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FORE: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 Molire. If these works stand at the head of French literature, they owe their position not more to their authors 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, Molire 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 Molire from the New Comedy of Athens, which he, like other moderns, had at first felt inclined to imitate until the success of the Prcieuses 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 Aristotles disciple, Theophrastus, and already prefigured in the masters 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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FORE:Hetty was alone in the house. At any rate there was the telephone. Dr. Bruce was out, they told her, but expected in shortly, when he should have the message. It was not nice to be alone in so large a house with a sick child, but Hetty had no fear. All the horrors and all the tragedies had gone with the Countess. It was quite late when Bruce arrived. He asked no questions, as Hetty let him in herself. And Hetty said nothing of the fact that she had been deserted. It would only make Gordon uneasy, and she was certain that she could manage alone.
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FORE:
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FORE:"My darling," he whispered, "what does it all mean?"
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FORE:"What do you think of the letter, sir?" Prout asked.10 John Street, Adelphi,
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FORE:"Perhaps," Hetty said, after a long pause. "Perhaps. And yet something tells me that you are in great danger. Smile and say something foolish--I feel those eyes going through me. That woman loved you, and you never gave her a thought. You passed her by for me. And who would look at me when she was about?"
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