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ONE:It was so with Cairness. He was sinking down, and ever down, to the level of his surroundings; he was even ceasing to realize that it was so. He had begun by studying the life of the savages, but he was so entirely grasping their point of view that he was losing all other. He was not so dirty as they��not yet. His stone cabin was clean enough, and their villages were squalid. A morning plunge in the river was still a necessity, while with them it was an event. But where he had once spent his leisure in reading in several tongues��in keeping in touch with the world��and in painting, he would now sit for hours looking before him into space, thinking unprofitable thoughts. He lived from hand to mouth. Eventually he would without doubt marry a squaw. The thing was more than common upon the frontier.Cairness had made a tune for himself and was putting to it the words of the ill-fated poet of his own Land of the Dawning. TWO:THREE:52But 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