to bear upon it of the slowly- developing physiognomy of the thing--its organic structure, its symmetry and expression--combining all the various, disparate subjects of The Republic, for example, into a manageable whole, so entirely that, looking back, one fancies this long dialogue of at least three hundred pages might have occupied, perhaps an afternoon. And those who take part in it! If Plato did not create the "Socrates" of his Dialogues, he has created other characters hardly less life- like. The young Charmides, the incarnation of natural, as the aged Cephalus of acquired, temperance; his Sophoclean amenity as he sits there pontifically at the altar, in the court of his peaceful house; the large company, of varied character and of every age, which moves in those Dialogues, though still oftenest the young [130] in all their youthful liveliness:--who that knows them at all can doubt Plato's hold on persons, that of persons on him? Sometimes, even when they are not formally introduced into his work, characters that had interested, impressed, or touched him, inform and colour it, as if with their personal influence, showing through what purports to be the wholly abstract analysis of some wholly abstract moral situation. Thus, the form of the dying Socrates himself is visible pathetically in the description of the suffering righteous man, actually put into his own mouth in the second book of The Republic; as the winning brilliancy of the lost spirit of Alcibiades infuses those pages of the sixth, which discuss the nature of one by birth and endowments an aristocrat, amid the dangers to which it is exposed in the Athens of that day--the qualities which must make him, if not the saviour, the destroyer, of a society which cannot remain unaffected by his showy presence. Corruptio optimi pessima! Yet even here, when Plato is dealing with the inmost elements of personality, his eye is still on its object, on character as seen in characteristics, through those details, which make character a sensible fact, the changes of colour in the face as of tone in the voice, the gestures, the really physiognomic value, or the mere tricks, of gesture and glance and speech. What is visibly expressive in, or upon, persons; those flashes of temper which check yet give [131] renewed interest to the course of a conversation; the delicate touches of intercourse, which convey to the very senses all the subtleties of the heart or of the intelligence:--it is always more than worth his while to make note of these. We see, for instance, the sharp little pygmy bit of a soul that catches sight of any little thing so keenly, and makes a very proper lawyer. We see, as well as hear, the "rhapsodist," whose sensitive performance of his part is nothing less than an "interpretation" of it, artist and critic at once: the personal vanities of the various speakers in his Dialogues, as though Plato had observed, or overheard them, alone; and the inevitable prominence of youth wherever it is present at all, notwithstanding the real sweetness of manner and modesty of soul he records of it so affectionately. It is this he loves best to linger by; to feel himself in contact with a condition of life, which translates all it is, so immediately, into delightful colour, and movement, and sound. The eighth and ninth books of The Republic are a grave contribution, as you know, to abstract moral and political theory, a generalisation of weighty changes of character in men and states. But his observations on the concrete traits of individuals, young or old, which enliven us on the way; the difference in sameness of sons and fathers, for instance; the influence of servants on their masters; how the minute ambiguities of rank, as a family becomes [132] impoverished, tell on manners, on temper; all the play of moral colour in the reflex of mere circumstance on what men really are:--the characterisation of all this has with Plato a touch of the peculiar fineness of Thackeray, one might say. Plato enjoys it for its own sake, and would have been an excellent writer of fiction. There is plenty of humour in him also of course, and something of irony--salt, to keep the exceeding richness and sweetness of his discourse from cloying the palate. The affectations of sophists, or professors, their staginess or their inelegance, the harsh laugh, the swaggering ways, of Thrasymachus, whose determination to make the general company share in a private conversation, is significant of his whole character, he notes with a finely-pointed pencil, with something of the fineness of malice,--malin, as the French say. Once Thrasymachus had been actually seen to blush. It is with a very different sort of fineness Plato notes the blushes of the young; of Hippocrates, for instance, in the Protagoras. The great Sophist was said to be in Athens, at the house of Callicles, and the diligent young scholar is up betimes, eager to hear him. He rouses Socrates before daylight. As they linger in the court, the lad speaks of his own intellectual aspirations; blushes at his confidence. It was just then that the morning sun blushed with his first beam, as if to reveal the lad's [133] blushing face.--Kai hos eipen erythriasas, ede gar hypephaine ti emeras oste kataphane auton genesthai.