THREE:We have not far to seek for the cause of this fatal condemnation. Neo-Platonism is nothing if not a system, and as a system it is false, and not only false but out of relation to every accepted belief. In combining the dialectic of Plato with the metaphysics of Aristotle and the physics of Stoicism, Plotinus has contrived to rob each of whatever plausibility it once possessed. The Platonic doctrine of Ideas was an attempt to express something very real and important, the distinction between laws and facts in Nature, between general principles and particular observations in science, between ethical standards and everyday practice in life. The eternal Nous of Aristotle represented the upward struggle of Nature through mechanical, chemical, and vital337 movements to self-conscious thought. The world-soul of Stoicism represented a return to monism, a protest against the unphilosophical antithesis between God and the world, spirit and matter, necessity and free-will. Plotinus attempts to rationalise the Ideas by shutting them up in the Aristotelian Nous, with the effect of severing them still more hopelessly from the real world, and, at the same time, making their subjective origin still more flagrantly apparent than before. And along with the Stoic conception of a world-soul, he preserves all those superstitious fancies about secret spiritual sympathies and affinities connecting the different parts of Nature with one another which the conception of a transcendent Nous, as originally understood by Aristotle, had at least the merit of excluding. Finally, by a tremendous wrench of abstraction, the unity of existence is torn away from existence itself, and the most relative of all conceptions is put out of relation to the thought which, in the very same breath, it is declared to condition, and to the things which it is declared to create.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
