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166 demolishes that grand argument of design which elsewhere he so carefully constructs, and reasons in the very language of materialism: "You assert that all the universe could not have been so ingeniously made without some godlike wisdom, the majesty of which you trace down even to the perfection of bees and ants. Why, then, did the Deity, when he made everything for the sake of man, make such a variety (for instance). of venomous reptiles? Your divine soul is a fiction; it is better to imagine that creation is the result of the laws of nature, and so release the Deity from a great deal of hard work, and me from fear; for which of us, when he thinks that he is an object of divine care, can help feeling an awe of the divine power day and night? But we do not understand even our own bodies; how, then, can we have an eyesight so piercing as to penetrate the mysteries of heaven and earth?"

The treatise, however, is but a disappointing fragment, and the argument is incomplete.

The scene of this dialogue is Cicero's villa at Tusculum. There, in his long gallery, he walks and discusses with his friends the vexed questions of morality. Was death an evil? Was the soul immortal? How could a man best bear pain and the other miseries of life? Was virtue any guarantee for happiness? Then, as now, death was the great problem of humanity—“to die and go we know not where." The