ONE:So far we have spoken as if Plato regarded the various false polities existing around him as so many fixed and disconnected types. This, however, was not the case. The present state of things was bad enough, but it threatened to become worse wherever worse was possible. The constitutions exhibiting a mixture of good and evil contained within themselves the seeds of a further corruption, and tended to pass into the form standing next in order on the downward slope. Spartan timocracy must in time become an oligarchy, to oligarchy would succeed democracy, and this would end in tyranny, beyond which no further fall was possible.125 The degraded condition of Syracuse seemed likely to be the last outcome of Hellenic civilisation. We know not how far the gloomy forebodings of Plato may have been justified by his197 own experience, but he sketched with prophetic insight the future fortunes of the Roman Republic. Every phase of the progressive degeneration is exemplified in its later history, and the order of their succession is most faithfully preserved. Even his portraits of individual timocrats, oligarchs, demagogues, and despots are reproduced to the life in the pages of Plutarch, of Cicero, and of Tacitus.
FORE:"Dead," whispered Prout, "dead instantly. It was prussic acid. The whole room reeks of it. Perhaps it was as well to finish it this way. There'll be an inquest now, and the whole business will come out."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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- Justine Goliyad
- Justine Goliyad
- Justine Goliyad