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 ved them of their fascination and much of their mischievous influence, by holding them up to the contempt and laughter of the public, Sometimes, it must be admitted, though very rarely, in effecting this object, he so far transgressed the bounds of decorum as to descend even to personalities.

From this view of the didactic purpose proposed by Molière in his comedies, it is obviously difficult to institute a comparison between them and those of our English dramatists, or, rather, of Shakspeare, who may be taken as their representative. The latter seems to have had no higher end in view than mere amusement; he took a leaf out of the great volume of human nature as he might find it; nor did he accommodate it to the illustration of any moral or literary theorem. The former, on the other hand, manifests such a direct perceptive purpose as to give to some of his pieces the appearance of satires rather than of comedies; argument takes place of action, and the pro and con of the matter are discussed with all the formality of a school exercise. This essentially diminishes the interest of some of his best plays, the Misanthrope and the Femmes Savantes, for example, which for this reason seem better fitted for the closet than the stage, and have long since ceased to be favourites with the public, This want of interest is, moreover, aggravated by the barrenness of action visible in many of Molière's comedies, where he seems only to have sought an apology for bringing together his coteries of gentlemen and ladies for the purpose of exbibit-