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 them when he recited a new play. The peculiar advantage of this humble criticism in dramatic compositions is obvious. Alfieri himself, as he informs us, did not disdain to resort to it.

Molière's income was very ample, probably not less than twenty-five or thirty thousand francs—an immense sum for that day—yet he left but little property. The expensive habits of his wife and his own liberality may account for it. One example of this is worth recording, as having been singularly opportune and well directed. When Racine came up to Paris as a young adventurer, he presented to Molière a copy of his first crude tragedy, long since buried in oblivion. The latter discerned in it, amid all its imperfections, the latent spark of dramatic genius, and he encouraged its author by the present of a hundred Louis. This was doing better for him than Corneille did, who advised the future author of Phédre to abandon the tragic walk, and to devote himself altogether to comedy. Racine recompensed this benefaction of his friend, at a later period of his life, by quarrelling with him,

Molière was naturally of a reserved and taciturn temper, insomuch that his friend Boileau used to call him the Contemplateur. Strangers who had expected to recognise in his conversation the sallies of wit which distinguished his dramas, went away disappointed. The same thing is related of La Fontaine. The truth is, that Molière went into society as a spectator, not as an actor; he found there the studies for the characters which he was to transport