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The year 155 B.C. was signalised by an important event, if not in the history of ideas, at least in the history of their diffusion. This was the despatch of an embassy from the Athenian people to the Roman Senate, consisting of three philosophers, the heads of their respective schoolsCarneades the Academician, Critolaus the Peripatetic, and Diogenes the Stoic. Philosophic teaching, once proscribed at Athens, had, at the time of which we are speaking, become her chief distinction, and the most honourable profession pursued within her precincts. It was, then, as natural that an important mission should be confided to the most eminent representatives of the calling in question as that high ecclesiastics should be similarly employed by Rome in later ages, or that German university towns should send professors to represent their interests in the imperial Diet. But the same fate that befalls an established religion had befallen an established philosophy. An attempt to impose restrictions on the liberty of teaching had, indeed, been successfully resisted, and the experiment was never repeated.212 Nevertheless, the teachers themselves lost as much in true dignity as they gained in affluence and popular estimation. In all probability, the threat of death would not have induced Socrates to undertake the task which was, apparently, accepted without121 compulsion and as an honourable duty by his successors. The Athenians had made an unprovoked raid on the town of Oropus; the affair had been referred to arbitration; and the aggressors had been sentenced to pay a fine of 500 talents. It was to obtain a remission of this sentence that the three Scholarchs were sent on an embassy to the Roman Senate.Among the most interesting of Plutarchs religious writings is one entitled On the Delays in the Divine Vengeance. As might be expected from the name, it deals with a problem closely akin to that which ages before had been made the subject of such sublime imagery and such inconclusive reasoning by the author of the Book of Job. What troubled the Hebrew poet was the apparently undeserved suffering of the just. What the Greek moralist feels himself called on to explain is the apparent prosperity and impunity of the wicked. He will not for a moment admit that crime remains unavengeful; his object is to show why the retribution does not follow directly on the deed. And, in order to account for this, he adduces a number of very ingenious reasons. By acting deliberately rather than in blind anger, the gods wish to read us a useful lesson in patience and forbearance. Sometimes their object is to give the sinner an opportunity for repentance and amendment; or else they may be holding him in reserve for the performance of some beneficial work. At other times, their justice is delayed only that it may be manifested by some signal and striking form of retribution. In many cases, the final stroke has been preceded by long years of secret torment; and even where no suffering seems to be inflicted, the pangs of remorse may furnish a sufficient expiation. Or again, vengeance may be reserved for a future generation. Some persons hold that to267 visit the sins of the fathers on the children is unjust, but in this they are profoundly mistaken. Members of the same family and citizens of the same state are connected as parts of one organic whole; sharing in the benefits which accrue from the good deeds of their predecessors, it is right that they should also share in the responsibility for their crimes. Moreover, the posterity of the wicked inherit a sinful disposition which, as the gods can clearly foresee, would betray itself in overt acts were they not cut off in their youth. And it is equally an error to suppose that the original wrongdoers remain unaffected by the retribution which befalls their descendants. On the contrary, they witness it from the next world, where it adds poignancy to their remorse, and entails on them fresh penalties over and above those which they have already been doomed to suffer.
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But it was not merely in the writings of professed philosophers that the new aspect of Platonism found expression. All great art embodies in one form or another the leading conceptions of its age; and the latter half of the seventeenth century found such a manifestation in the comedies of Molire. If these works stand at the head of French literature, they owe their position not more to their authors brilliant wit than to his profound philosophy of life; or rather, we should say that with him wit and philosophy are one. The comic power of Shakespeare was shown by resolving the outward appearances of this world into a series of dissolving illusions. Like Spinoza and Malebranche, Molire turns the illusion in, showing what perverted opinions men form of themselves and others, through misconceptions and passions either of spontaneous growth or sedulously fostered by designing hands. Society, with him, seems almost entirely made up of pretenders and their dupes, both characters being not unfrequently combined in the same person, who is made a victim through his desire to pass for what he is not and cannot be. And this is what essentially distinguishes the art of Molire from the New Comedy of Athens, which he, like other moderns, had at first felt inclined to imitate until the success of the Prcieuses Ridicules showed him where his true opportunities lay. For the New Comedy was Aristotelian where it was not simply humanist; that is415 to say, it was an exhibition of types like those sketched by Aristotles disciple, Theophrastus, and already prefigured in the masters own Ethics. These were the perennial forms in a world of infinite and perishing individual existences, not concealed behind phenomena, but incorporated in them and constituting their essential truth. The Old Comedy is something different again; it is pre-philosophic, and may be characterised as an attempt to describe great political interests and tendencies through the medium of myths and fables and familiar domesticities, just as the old theories of Nature, the old lessons of practical wisdom, and the first great national chronicles had been thrown into the same homely form.572Plato 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."7. Who neglect necessary precautions which ought to be taken on behalf of the army.Maybe he landed and changed his mind about using it, Dick suggested. On account of taking us inwe organized a sort of Sky Patrol, to oversee thingsbut everything went wrong.
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