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TWO:This naturally roused the States, who made a very different statement; contending that, by the treaties, every ally was bound to do all in its power to bring the common enemy to terms; that England, being more powerful than Holland, ought to bear a larger share of the burden of the war; yet that the forces of Holland had been in the Netherlands often upwards of a hundred thousand, whilst those of England had not amounted to seventy thousand; that this had prevented the Dutch from sending more soldiers to Spain; and that, whilst England had been at peace in her own territory, they (the Dutch) had suffered severely in the struggle. To this a sharp answer was drawn up by St. John, and despatched on the 8th of March, of which the real gist was that,[3] according to the Dutch, England could never give too much, or the United Provinces too little. Nothing could exceed the bitterness of tone which existed between England and the Allies, with whom it had so long manfully contended against encroaching France; for the whole world felt how unworthily the English generally were acting under the Tory Ministry, and this did not tend to forward the negotiations, which had been going on at Utrecht since the 29th of January. To this conference had been appointed as the British plenipotentiaries, the new Earl of Strafford��whom Swift, a great partisan of the Tory Ministry, pronounced a poor creature��and Robinson, Bishop of Bristol, Lord Privy Seal. On the part of France appeared the Marshal d'Uxelles, the Abb�� de Polignac, and Mesnager, who had lately been in England settling the preliminaries. On the part of the Dutch were Buys and Vanderdussen; and, besides these, the Emperor, the Duke of Savoy, and the lesser German princes had their representatives.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

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