2. SOCRATES AND ARISTOPHANES.—Socrates seems early to have attained universal celebrity through the peculiarities attaching to his person and character. Nature had furnished him with a remarkable external physiognomy. His crooked, turned-up nose, his projecting eye, his bald pate, his corpulent body, gave his form a striking similarity to the Silenic, a comparison which is carried out in Xenophon’s “Feast,” in sprightly jest, and in Plato’s Symposium, with as much ingenuity as profoundness. To this was added his miserable dress, his going barefoot, his posture, his often standing still, and rolling his eyes. After all this, one will hardly be surprised that the Athenian comedy took advantage of such a remarkable character. But there was another and peculiar motive, which influenced Aristophanes. He was a most ardent admirer of the good old times, an enthusiastic eulogist of the manners and the constitution, under which the fathers had been reared. As it was his great object to waken up anew in his people, and to stimulate a longing after those good old times, his passionate hatred broke out against all modern efforts in politics, art and philosophy, of that increasing mock-wisdom, which went hand in hand with a degenerating democracy. Hence comes his bitter railing at Cleon, the Demagogue (in the _Knights_), at Euripides, the sentimental play-writer (in the _Frogs_) and at Socrates, the Sophist (in the _Clouds_). The latter, as the representative of a subtle, destructive philosophy, must have appeared to him just as corrupt and pernicious, as the party of progress in politics, who trampled without conscience upon every thing which had come down from the past. It is, therefore, the fundamental thought of the Clouds to expose Socrates to public contempt, as the representative of the Sophistic philosophy, a mere semblance of wisdom, at once vain, profitless, corrupting in its influence upon the youth, and undermining all true discipline and morality. Seen in this light, and from a moral standpoint, the motives of Aristophanes may find some excuse, but they cannot be justified; and his representation of Socrates, into whose character all the characteristic features of the Sophistic philosophy are interwoven, even the most contemptible and hateful, yet so that the most unmistakable likeness is still apparent, cannot be admitted on the ground that Socrates did really have the greatest formal resemblance to the Sophists. The Clouds can only be designated as a culpable misunderstanding, and as an act of gross injustice brought about by blinded passion; and Hegel, when he attempts to defend the conduct of Aristophanes, forgets, that, while the comic writer may caricature, he must do it without having recourse to public calumniation. In fact all the political and social tendencies of Aristophanes rest on a gross misunderstanding of historical development. The good old times, as he fancies them, are a fiction. It lies just as little in the realm of