+ He who noted that so precisely had, surely, the delicacy of the artist, a fastidious eye for the subtleties of colour as soul made visibly expressive. "Poor creature as I am," says the Platonic Socrates, in the Lysis, concerning another youthful blush, "Poor creature as I am, I have one talent: I can recognise, at first sight, the lover and the beloved." So it is with the audible world also. The exquisite monotony of the voice of the great sophist, for example, "once set in motion, goes ringing on like a brazen pot, which if you strike it continues to sound till some one lays his hand upon it." And if the delicacy of eye and ear, so also the keenness and constancy of his observation, are manifest in those elaborately wrought images for which the careful reader lies in wait: the mutiny of the sailors in the ship--ship of the state, or of one's own soul: the echoes and beams and shadows of that half-illuminated cavern, the human mind: the caged birds in the Theatetus, which are like the flighty, half-contained notions of an imperfectly educated understanding. Real notions are to be ingrained by persistent thoroughness of the "dialectic" method, as if by conscientious dyers. He makes us stay to watch such dyers busy with their purple stuff, as he had done; adding as it were ethic colour to what he sees with the eye, and [134] painting while he goes, as if on the margin of his high philosophical discourse, himself scarcely aware; as the monkish scribe set bird or flower, with so much truth of earth, in the blank spaces of his heavenly meditation. Now Plato is one for whom the visible world thus "really exists" because he is by nature and before all things, from first to last, unalterably a lover. In that, precisely, lies the secret of the susceptible and diligent eye, the so sensitive ear. The central interest of his own youth--of his profoundly impressible youth--as happens always with natures of real capacity, gives law and pattern to all that succeeds it. Ta erotika,+ as he says, the experience, the discipline, of love, had been that for Plato; and, as love must of necessity deal above all with visible persons, this discipline involved an exquisite culture of the senses. It is "as lovers use," that he is ever on the watch for those dainty messages, those finer intimations, to eye and ear. If in the later development of his philosophy the highest sort of knowledge comes to seem like the knowledge of a person, the relation of the reason to truth like the commerce of one person with another, the peculiarities of personal relationship thus moulding his conception of the properly invisible world of ideas, this is partly because, for a lover, the entire visible world, its hues and outline, its attractiveness, its power and bloom, must have associated themselves pre-eminently [135] with the power and bloom of visible living persons. With these, as they made themselves known by word and glance and touch, through the medium of the senses, lay the forces, which, in that inexplicable tyranny of one person over another, shaped the soul. Just there, then, is the secret of Plato's intimate concern with, his power over, the sensible world, the apprehensions of the sensuous faculty: he is a lover, a great lover, somewhat after the manner of Dante. For him, as for Dante, in the impassioned glow of his conceptions, the material and the spiritual are blent and fused together. While, in that fire and heat, what is spiritual attains the definite visibility of a crystal, what is material, on the other hand, will lose its earthiness and impurity. It is of the amorous temper, therefore, you must think in connexion with Plato's youth--of this, amid all the strength of the genius in which it is so large a constituent,--indulging, developing, refining, the sensuous capacities, the powers of eye and ear, of the fancy also which can re-fashion, of the speech which can best respond to and reproduce, their liveliest presentments. That is why when Plato speaks of visible things it is as if you saw them. He who in the Symposium describes so vividly the pathway, the ladder, of love, its joyful ascent towards a more perfect beauty than we have ever yet actually seen, by way of a parallel to the gradual elevation of mind towards perfect [136] knowledge, knew all that, we may be sure--ta erotika +--hetton ton kalon +--subject to the influence of fair persons. A certain penitential colour amid that glow of fancy and expression, hints that the final harmony of his nature had been but gradually beaten out, and invests the temperance, actually so conspicuous in his own nature, with the charms of a patiently elaborated effect of art. For we must remind ourselves just here, that, quite naturally also, instinctively, and apart from the austere influences which claimed and kept his allegiance later, Plato, with a kind of unimpassioned passion, was a lover in particular of temperance; of temperance too, as it may be seen, as a visible thing--seen in Charmides, say! in that subdued and grey-eyed loveliness, "clad in sober grey"; or in those youthful athletes which, in ancient marble, reproduce him and the like of him with sound, firm outlines, such as temperance secures. Still, that some more luxurious sense of physical beauty had at one time greatly disturbed him, divided him against himself, we may judge from his own words in a famous passage of the Phaedrus concerning the management, the so difficult management, of [137] those winged steeds of the body, which is the chariot of the soul. Puzzled, in some degree, Plato seems to remain, not merely in regard to the higher love and the lower, Aphrodite Urania and Aphrodite Pandemus, as he distinguishes them in the Symposium; nor merely with the difficulty of arbitrating between some inward beauty, and that which is outward; with the odd mixture everywhere, save in its still unapprehended but eternal essence, of the beautiful with what is otherwise; but he is yet more harassed by the experience (it is in this shape that the world-old puzzle of the existence of evil comes to him) that even to the truest eyesight, to the best trained faculty of soul, the beautiful would never come to seem strictly concentric with the good. That seems to have taxed his understanding as gravely as it had tried his will,--and he was glad when in the mere natural course of years he was become at all events less ardent a lover. 