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TWO:Even as regards physical phenomena, Socrates, so far from professing complete ignorance, held a very positive theory which he was quite ready to share with his friends. He taught what is called the doctrine of final causes; and, so far as our knowledge goes, he was either the first to teach it, or, at any rate, the first to prove the existence of divine agencies by its means. The old poets had occasionally attributed the origin of man and other animals to supernatural intelligence, but, apparently, without being led to their conviction by any evidence of design displayed in the structure of organised creatures. Socrates, on the other hand, went through the various external organs of the human body with great minuteness, and showed, to his own satisfaction, that they evinced the workings of a wise and beneficent Artist. We shall have more to say further on about this whole argument; here we only wish to observe that, intrinsically, it does not differ very much from the speculations which its author derided as the fruit of an impertinent curiosity; and that no one who now employed it would, for a single moment, be called an agnostic or a sceptic.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 Moli��re. If these works stand at the head of French literature, they owe their position not more to their author��s 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, Moli��re 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 Moli��re from the New Comedy of Athens, which he, like other moderns, had at first felt inclined to imitate until the success of the Pr��cieuses 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 Aristotle��s disciple, Theophrastus, and already prefigured in the master��s 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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