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FORE:But Harley and St. John had deprived the nation of its triumph, and left the way open to fresh insults and humiliations. No sooner did Villars see the English forces withdrawn from the Allies, than he seized the opportunity to snatch fresh advantages for France, and thus make all their demands on the Allies certain. He crossed the Scheldt on the 24th of July, and, with an overwhelming force, attacked the Earl of Albemarle, who commanded a division of the Allied army at Denain. Eugene, who, from the reduction of Quesnoy, had proceeded to lay siege to Landrey, instantly hastened to the support of Albemarle; but, to his grief, found himself, when in sight of him, cut off from rendering him any assistance by the breaking down of the bridge over the Scheldt; and he had the pain to see Albemarle beaten under his very eyes. Seventeen battalions of Albemarle's force were killed or taken. He himself and all the surviving officers were made prisoners. Five hundred wagons loaded with bread, twelve pieces of brass cannon, a large quantity of ammunition and provisions, horses and baggage, fell into the hands of the French. Villars then marched on to Marchiennes, where the stores of the Allies were deposited, and took it on the 31st of July, the garrison of five thousand being sent to Valenciennes prisoners. He next advanced to Douay, where Eugene would have given him battle, but was forbidden to do so by the States, and thus Douay fell into Villars' hands. Then came the fall of Quesnoy and Bouchain, which had cost Marlborough and Eugene so much to win.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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