'Tis he is the authority for what Sophocles had said on the happy decay of the passions as age advanced: it was "like being set free from service to a band of madmen." His own distinguishing note is tranquil afterthought upon this conflict, with a kind of envy of the almost disembodied old age of Cephalus, who quotes that saying of Sophocles amid his placid sacrificial doings. Connect with this quiet scene, and contrast with the luxuriant power of the Phaedrus and the Symposium, what, [138] for a certain touch of later mysticism in it, we might call Plato's evening prayer, in the ninth book of The Republic.--
The lover, who is become a lover of the invisible, but still a lover, and therefore, literally, a seer, of it, carrying an elaborate cultivation of the bodily senses, of eye and ear, their natural [140] force and acquired fineness--gifts akin properly to ta erotika,+ as he says, to the discipline of sensuous love--into the world of intellectual abstractions; seeing and hearing there too, associating for ever all the imagery of things seen with the conditions of what primarily exists only for the mind, filling that "hollow land" with delightful colour and form, as if now at last the mind were veritably dealing with living people there, living people who play upon us through the affinities, the repulsion and attraction, of persons towards one another, all the magnetism, as we call it, of actual human friendship or love:--There, is the formula of Plato's genius, the essential condition of the specially Platonic temper, of Platonism. And his style, because it really is Plato's style, conforms to, and in its turn promotes in others, that mental situation. He breaks as it were visible colour into the very texture of his work: his vocabulary, the very stuff he manipulates, has its delightful aesthetic qualities; almost every word, one might say, its figurative value. And yet no one perhaps has with equal power literally sounded the unseen depths of thought, and, with what may be truly called "substantial" word and phrase, given locality there to the mere adumbrations, the dim hints and surmise, of the speculative mind. For him, all gifts of sense and intelligence converge in one supreme faculty of theoretic vision, theoria,+ the imaginative reason. [141] To trace that thread of physical colour, entwined throughout, and multiplied sometimes into large tapestried figures, is the business, the enjoyment, of the student of the Dialogues, as he reads them. For this or that special literary quality indeed we may go safely by preference to this or that particular Dialogue; to the Gorgias, for instance, for the readiest Attic wit, and a manly practical sense in the handling of philosophy; to the Charmides, for something like the effect of sculpture in modelling a person; to the Timaeus, for certain brilliant chromatic effects. Yet who that reads the Theaetetus, or the Phaedrus, or the seventh book of The Republic, can doubt Plato's gift in precisely the opposite direction; that gift of sounding by words the depths of thought, a plastic power literally, moulding to term and phrase what might have seemed in its very nature too impalpable and abstruse to lend itself, in any case, to language? He gives names to the invisible acts, processes, creations, of abstract mind, as masterly, as efficiently, as Adam himself to the visible living creations of old. As Plato speaks of them, we might say, those abstractions too become visible living creatures. We read the speculative poetry of Wordsworth, or Tennyson; and we may observe that a great metaphysical force has come into language which is by no means purely technical or scholastic; what a help such language is to the understanding, to a real hold over the things, the thoughts, the [142] mental processes, those words denote; a vocabulary to which thought freely commits itself, trained, stimulated, raised, thereby, towards a high level of abstract conception, surely to the increase of our general intellectual powers. That, of course, is largely due to Plato's successor, to Aristotle's life-long labour of analysis and definition, and to his successors the Schoolmen, with their systematic culture of a precise instrument for the registration, by the analytic intellect, of its own subtlest movements. But then, Aristotle, himself the first of the Schoolmen, had succeeded Plato, and did but formulate, as a terminology "of art," as technical language, what for Plato is still vernacular, original, personal, the product in him of an instinctive imaginative power--a sort of visual power, but causing others also to see what is matter of original intuition for him. From first to last our faculty of thinking is limited by our command of speech. Now it is straight from Plato's lips, as if in natural conversation, that the language came, in which the mind has ever since been