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FORE:

FORE:But before the dissolving action of Nominalism had become fully manifest, its ascendency was once more challenged; and this time, also, the philosophical impulse came from Constantinople. Greek scholars, seeking help in the West, brought with them to Florence the complete works of Plato; and these were shortly made accessible to a wider public through the Latin translation of Ficino. Their influence seems at first to have told in favour of mysticism, for this was the contemporary tendency to which they could be most readily affiliated; and, besides, in swinging back from Aristotle��s philosophy to the rival form of spiritualism, men��s minds naturally reverted, in the first instance, to what had once linked them together��the system of Plotinus. Thus Platonism was studied through an Alexandrian medium, and as the Alexandrians had looked at it, that is to say, chiefly under its theological and metaphysical aspects. As such, it became the accepted philosophy of the Renaissance;369 and much of what we most admire in the literature��at least the English literature��of that period, is directly traceable to Platonic influence. That the Utopia of Sir Thomas More was inspired by the Republic and the Critias is, of course, obvious; and the great part played by the ideal theory in Spenser��s Faery Queen, though less evident, is still sufficiently clear. As Mr. Green observes in his History of the English People (II., p. 413), ��Spenser borrows, in fact, the delicate and refined forms of the Platonic philosophy to express his own moral enthusiasm.... Justice, Temperance, Truth are no mere names to him, but real existences to which his whole nature clings with a rapturous affection.�� Now it deserves observation, as illustrating a great revolution in European thought, that the relation of Plato to the epic of the English Renaissance is precisely paralleled by the relation of Aristotle to the epic of mediaeval Italy. Dante borrows more than his cosmography from the Stagirite. The successive circles of Hell, the spirals of Purgatory, and the spheres of Paradise, are a framework in which the characters of the poem are exhibited, not as individual actors whom we trace through a life��s history, but as types of a class and representatives of a single mental quality, whether vicious or virtuous. In other words, the historical arrangement of all previous poems is abandoned in favour of a logical arrangement. For the order of contiguity in time is substituted the order of resemblance and difference in idea. How thoroughly Aristotelian, indeed, were the lines within which mediaeval imagination moved is proved by the possibility of tracing them in a work utterly different from Dante��s��the Decameron of Boccaccio. The tales constituting this collection are so arranged that each day illustrates some one special class of adventures; only, to make good Aristotle��s principle that earthly affairs are not subject to invariable rules, a single departure from the prescribed subject is allowed in each decade; while370 during one entire day the story-tellers are left free to choose a subject at their own discretion.This is not making the percipi of objects their esse. Again, in the eighth chapter he tells us that the soul is ��in a certain way�� (π??) all things, since all things are either sensible or cogitable; and then he proceeds to explain what is meant by372 ��in a certain way.�� Sense and knowledge are distributed over things in such wise that their possibility is the possibility, and their actuality the actuality, of the things. They must, then, be either the things themselves or their forms. ��But the things themselves they are surely not, for the stone is not in the soul, but its form.�� In the Metaphysics, Aristotle expresses himself to the same effect, but even more explicitly. Criticising the Protagorean doctrine, he reduces it to an absurdity by urging that if there were nothing but sensibles, then nothing at all could exist in the absence of animated beings, for without them there would be no sensation. He admits that in the case supposed there would be neither feelings nor felt objects, since these presuppose a sentient subject; but adds, that for the substances (τ? ?ποκε?μενα) which produce the feeling not to exist is impossible; ��for there is something else besides the feeling which must necessarily exist before it.��268 And immediately afterwards he clinches the argument by observing that if appearances were the only truth, there would be no independent existences, and everything would be relative, since appearances exist only in relation to some one to whom they appear. Now we need hardly say that this universal relativity was precisely what Ferrier contended for.