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 the same symmetrical repetition in the École des maris, in L'Étourdi, and above all in George Dandin, where the same effect in three tempi is again met with: first tempo, George Dandin discovers that his wife is unfaithful; second tempo, he summons his father-and mother-in-law to his assistance; third tempo, it is George Dandin himself, after all, who has to apologise.

At times the same scene is reproduced with groups of different characters. Then it not infrequently happens that the first group consists of masters and the second of servants. The latter repeat in another key a scene already played by the former, though the rendering is naturally less refined. A part of the Dépit amoureux is constructed on this plan, as is also Amphitryon. In an amusing little comedy of Benedix, Der Eigensinn, the order is inverted: we have the masters reproducing a scene of stubbornness in which their servants have set the example.

But, quite irrespective of the characters who serve as pegs for the arrangement of symmetrical situations, there seems to be a wide gulf between classic comedy and the