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TWO:Such, as it seems to us, is the proper spirit in which we should approach the great thinker whose works are to occupy us in this and the succeeding chapter. No philosopher has ever offered so extended and vulnerable a front to hostile criticism. None has so habitually provoked reprisals by his own incessant and searching attacks on all existing professions, customs, and beliefs. It might even be maintained that none has used the weapons of controversy with more unscrupulous zeal. And it might be added that he who dwells so much on the importance of consistency has occasionally denounced and ridiculed the very principles which he elsewhere upholds as demonstrated truths. It was an easy matter for others to complete the work of destruction which he had begun. His system seems at first sight to be made up of assertions, one more outrageous than another. The ascription of an objective concrete separate reality to verbal abstractions is assuredly the most astounding paradox ever173 maintained even by a metaphysician. Yet this is the central article of Plato��s creed. That body is essentially different from extension might, one would suppose, have been sufficiently clear to a mathematician who had the advantage of coming after Leucippus and Democritus. Their identity is implicitly affirmed in the Timaeus. That the soul cannot be both created and eternal; that the doctrine of metempsychosis is incompatible with the hereditary transmission of mental qualities; that a future immortality equivalent to, and proved by the same arguments as, our antenatal existence, would be neither a terror to the guilty nor a consolation to the righteous:��are propositions implicitly denied by Plato��s psychology. Passing from theoretical to practical philosophy, it might be observed that respect for human life, respect for individual property, respect for marriage, and respect for truthfulness, are generally numbered among the strongest moral obligations, and those the observance of which most completely distinguishes civilised from savage man; while infanticide, communism, promiscuity, and the occasional employment of deliberate deceit, form part of Plato��s scheme for the redemption of mankind. We need not do more than allude to those Dialogues where the phases and symptoms of unnameable passion are delineated with matchless eloquence, and apparently with at least as much sympathy as censure. Finally, from the standpoint of modern science, it might be urged that Plato used all his powerful influence to throw back physical speculation into the theological stage; that he deliberately discredited the doctrine of mechanical causation which, for us, is the most important achievement of early Greek thought; that he expatiated on the criminal folly of those who held the heavenly bodies to be, what we now know them to be, masses of dead matter with no special divinity about them; and that he proposed to punish this and other heresies with a severity distinguishable from the fitful fanaticism of his native city only by its more disciplined and rigorous application.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