IV. MONTAIGNE; OR, THE SKEPTIC. EVERY fact is related on one side to sensation, and on the other to morals. The game of thought is, on the appearance of one of these two sides, to find the other given the upper, to find the under side. Nothing so thin but has these two faces, and when the observer has seen the obverse, he turns it over to see the reverse. Life is a pitching of this penny, heads or tails. We never tire of this game, because there is still a slight shudder of astonishment at the exhibition of the other face, at the contrast of the two faces. A man is flushed with success, and bethinks himself what this good luck signifies. He drives his bargain in the street ; but it occurs that he also is bought and sold. He sees the beauty of a human face, and searches the cause of that beauty, which must be more beautiful. He builds his fortunes, maintains the laws, cherishes his children; but he asks himself, Why? and whereto? This head and this tail are called, in the language of philosophy, Infinite and Finite; Relative and Absolute; Apparent and Real; and many fine names beside. Each man is born with a predisposition to one or the other of these sides of nature; and it will easily happen that men will be found devoted to one or the other. One class has the perception of difference, and is conversant with facts and surfaces, cities and persons, and the bringing certain things to pass; the men of talent and action. Another class have the perception of identity, and are men of faith and philosophy, men of genius. Each of these riders drives too fast. Plotinus believes only in philosophers; Fenelon, in saints; Pindar and Byron, in poets. Read the haughty language in which Plato and the Platonists speak of all men who are not devoted to their own shining abstractions: other men are rats and mice. The literary class is usually proud and exclusive. The correspondence of Pope and Swift describes mankind around them as monsters; and that of Goethe and Schiller, in our own time, is scarcely more kind. The It is easy to see how this arrogance comes. genius is a genius by the first look he casts on any object. Is his eye creative? Does he not rest in angles and colors, but beholds the design?— he will presently undervalue the actual object. In powerful moments, his thought has dissolved the works |