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THREE:But there was no time for festivities. The English army was approaching, and it was necessary for Charles to assert his right by hard blows as well as by proclamations. The citizens stood aloof from his standard; but Lord Nairn arrived most opportunely from the Highlands with five[96] hundred of the clan Maclachlan, headed by their chief, and accompanied by a number of men from Athol. These swelled his little army to upwards of two thousand five hundred, and Charles declared that he would immediately lead them against Cope. The chiefs applauded this resolution, and on the morning of the 19th he marched out to Duddingston, where the troops lay upon their arms, and then he summoned a council of war. He proposed to continue the march the next morning, and meet Cope upon the way. In the highest spirits the clans marched on through Musselburgh and over the heights at Carberry, where Mary Queen of Scots made her last unfortunate fight, nor did they stop till they came in sight of the English army.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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