Progress and History. Various

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СКАЧАТЬ that all the types were harmonious with each other. He could only be satisfied with the world, in short, if he could feel that it came about through a movement towards perfection. He makes his Socrates say that in asking about 'the causes of things, what it is that makes each thing come into being', it was not enough for him if he could only see that the thing was there because something had put it there: he also wanted to see that it was good for it to be there. Socrates tells us that what he needed he thought he had found in a book by Anaxagoras, which announced 'that Mind was the disposer and cause of all' because, 'I said to myself, If this be so—if Mind is the orderer, it will have all in order, and put every single thing in the place that is best for it'.[8]

      It is the same feeling as that which underlies the words of Genesis about the Creation, 'And God saw that it was good'. And there is no doubt that such a view of the world would be supremely satisfying if we could count it true. There may be considerable intellectual satisfaction, no doubt, in merely solving a puzzle as to how things come about, but it is as nothing compared to the joy there would be in contemplating their goodness.

      5. But is it true? Can we possibly say so in view of the hideous imperfection round us? The writers of Genesis spoke of a Fall. Plato, in his own way, speaks of a Fall himself. He never gives up the belief in an Absolute Perfection, a system of Perfect Types somehow—he does not say exactly how—influencing the structure of things in this world. But he holds that on earth this perfection is always thwarted by a medium which prevents its full manifestation. This medium is the medium of Space and Time, and therefore the medium of history—and therefore history is always and inevitably a record of failure. 'While we are in the body,' Plato writes, 'and while the soul is contaminated with its evils, our desire will never be thoroughly satisfied.'[9] 'The body is a tomb,' he writes elsewhere, quoting a current phrase.

      This is sad enough: yet if we put against it Plato's vision of what Man might be, we get as inspiring words as ever were written:

      'We have spoken of Man', he says at the end of the Republic, 'as he appears to us now, but now he looks as Glaucus looked after he had been cast into the sea, and his original nature was scarcely to be discerned, for his limbs were broken and crushed and defaced by the waters, and strange things had grown round him, shells and seaweed and stones, so that he was more like a beast than a man. That is how the soul looks to us now encompassed by all her evils. It is elsewhere, my friend, that we ought to look.' Where? asks Plato's friend, and Plato answers, 'We should look to her love of wisdom and realize what she clings to, what company she desires, for she is akin to the Divine and Immortal and Eternal, and we should understand what she would become if she followed after it, with all her strength, and were lifted by that effort out of the sea where she now lies. … Then we should understand her real nature.' (Republic, 611.)

      Somewhere, Plato believes, this true nature of man may be realized. The Principle of Good is something active, not a dead helpless thing, with no effect on the rest of the universe (Sophist, 248, 249); it is a living power, which desires that everything everywhere should be as glorious as possible (Tim. 29 d). There is no envy, Plato says, in the Divine, that grudging spirit has no part in the heavenly company. Only it is not on earth that the glory can be realized. It is towards the life after death that Plato's real hopes are directed.

      None the less, and this is important, this world does not cease to be significant for him. He does not turn aside—as some souls, intoxicated with the Divine, have done—from this world altogether.

      Because he holds that man can only advance by struggling to make this world better. Man's ordinary life may be like the life in a cave, as he says in his famous myth, but the true philosopher who has once risen out of the cave must go back into it again and teach the prisoners there what the universe really is (Republic, Book vi, fin.; vii, init.). The very passage that I quoted about man's real nature comes at the end of the Republic. Now the Republic is a Utopia, and no one writes a Utopia unless he believes that the effort to reach it is of prime importance to man and helps him to advance.

      Only, for Plato, the advance is not marked in the successive stages of history, as the modern faith in progress asserts. The life on earth, for Plato, is like a school through which men pass and in which they may learn and grow, but the school itself does not go on growing. It is not that he does not envisage change in history, but what he seems to hope for at the best is nothing more hopeful than recurring cycles of better and worse. He tells a fable, in his dialogue 'The Statesman', of how at one time the world is set spinning in the right direction by God and then all goes well, and again how God ceases to control it, and then it gradually forgets the divine teaching and slips from good to bad and from bad to worse, until at last God takes pity on it once more to save it from utter destruction (Polit. 269 ff.). No doubt in this idea of cycles Plato is influenced by the popular thought of his time: this feeling that there had been a lost Golden Age in the past was deeply rooted in Greek mythology. We get it long before Plato, in Hesiod, and there are similar touches in Homer, and once men believe that they have sunk from glory, there is always the dread that if ever they recover it they will lose it again. And with Plato this dread is reinforced by his sense of something incurable in the world, the thwarting influence of spatial and temporal matter (Theaet. 176 a).

      It is strange that, though he is always thinking of the individual soul as learning through experience in its passage from one life to another, Plato does not seem to have the idea of mankind learning by the lessons of history, of knowledge being handed down from one age to another, and growing in the process. That is one of the most inspiring ideas in modern thought: a German writer has spoken of history as the long Odyssey of the human spirit, the common mind of Man coming at last through its wanderings to find out what it really wants, and where its true home lies.

      And here, significantly enough, we find we are brought back in our modern way to something very like Plato's own conception of an eternal unchanging Reality. There are endless problems in the whole conception of the Eternal that I am quite unable even to attempt; but this much at least seems clear to me, that the whole idea of mankind learning by the experience of History, implies something of permanent value running through that experience. The very thought of continued progress implies that man can look back at the successive stages of the Past and say of each: In that lay values which I, to-day and always, can recognize as good, although I believe we have more good now. Seeley speaks in a noble passage of how religion might conceive a progressive revelation which was, in a sense, the same through all its stages, and yet was a growing thing:—'each new revelation asserts its own superiority to those which went before,' but the superiority is 'not of one thing to another thing—but of the developed thing to the undeveloped'. 'It is thus', he writes, 'that the ages should behave to one another.' This is the true 'understanding and concert with time'.[10] And though Plato does not live in the thought of historic progress, yet such a conception of progress which recognizes at different stages different expressions, more or less adequate, of one eternal value, such a way of thinking is entirely Platonic. When we look back at history in this mood we think not only of grasping the right principles for the Future, but of rejoicing in the definite achievements of the Past, and we feel this most poignantly, I think, of the achievements won by the spirit of Beauty. Great works of Art we are accustomed actually to call immortal, and we mean by this not merely that we think they will always be famous, but that there is something in them that makes it impossible for them ever to be superseded. In themselves they are inexhaustible: if they cease to interest us, it is our fault and not theirs. We may want more, we do want more, where they came from, but we never want to lose them, any more than we could bear to lose our old friends, though we may desire to make new ones. Of all the divine Ideas, said Plato, Beauty is the one that shows itself most plainly in the world of sense and speaks to us most plainly of the eternal realities.

      This, however, is perhaps trenching on the СКАЧАТЬ