ONE:The methodical distinction between the materials for generalisation and generalisation itself, is derived from the metaphysical distinction between Matter and Form in Nature.539 This distinction is the next great feature of Bacons philosophy, and it is taken, still more obviously than the first, from Aristotle, the most manifest blots of the original being faithfully reproduced in the copy. The Forms375 of simple substances were, according to the Stagirite, their sensible qualities. The Forms of aggregates were the whole complex of their differential characteristics. And although the formal cause or idea of a thing was carefully discriminated from its efficient and final causes, it was found impossible, in practice, to keep the three from running into one. Again, the distinction between single concepts and the judgments created by putting two concepts together, although clearly conveyed by the logical distinction between terms and propositions, was no sooner perceived than lost sight of, thanks to the unfortunate theory of essential predication. For it was thought that the import of universal propositions consisted either in stating the total concept to which a given mark belonged, or in annexing a new mark to a given concept. Hence, in Aristotles system, the study of natural law means nothing but the definition and classification of natural types; and, in harmony with this idea, the whole universe is conceived as an arrangement of concentric spheres, each receiving its impulse from that immediately above it. Precisely the same confusion of Form, Cause, and Law reigns throughout Bacons theory of Nature. We do, indeed, find mention made of axiomata or general propositions to a greater extent than in the Organon, but they are never clearly distinguished from Forms, nor Forms from functions.540 And although efficient and material causes are assigned to physics, while formal and final causes are reserved for metaphysicsan apparent recognition of the wide difference between the forces which bring a thing into existence and the actual conditions of its stability,this arrangement is a departure from the letter rather than from the spirit of Aristotles philosophy. For the efficient causes of the De376 Augmentis answer roughly to the various kinds of motion discussed in the Physics and in the treatise On Generation and Corruption; while its Forms are, as we have seen, identified with natural causes or laws in the most general sense.
FORE:
FORE:In a short time two others returned, to knock on the door and to inform Dick, when he opened it, that the woman, clever planner that she proved herself, had arranged the small motor-boat of the estate so that its engine was going; by a ruse she had gotten far enough ahead of them while they stopped to capture her discarded coat after she had cried out as if she had stumbled. That enabled her to get to the boat. They had no way to overtake her as she swept out of the inlet. Evidently she had started the boat motor in the afternoon while they were away, or they would have heard the roar of the start though no one had noticed the softer purr of it as it idled.
FORE: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
