Yet the true office of a poet or writer of fiction is not merely to give amusement, or to be the expression of the feelings of mankind, good or bad, or even to increase our knowledge of human nature. There have been poets in modern times, such as Goethe or Wordsworth, who have not forgotten their high vocation of teachers; and the two greatest of the Greek dramatists owe their sublimity to their ethical character. The noblest truths, sung of in the purest and sweetest language, are still the proper material of poetry. The poet clothes them with beauty, and has a power of making them enter into the hearts and memories of men. He has not only to speak of themes above the level of ordinary life, but to speak of them in a deeper and tenderer way than they are ordinarily felt, so as to awaken the feeling of them in others. The old he makes young again; the familiar principle he invests with a new dignity; he finds a noble expression for the common-places of morality and politics. He uses the things of sense so as to indicate what is beyond; he raises us through earth to heaven. He expresses what the better part of us would fain say, and the half-conscious feeling is strengthened by the expression. He is his own critic, for the spirit of poetry and of criticism are not divided in him. His mission is not to disguise men from themselves, but to reveal to them their own nature, and make them better acquainted with the world around them. True poetry is the remembrance of youth, of love, the embodiment in words of the happiest and holiest moments of life, of the noblest thoughts of man, of the greatest deeds of the past. The poet of the future may return to his greater calling of the prophet or teacher; indeed, we hardly know what may not be effected for the human race by a better use of the poetical and imaginative faculty. The reconciliation of poetry, as of religion, with truth, may still be possible. Neither is the element of pleasure to be excluded. For when we substitute a higher pleasure for a lower we raise men in the scale of existence. Might not the novelist, too, make an ideal, or rather many ideals of social life, better than a thousand sermons? Plato, like the Puritans, is too much afraid of poetic and artistic influences. But he is not without a true sense of the noble purposes to which art may be applied (Republic).
Modern poetry is often a sort of plaything, or, in Plato's language, a flattery, a sophistry, or sham, in which, without any serious purpose, the poet lends wings to his fancy and exhibits his gifts of language and metre. Such an one seeks to gratify the taste of his readers; he has the 'savoir faire,' or trick of writing, but he has not the higher spirit of poetry. He has no conception that true art should bring order out of disorder; that it should make provision for the soul's highest interest; that it should be pursued only with a view to 'the improvement of the citizens.' He ministers to the weaker side of human nature (Republic); he idealizes the sensual; he sings the strain of love in the latest fashion; instead of raising men above themselves he brings them back to the 'tyranny of the many masters,' from which all his life long a good man has been praying to be delivered. And often, forgetful of measure and order, he will express not that which is truest, but that which is strongest. Instead of a great and nobly-executed subject, perfect in every part, some fancy of a heated brain is worked out with the strangest incongruity. He is not the master of his words, but his words—perhaps borrowed from another—the faded reflection of some French or German or Italian writer, have the better of him. Though we are not going to banish the poets, how can we suppose that such utterances have any healing or life-giving influence on the minds of men?
'Let us hear the conclusion of the whole matter:' Art then must be true, and politics must be true, and the life of man must be true and not a seeming or sham. In all of them order has to be brought out of disorder, truth out of error and falsehood. This is what we mean by the greatest improvement of man. And so, having considered in what way 'we can best spend the appointed time, we leave the result with God.' Plato does not say that God will order all things for the best (compare Phaedo), but he indirectly implies that the evils of this life will be corrected in another. And as we are very far from the best imaginable world at present, Plato here, as in the Phaedo and Republic, supposes a purgatory or place of education for mankind in general, and for a very few a Tartarus or hell. The myth which terminates the dialogue is not the revelation, but rather, like all similar descriptions, whether in the Bible or Plato, the veil of another life. For no visible thing can reveal the invisible. Of this Plato, unlike some commentators on Scripture, is fully aware. Neither will he dogmatize about the manner in which we are 'born again' (Republic). Only he is prepared to maintain the ultimate triumph of truth and right, and declares that no one, not even the wisest of the Greeks, can affirm any other doctrine without being ridiculous.
There is a further paradox of ethics, in which pleasure and pain are held to be indifferent, and virtue at the time of action and without regard to consequences is happiness. From this elevation or exaggeration of feeling Plato seems to shrink: he leaves it to the Stoics in a later generation to maintain that when impaled or on the rack the philosopher may be happy (compare Republic). It is observable that in the Republic he raises this question, but it is not really discussed; the veil of the ideal state, the shadow of another life, are allowed to descend upon it and it passes out of sight. The martyr or sufferer in the cause of right or truth is often supposed to die in raptures, having his eye fixed on a city which is in heaven. But if there were no future, might he not still be happy in the performance of an action which was attended only by a painful death? He himself may be ready to thank God that he was thought worthy to do Him the least service, without looking for a reward; the joys of another life may not have been present to his mind at all. Do we suppose that the mediaeval saint, St. Bernard, St. Francis, St. Catharine of Sienna, or the Catholic priest who lately devoted himself to death by a lingering disease that he might solace and help others, was thinking of the 'sweets' of heaven? No; the work was already heaven to him and enough. Much less will the dying patriot be dreaming of the praises of man or of an immortality of fame: the sense of duty, of right, and trust in God will be sufficient, and as far as the mind can reach, in that hour. If he were certain that there were no life to come, he would not have wished to speak or act otherwise than he did in the cause of truth or of humanity. Neither, on the other hand, will he suppose that God has forsaken him or that the future is to be a mere blank to him. The greatest act of faith, the only faith which cannot pass away, is his who has not known, but yet has believed. A very few among the sons of men have made themselves independent of circumstances, past, present, or to come. He who has attained to such a temper of mind has already present with him eternal life; he needs no arguments to convince him of immortality; he has in him already a principle stronger than death. He who serves man without the thought of reward is deemed to be a more faithful servant than he who works for hire. May not the service of God, which is the more disinterested, be in like manner the higher? And although only a very few in the course of the world's history —Christ himself being one of them—have attained to such a noble conception of God and of the human soul, yet the ideal of them may be present to us, and the remembrance of them be an example to us, and their lives may shed a light on many dark places both of philosophy and theology.
Gorgias
Persons of the Dialogue:Callicles; Socrates; Chaerephon; Gorgias; Polus.
Scene: The house of Callicles
CALLICLES: The wise man, as the proverb says, is late for a fray, but not for a feast.
SOCRATES: And are we late for a feast?
CALLICLES: Yes, and a delightful feast; for Gorgias has just been exhibiting to us many fine things.
SOCRATES: It is not my fault, Callicles; our friend Chaerephon is to blame; for he would keep us loitering in the Agora.
CHAEREPHON: Never mind, Socrates; the misfortune of which I have been the cause I will also repair; for Gorgias is a friend of mine, and I will make him give the exhibition again either now, or, if you prefer, at some other time.
CALLICLES: What is the matter, Chaerephon—does Socrates want to hear Gorgias?
CHAEREPHON: Yes, that was our intention in coming.
CALLICLES: Come into my house, then; for Gorgias is staying with me, and he shall exhibit to you.
SOCRATES: Very