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TWO:The French having now formally declared war with England, entered on the campaign with Flanders in the middle of May with eighty thousand men, the king taking the nominal command, in imitation of Louis XIV. Marshal Saxe was the real commander, and with this able general Louis went on for some time reaping fictitious laurels. The King of England expected to see the Allies muster seventy-five thousand men��a force nearly equal to that of the French; but the Dutch and Austrians had grievously failed in their stipulated quotas, and the whole army did not exceed fifty thousand. General Wade, the English commander, was a general of considerable experience, but no Marlborough, either in military genius or that self-command which enabled him to bear up against tardy movements and antagonistic tempers of the foreign officers. Consequently, whilst he had to contend with a very superior force, he was hampered by his coadjutors, lost his temper, and, what was worse, lost battles too. The French went on taking town after town and fortress after fortress. But this career of victory was destined to receive a check. Prince Charles of Lorraine, at the head of sixty thousand men, burst into Alsace, and marched without any serious obstacle to the very walls of Strasburg; while the French king was stricken with fever at Metz."Have I ever lied to you?" Crook asked them. ONE:Another and profounder characteristic of Plato, as distinguished from Aristotle, is his thorough-going opposition of reality to appearance; his distrust of sensuous perception, imagination, and opinion; his continual appeal to a hidden world of absolute truth and justice. We find this profounder principle also grasped and applied to poetical purposes in our Elizabethan literature, not only by Spenser, but by a still greater master��Shakespeare. It is by no means unlikely that Shakespeare may have looked into a translation of the Dialogues; at any rate, the intellectual atmosphere he breathed was so saturated with their spirit that he could easily absorb enough of it to inspire him with the theory of existence which alone gives consistency to his dramatic work from first to last. For the essence of his comedies is that they represent the ordinary world of sensible experience as a scene of bewilderment and delusion, where there is nothing fixed, nothing satisfying, nothing true; as something which, because of its very unreality, is best represented by the drama,371 but a drama that is not without mysterious intimations of a reality behind the veil. In them we have the

Blanditiis praesentium voluptatum deleniti atque corrupti quos dolores et quas molestias excepturi sint occaecati cupiditate non provident.

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