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TWO:"I give this to a friend," it ran, "to be delivered into your own hands, because I must tell you that, though I should never see you again��for the life I lead is hazardous, and chance may at any time take you away forever��I shall love you always. You will not be angry with me, I know. You were not that night by the campfire, and it is not the unwaveringly good woman who resents being told she is loved, in the spirit I have said it to you. I do not ask for so much as your friendship in return, but only that you remember that my life and devotion are yours, and that, should the time ever come that you need me, you send for me. I will come. I will never say this to you again, even should I see you; but it is true, now and for all time."

TWO:��It��s��empty��nobody in it!�� he cried."What the devil do you want to know, then?"

TWO:��Curiously cut stones,�� interrupted Sandy. ��I read about them too!��"Yes, sir," he answered; "you can see that I get a mounted man and a horse at reveille to-morrow. I want to hunt for my pony. I lost it when I caught that man."

TWO:��What��s the matter, Parks?��

TWO:��Give that here!�� cried Sandy, snatching at it.

TWO:Besides the attentions lavished on every wealthy individual, those who had no children were especially courted, and that too by others who were as well off as themselves with the object of being remembered in their wills. So advantageous a position, indeed, did these orbi, as they were called, occupy, that among the higher classes there was extreme unwillingness to marry; although, as an encouragement to population, the father of three children enjoyed several substantial privileges. This circumstance, again, by preventing the perpetuation of wealthy families, and allowing their property to pass into the hands of degraded fortune-hunters, rendered impossible the consolidation of a new aristocracy which might have reorganised the traditions of liberal culture, and formed an effectual barrier against the downward pressure of despotism on the one side and the inroads of popular superstition on the other.

TWO:But though Pitt protested against thanking the king for bringing over Hanoverian troops, he found it necessary to support the king's German treaties and alliances, which were avowedly for the defence of Hanover. Fox reminded him of his favourite phrase, that Hanover was a millstone round the neck of England; but it was not the first time that Pitt had had to stand the taunt of eating his own words, and he braved it out, especially voting two hundred thousand pounds to Frederick of Prussia. A wonderful revolution in Continental politics had now converted this long-hostile nephew of George II. into an ally, if not a friend.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

TWO: