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THREE:

THREE:

THREE:[See larger version]��What?�� Dick asked, with a mental reservation as to any promise.

THREE:No sooner, therefore, had the Parliament closed and the king set out to Hanover, than Ministers sent off William Stanhope to Madrid to procure a treaty of peace without any mention of Gibraltar. On arriving at Madrid he found that the Court had removed to Seville, in Andalusia. This had been done by the influence of the queen, in order to draw Philip from the Council of Castile, which was doing all it could to prevail on him again to abdicate. Stanhope followed the Court to Seville, and laboured with such effect that he obtained the signing of a treaty of defensive alliance between England, Spain, and France, to which Holland afterwards acceded (November 9, 1729). By this treaty Spain revoked all the privileges granted to Austria by the treaties of Vienna, and re-established the British trade with her American colonies on its former footing, restored all captures, and made compensation for losses. The Assiento was confirmed to the South Sea Company. Commissioners were appointed to adjust all claims of Spaniards for ships taken in 1718, and to settle the limits of the American trade. The succession of Don Carlos to Parma and Tuscany was recognised, with the right to garrison the ports of Leghorn, Porto Ferrajo, Parma, and Placentia with six thousand Spanish troops. Not a word was said of Gibraltar��a silence amounting to a renunciation of its demand by Spain; and that Philip regarded it as such was evidenced by his[60] beginning to construct the strong lines of San Roque, and thus to cut off all communication with the obnoxious fortress by land.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