FORE:We cannot, then, agree with Zeller, when he groups the292 Neo-Platonists together with the other post-Aristotelian schools, on the ground that they are all alike distinguished from Plato and Aristotle by the exclusive attention which they pay to subjective and practical, as opposed to scientific and theoretical interests. It seems to us that such distinctions are out of relation to the historical order in which the different systems of Greek philosophy were evolved. It is not in the substance of their teaching, but in their diminished power of original speculation, that the thinkers who came after Aristotle offer the strongest contrast to their predecessors. In so far as they are exclusively practical and subjective, they follow the Humanists and Socrates. In so far as they combine Socratic tendencies with physical studies, they imitate the method of Plato and Aristotle. Their cosmopolitan naturalism is inherited from the Cynics in the first instance, more remotely from the physiocratic Sophists, and, perhaps, in the last resort, from Heracleitus. Their religion is traceable either to Pythagoras, to Socrates, or to Plato. Their scepticism is only a little more developed than that of Protagoras and the Cyrenaics. But if we seek for some one principle held in common by all these later schools, and held by none of the earlier schools, we shall seek for it in vain. The imitative systems are separated from one another by the same fundamental differences as those which divide the original systems. Now, in both periods, the deepest of all differences is that which divides the spiritualists from the materialists. In both periods, also, it is materialism that comes first. And in both, the transition from one doctrine to the other is marked by the exclusive prominence given to subjective, practical, sceptical, or theological interests in philosophy; by the enthusiastic culture of rhetoric in general education; and by a strong religious reaction in the upper ranks of society.Apart, however, from abstract speculation, the ideal156 method seems to have exercised an immediate and powerful influence on Art, an influence which was anticipated by Socrates himself. In two conversations reported by Xenophon,102 he impresses on Parrhasius, the painter, and Cleito, the sculptor, the importance of so animating the faces and figures which they represented as to make them express human feelings, energies, and dispositions, particularly those of the most interesting and elevated type. And such, in fact, was the direction followed by imitative art after Pheidias, though not without degenerating into a sensationalism which Socrates would have severely condemned. Another and still more remarkable proof of the influence exercised on plastic representation by ideal philosophy was, perhaps, not foreseen by its founder. We allude to the substitution of abstract and generic for historical subjects by Greek sculpture in its later stages, and not by sculpture only, but by dramatic poetry as well. For early art, whether it addressed itself to the eye or to the imagination, and whether its subjects were taken from history or from fiction, had always been historical in this sense, that it exhibited the performance of particular actions by particular persons in a given place and at a given time; the mode of presentment most natural to those whose ideas are mainly determined by contiguous association. The schools which came after Socrates let fall the limitations of concrete reality, and found the unifying principle of their works in association by resemblance, making their figures the personification of a single attribute or group of attributes, and bringing together forms distinguished by the community of their characteristics or the convergence of their functions. Thus Aphrodit no longer figured as the lover of Ars or Anchiss, but as the personification of female beauty; while her statues were grouped together with images of the still more transparent abstractions, Love, Longing, and Desire. Similarly Apollo became a personification of musical enthusiasm, and Dionysus157 of Bacchic inspiration. So also dramatic art, once completely historical, even with Aristophanes, now chose for its subjects such constantly-recurring types as the ardent lover, the stern father, the artful slave, the boastful soldier, and the fawning parasite.103
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