any apparent
theism in the other pre-Socratic writers,[5] so that we shall be
justified in assigning to them as their part in the development of the
theistic argument, the mere undefined feeling and growing conviction of
a permanent behind the changing, a "one" behind the "many."

We find the natural deep and practical piety of Socrates reinforcing
itself with a very full and complete statement of a teleological
argument, based upon final cause, or adaptation of means to ends. It is
in the _Memorabilia_[6] that we get the clear statement of this, and,
therefore, it is a Socratic teaching which can, fortunately, be
definitely distinguished from the Platonic treatment of the subject.
"But which," he asks, "seemed to you most worthy of admiration,
Aristodemus--the artist who forms images void of motion and
intelligence, or one who has the skill to produce animals that are
endued not only with activity, but understanding?" Then as Aristodemus
answers, "The latter," Socrates proceeds to a detailed description of
the adaptations of the eye, ear, teeth, mouth and nose to their several
uses, and concludes with the question: "And canst thou still doubt,
Aristodemus, whether a disposition of parts like this should be a work
of chance, or of wisdom and contrivance?" He also argues in like manner
from the existence of intelligence in man, the soul, and the general
adaptability of man's powers and conditions to the furthering of his
life. This argument to design has appropriately been called "peculiarly
the Socratic proof,"[7] and to his treatment of it, so in keeping with
the practical, sturdy common-sense of the man, nothing essential or
important, except in multiplication of applications and details, has
been added since his time. In the opinion of the writer, however,
Socrates, so far as one can judge from his recorded utterances,
developed merely the form of the Argument to Design, but it cannot be
positively asserted that he used it as a _theistic_ argument. In the
_Memorabilia_ it is always "the gods" to which the argument leads, and
the worship of them that he urges. He may have had a more theistic
conception, but the context warrants no further meaning of {theos} than the
generic one of an object of worship--in this case the national gods. In
the _Apology_ "{ho theos}" is used almost invariably of the local divinity
of the oracle at Delphi, and of the "daemon" which, at the instigation
of the Delphian divinity, as he was co