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 Molire. If these works stand at the head of French literature, they owe their position not more to their authors 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, Molire 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 Molire from the New Comedy of Athens, which he, like other moderns, had at first felt inclined to imitate until the success of the Prcieuses 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 Aristotles disciple, Theophrastus, and already prefigured in the masters 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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The domestic serenity of the realm was, however, greatly disturbed at this moment by Dean Swift, who seized on the occasion to avenge himself on the Whig Ministry for the defeat and punishment of his party, and especially of his particular friends and patrons, Oxford and Bolingbroke. There had long been a great deficiency of copper coin in Ireland. The Government undertook to remove this pressing want of so useful a medium, and they set about it in an honest and honourable manner as regarded the quality of the coin. Tenders were issued, and various offers received for the coining of farthings and halfpence to the value of a hundred and eight thousand pounds. The proposal of Mr. William Wood, an iron and copper founder, of Wolverhampton, was accepted; but the quality of the coin, both as to weight and fineness, was determined by the advice of Sir Isaac Newton, then Master of the Mint, and Wood was bound under heavy penalties to furnish it according to this stipulation. Every care was used by the Ministers and the Solicitor- and Attorney-General to insure the supply of a much better copper coinage than Ireland had ever possessed before.And before the next morning the picnic that kept the southwest interested for five years had begun. Victorio and two hundred hostiles had left the Mescalero Agency for good and all, killing, burning, torturing, and destroying as they went, and troops from all the garrisons were sent out post haste.