discoursing with itself concerning itself, in that inward dialogue, which is the "active principle" of the dialectic method as an instrument for the attainment of truth. For, the essential, or dynamic, dialogue, is ever that dialogue of the mind with itself, which any converse with Socrates or Plato does but promote. The very words of Plato, then, [143] challenge us straightway to larger and finer apprehension of the processes of our own minds; are themselves a discovery in the sphere of mind. It was he made us freemen of those solitary places, so trying yet so attractive: so remote and high, they seem, yet are naturally so close to us: he peopled them with intelligible forms. Nay more! By his peculiar gift of verbal articulation he divined the mere hollow spaces which a knowledge, then merely potential, and an experience still to come, would one day occupy. And so, those who cannot admit his actual speculative results, precisely his report on the invisible theoretic world, have been to the point sometimes, in their objection, that by sheer effectiveness of abstract language, he gave an illusive air of reality or substance to the mere nonentities of metaphysic hypothesis--of a mind trying to feed itself on its own emptiness. Just there--in the situation of one, shaped, by combining nature and circumstance, into a seer who has a sort of sensuous love of the unseen--is the paradox of Plato's genius, and therefore, always, of Platonism, of the Platonic temper. His aptitude for things visible, with the gift of words, empowers him to express, as if for the eyes, what except to the eye of the mind is strictly invisible, what an acquired asceticism induces him to rank above, and sometimes, in terms of harshest dualism, oppose to, the sensible world. Plato is to be interpreted [144] not merely by his antecedents, by the influence upon him of those who preceded him, but by his successors, by the temper, the intellectual alliances, of those who directly or indirectly have been sympathetic with him. Now it is noticeable that, at first sight somewhat incongruously, a certain number of Manicheans have always been of his company; people who held that matter was evil. Pointing significantly to an unmistakable vein of Manichean, or Puritan sentiment actually there in the Platonic Dialogues, these rude companions or successors of his, carry us back to his great predecessor, to Socrates, whose personal influence had so strongly enforced on Plato the severities, moral and intellectual, alike of Parmenides and of the Pythagoreans. The cold breath of a harshly abstract, a too incorporeal philosophy, had blown, like an east wind, on that last depressing day in the prison-cell of Socrates; and the venerable commonplaces then put forth, in which an overstrained pagan sensuality seems to be reacting, to be taking vengeance, on itself, turned now sick and suicidal, will lose none of their weight with Plato:--That "all who rightly touch philosophy, study nothing else than to die, and to be dead,"--that "the soul reasons best, when, as much as possible, it comes to be alone with itself, bidding good-bye to the body, and, to the utmost of its power, rejecting communion with it, with the very touch of it, aiming at what is." [145] It was, in short, as if for the soul to have come into a human body at all, had been the seed of disease in it, the beginning of its own proper death. As for any adornments or provision for this body, the master had declared that a true philosopher as such would make as little of them as possible. To those young hearers, the words of Socrates may well have seemed to anticipate, not the visible world he had then delineated in glowing colour as if for the bodily eye, but only the chilling influence of the hemlock; and it was because Plato was only half convinced of the Manichean or Puritan element in his master's doctrine, or rather was in contact with it on one side only of his complex and genial nature, that Platonism became possible, as a temper for which, in strictness, the opposition of matter to spirit has no ultimate or real existence. Not to be "pure" from the body, but to identify it, in its utmost fairness, with the fair soul, by a gymnastic "fused in music," became, from first to last, the aim of education as he conceived it. That the body is but "a hindrance to the attainment of philosophy, if one takes it along with one as a companion in one's search" (a notion which Christianity, at least in its later though wholly legitimate developments, will correct) can hardly have been the last thought of Plato himself on quitting it. He opens his door indeed to those austere monitors. They correct the sensuous richness of his genius, but could [146] not suppress it. The sensuous lover becomes a lover of the invisible, but still a lover, after his earlier pattern, carrying into the world of intellectual vision, of theoria,+ all the associations of the actual world of sight. Some of its invisible realities he can all but see with the bodily eye: the absolute Temperance, in the person of the youthful Charmides; the absolute Righteousness, in the person of the dying Socrates. Yes, truly! all true knowledge will be like the knowledge of a person, of living persons, and truth, for Plato, in spite of his Socratic asceticism, to the last, something to look at. The eyes which had noted physical things, so finely, vividly, continuously, would be still at work; and, Plato thus qualifying the Manichean or Puritan element in Socrates by his own