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 enables us to recognise it. The greater the work and the more profound the dimly apprehended truth, the longer may the effect be in coming, but, on the other hand, the more universal will that effect tend to become. So the universality here lies in the effect produced, and not in the cause.

Altogether different is the object of comedy. Here it is in the work itself that the generality lies. Comedy depicts characters we have already come across and shall meet with again. It takes note of similarities. It aims at placing types before our eyes. It even creates new types, if necessary. In this respect it forms a contrast to all the other arts.

The very titles of certain classical comedies are significant in themselves. Le Misanthrope, l'Avare, le Joueur, le Distrait, etc., are names of whole classes of people; and even when a character comedy has a proper noun as its title, this proper noun is speedily swept away, by the very weight of its contents, into the stream of common nouns. We say "a Tartuffe," but we should never say "a Phedre" or "a Polyeucte."

Above all, a tragic poet will never think