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 continued elevation of style and sentiment." With all these imperfections and lively absurdities, however, there is scarcely one of Molière's minor pieces which does not present us with traits of character that come home to every heart, and felicities of expression that, from their truth, have come to be proverbial.

With regard to the objection that his characters are not so much drawn from nature as from the local manners of the age, if it be meant that they are not acted upon by those deep passions which engross the whole soul, and which, from this intensity, have more of a tragic than a comic import in them, but are rather drawn from the foibles and follies of ordinary life, it is true; but then these last are likely to be quite as permanent, and, among civilized nations, quite as universal as the former. And who has exposed them with greater freedom, or with a more potent ridicule than Molière? Love, under all its thousand circumstances, its quarrels, and reconciliations; vanity, humbly suing for admiration under the guise of modesty; whimsical contradictions of profession and habitual practice; the industry with which the lower classes ape, not the virtues, but the follies of their superiors; the affectation of fashion, taste, science, or anything but what the party actually possesses; the esprit de corps, which leads us to feel an exalted respect for our own profession, and a sovereign contempt for every other; the friendly adviser, who has an eye to his own interest; the author, who seeks your candid opinion, and quarrels with you