capacity for the world of sense, Platonism has contributed largely, has been an immense encouragement towards, the redemption of matter, of the world of sense, by art, by all right education, by the creeds and worship of the Christian Church--towards the vindication of the dignity of the body. It was doubtless because Plato was an excellent scholar that he did not begin to teach others till he was more than forty years old--one of the great scholars of the world, with Virgil and Milton: by which is implied that, possessed of the inborn genius, of those natural powers, [147] which sometimes bring with them a certain defiance of rule, of the intellectual habits of others, he acquires, by way of habit and rule, all that can be taught and learned; and what is thus derived from others by docility and discipline, what is range, comes to have in him, and in his work, an equivalent weight with what is unique, impulsive, underivable. Raphael--Raphael, as you see him in the Blenheim Madonna, is a supreme example of such scholarship in the sphere of art. Born of a romantically ancient family, understood to be the descendant of Solon himself, Plato had been in early youth a writer of verse. That he turned to a more vigorous, though pedestrian mode of writing, was perhaps an effect of his corrective intercourse with Socrates, through some of the most important years of his life,--from twenty to twenty- eight. He belonged to what was just then the discontented class, and might well have taken refuge from active political life in political ideals, or in a kind of self-imposed exile. A traveller, adventurous for that age, he certainly became. After the Lehr-jahre, the Wander-jahre!--all round the Mediterranean coasts as far west as Sicily. Think of what all that must have meant just then, for eyes which could see. If those journeys had begun in angry flight from home, it was for purposes of self-improvement they were continued: the delightful fruit of them is evident in what he writes; and finding him [148] in friendly intercourse with Dionysius the elder, with Dio, and Dionysius the younger, at the polished court of Syracuse, we may understand that they were a search also for "the philosophic king," perhaps for the opportune moment of realising "the ideal state." In that case, his quarrels with those capricious tyrants show that he was disappointed. For the future he sought no more to pass beyond the charmed theoretic circle, "speaking wisdom," as was said of Pythagoras, only "among the perfect." He returns finally to Athens; and there, in the quiet precincts of the Academus, which has left a somewhat dubious name to places where people come to be taught or to teach, founds, not a state, nor even a brotherhood, but only the first college, with something of a common life, of communism on that small scale, with Aristotle for one of its scholars, with its chapel, its gardens, its library with the authentic text of his Dialogues upon the shelves: we may just discern the sort of place through the scantiest notices. His reign was after all to be in his writings. Plato himself does nothing in them to retard the effacement which mere time brings to persons and their abodes; and there had been that, moreover, in his own temper, which promotes self-effacement. Yet as he left it, the place remained for centuries, according to his will, to its original use. What he taught through the remaining forty years of his life, the method of that teaching, whether it [149] was less or more esoteric than the teaching of the extant Dialogues, is but matter of surmise. Writers, who in their day might still have said much we should have liked to hear, give us little but old, quasi-supernatural stories, told as if they had been new ones, about him. The year of his birth fell, according to some, in the very year of the death of Pericles (a significant date!) but is not precisely ascertainable: nor is the year of his death, nor its manner. Scribens est mortuus, says Cicero:--after the manner of a true scholar, "he died pen in hand."
NOTES 127-28. +Transliteration: Synesometha pollois ton neon autothi. Pater's translation: "We shall meet a number of our youth there." Plato, Republic 328a. 133. +Transliteration: Kai hos eipen erythriasas, ede gar hypephaine ti emeras oste kataphane auton genesthai. E-text editor's translation: "And he blushed as he spoke, for presently the day began to break, so as to make him visible." Plato, Protagoras 312a. 134. +Transliteration: Ta erotika. Pater's translation: "the discipline of sensuous love;" more literally, the phrase means "things pertaining to love." Plato, Symposium 177d. 136. +Transliteration: ta erotika. Pater's translation: "the discipline of sensuous love;" more literally, the phrase means "things pertaining to love." Plato, Symposium 177d. 136. +Transliteration: hetton ton kalon. Pater's translation: "subject to the influence of fair persons;" more literally, "yielding to beauty." Plato, Meno 76c. 140. +Transliteration: ta erotika. Pater's translation: "the discipline of sensuous love;" more literally, the phrase means "things pertaining to love." Plato, Symposium 177d. 140. +Transliteration: theoria. Liddell and Scott definition: "a looking at, viewing, beholding . . . contemplation, reflection." Plato, Republic 486a. 146. +Transliteration: theoria. Liddell and Scott definition: "a looking at, viewing, beholding . . . contemplation, reflection." Plato, Republic 486a. _ |
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