If our critic found so little to admire in Hellas, still less did he seek for the realisation of his dreams in the outlying world. The lessons of Protagoras had not been wasted on him, and, unlike the nature-worshippers of the eighteenth century, he never fell into the delusion that wisdom and virtue had their home in primaeval forests or in corrupt Oriental despotisms. For him, Greek civilisation, with all its faults, was the best thing that human nature had produced, the only hearth of intellectual culture, the only soil where new experiments in education and government could be tried. He could go down to the roots of thought, of language, and of society; he could construct a new style, a new system, and a new polity, from the foundation up; he could grasp all the tendencies that came under his immediate observation, and follow them out to their utmost possibilities of expansion; but his vast powers of analysis and generalisation remained subject to this restriction, that a Hellene he was and a Hellene he remained to the end. A Hellene, and an aristocrat as well. Or, using the word in its most comprehensive sense, we may say that he was an aristocrat all round, a believer in inherent superiorities of race, sex, birth, breeding, and age. Everywhere we find him restlessly searching after the wisest, purest, best, until at last, passing beyond the limits of existence itself, words fail him to describe the absolute ineffable only good, not being and not knowledge, but creating and inspiring both. Thus it came to pass that his hopes of effecting a thorough reform did not lie in an appeal to the masses, but in the selection and seclusion from evil influences of a few intelligent youths. Here we may detect a remarkable divergence between him and his master. Socrates, himself a man of the people, did not like to hear the Athenians abused. If they went wrong, it was, he said, the fault of their leaders.[126] But according to Plato, it was from the people themselves that corruption originally proceeded, it was they who instilled false lessons into the most intelligent minds, teaching them from their very infancy to prefer show to substance, success to merit, and pleasure to virtue; making the study of popular caprice the sure road to power, and poisoning the very sources of morality by circulating blasphemous stories about the gods—stories which represented them as weak, sensual, capricious beings, setting an example of iniquity themselves, and quite willing to pardon it in men on condition of going shares in the spoil. The poets had a great deal to do with the manufacture of these discreditable myths; and towards poets as a class Plato entertained feelings of mingled admiration and contempt. As an artist, he was powerfully attracted by the beauty of their works; as a theologian, he believed them to be the channels of divine inspiration, and sometimes also the guardians of a sacred tradition; but as a critic, he was shocked at