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THREE:

John Deo 53 min ago

THREE:Thus shamefully deserted on both hands, Cumberland still led forward his British and Hanoverians against the main body of the French army. The ruggedness of the ground in the[91] narrow valley between the wood of Barr�� and Fontenoy compelled them to leave the cavalry behind; but the infantry pushed on, dragging with them several pieces of artillery. Cumberland had the advantage of the advice and spirit of his military tutor, General Ligonier, and, in face of a most murderous fire, the young commander hastened on. The batteries right and left mowed them down, and before this comparative handful of men stood massed the vast French army, in a position pronounced by the French impregnable. The dense column of the English, compressed between the wood of Barr�� and Fontenoy, soon drove the French from their positions, and, still pushing on towards the rear of Fontenoy, threatened to cut off the bridge of Calonne, and with it the enemy's retreat across the river. Both French and English conceived that the battle was decided for the Allies. Marshal K?nigsegg congratulated Cumberland on their victory, and, on the other hand, Saxe warned Louis XV. that it was necessary to retreat. Louis, however, is said to have protested against giving way, and both French and English soon became aware that the Dutch had deserted their post, and that the right wing of the French army remained wholly unengaged. The British and Hanoverian conquerors on their right, when they mounted the French positions, looked out for their left wing, the Dutch, and, to their dismay, beheld them hanging with cowardly inactivity in the distance. The brave Marshal Saxe, at the same moment making the same discovery, called forward the Household Troops, which had been posted to receive the Dutch, and precipitated them on the flank of the British. Foremost in this charge was the Irish Brigade, in the pay of France, who fought like furies against their countrymen. Overwhelmed by numbers, and numbers perfectly fresh, and mowed down by additional artillery which the default of the Dutch had set at liberty, and unsupported by their own cavalry from the confined and rugged nature of the ground, the brave British and Hanoverians were compelled to give way. But they did it in such order and steadiness, disputing every inch of the ground, as excited the admiration of their opponents. The Duke of Cumberland was the last in the retreat, still regardless of his own danger, calling on his men to remember Blenheim and Ramillies; and seeing one of his officers turning to flee, he threatened to shoot him. Thus they gave way slowly, and still fighting, till they reached their horse, which then made a front to cover them, till they were out of the m��l��e; their dastardly allies, the Dutch, then joined them, and they marched away in a body to Ath. Tournay, for which the battle was fought, might have detained the French a long time; but here, again, Dutch treachery did its work. Hertsall, the chief engineer in the Dutch service, betrayed the place to the French, fled to their camp, and then assisted them by his advice. Tournay surrendered in a fortnight, and the citadel the week after. Ghent, Bruges, Oudenarde, and Dendermond fell in rapid succession. Whilst the Allies were covering Antwerp and Brussels, the French attacked and took Ostend, again by the treachery of the governor, who refused to inundate the country.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 Moli��re. If these works stand at the head of French literature, they owe their position not more to their author��s 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, Moli��re 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 Moli��re from the New Comedy of Athens, which he, like other moderns, had at first felt inclined to imitate until the success of the Pr��cieuses 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 Aristotle��s disciple, Theophrastus, and already prefigured in the master��s 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

Abraham Doe 53 min ago

THREE:

John Smith 53 min ago