THREE:It seems as if we were witnessing a revival of Mediaevalism277 under another form; as if, after neo-Gothic architecture, pre-Raphaelitism, and ritualism, we were threatened with a return to the scholastic philosophy which the great scientific reformers of the seventeenth century were supposed to have irrevocably destroyed. And, however chimerical may seem the hopes of such a restoration, we are bound to admit that they do actually exist. One of the most cultivated champions of Ultramontanism in this country, Prof. St. George Mivart, not long ago informed us, at the close of his work on Contemporary Evolution, that, if metaphysics are possible, there is not, and never was or will be, more than one philosophy which, properly understood, unites all truths and eliminates all errorsthe Philosophy of the PhilosopherAristotle. It may be mentioned also, as a symptom of the same movement, that Leo XIII. has recently directed the works of St. Thomas Aquinas to be reprinted for use in Catholic colleges; having, according to the newspapers, laid aside 300,000 lire for that purposea large sum, considering his present necessities; but not too much for the republication of eighteen folio volumes. Now, it is well known that the philosophy of Aquinas is simply the philosophy of Aristotle, with such omissions and modifications as were necessary in order to piece it on to Christian theology. Hence, in giving his sanction to the teaching of the Angelic Doctor, Leo XIII. indirectly gives it to the source from which so much of that teaching is derived."Leave everything to me; I'll invite them to have a glass of wine with me, and you will see then that they are kind people."
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THREE:
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THREE:Fugitives arrived from the surrounding villages, who also spoke of nothing but arson, destruction, and murder. They frightened the Lige population still more, hundreds of whom packed up some of their belongings and fled. They stumbled and fell across the barricades in the streets, blinded as they were by fear, and blinded also by the smoke which settled down on the city and polluted the air.The introduction of Teichmüllers name affords me an opportunity for mentioning that my attention was not directed to his brilliant researches into various questions connected with Greek philosophy, and more particularly with the systems of Plato and Aristotle, until it was too late for me to profit by them in the present work. I allude more particularly to his Studien zur Geschichte der Begriffe (Berlin, 1874), and to his recently published Literarische Fehden im vierten Jahrhundert vor Chr. (Breslau, 1881). The chief points of the former work are, that Plato was really a pantheist or monist, not, as is commonly believed and as I have myself taken for granted, a dualist; that, as a consequence of the suppression of individuality which characterises his system, he did not really accept or teach the doctrine of personal immortality, although he wished that the mass of the people should believe it; that Plato no more attributed a transcendent existence to his ideas than did Aristotle to his substantial forms; and that in putting an opposite interpretation on his old masters theory, Aristotle is guilty of gross misrepresentation. The most important point of the Literarische Fehden is that Aristotle published his Ethicsxix while Plato was still alive and engaged in the composition of his Laws, and that certain passages in the latter work, of which one relates to free-will and the other to the unity of virtue (861, A ff. and 962 ff.) were intended as a reply to Aristotles well-known criticisms on the Platonic theory of ethics.
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THREE:But it was not merely in the writings of professed philosophers that the new aspect of Platonism found expression. All great art embodies in one form or another the leading conceptions of its age; and the latter half of the seventeenth century found such a manifestation in the comedies of Molire. If these works stand at the head of French literature, they owe their position not more to their authors brilliant wit than to his profound philosophy of life; or rather, we should say that with him wit and philosophy are one. The comic power of Shakespeare was shown by resolving the outward appearances of this world into a series of dissolving illusions. Like Spinoza and Malebranche, Molire turns the illusion in, showing what perverted opinions men form of themselves and others, through misconceptions and passions either of spontaneous growth or sedulously fostered by designing hands. Society, with him, seems almost entirely made up of pretenders and their dupes, both characters being not unfrequently combined in the same person, who is made a victim through his desire to pass for what he is not and cannot be. And this is what essentially distinguishes the art of Molire from the New Comedy of Athens, which he, like other moderns, had at first felt inclined to imitate until the success of the Prcieuses Ridicules showed him where his true opportunities lay. For the New Comedy was Aristotelian where it was not simply humanist; that is415 to say, it was an exhibition of types like those sketched by Aristotles disciple, Theophrastus, and already prefigured in the masters own Ethics. These were the perennial forms in a world of infinite and perishing individual existences, not concealed behind phenomena, but incorporated in them and constituting their essential truth. The Old Comedy is something different again; it is pre-philosophic, and may be characterised as an attempt to describe great political interests and tendencies through the medium of myths and fables and familiar domesticities, just as the old theories of Nature, the old lessons of practical wisdom, and the first great national chronicles had been thrown into the same homely form.572
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