the greatest comic geniuses that ever lived; a man of infinite wit, gaiety, and invention-full of life, laughter, and whim. But it cannot be denied, that his plays are in general mere farces, without scrupulous adherence to nature, refinement of character, or common probability. The plots of several of them could not be carried on for a moment without a perfect collusion between the parties to wink at contradictions, and act in defiance of the evidence of their senses. For instance, take the Medecin malgrè lui (the Mock Doctor), in which a common wood-cutter takes upon himself, and is made successfully to support through a whole play, the character of a learned physician, without exciting the least suspicion; and yet, notwithstanding the absurdity of the plot, it is one of the most laughable and truly comic productions that can well be imagined. The rest of his lighter pieces, the Bourgeois Gentilhomme, Monsieur Pourceaugnac, George Dandin, (or Barnaby Brittle,) &c. are of the same descriptiongratuitous assumptions of character, and fanciful and outrageous caricatures of nature. He indulges at his peril in the utmost license of burlesque exaggeration; and gives a loose to the intoxication of his animal spirits. With respect to his two most laboured comedies, the Tartuffe and Misanthrope, I confess that I find them rather hard to

get through: they have much of the improbability and extravagance of the others, united with the endless common-place prosing of French declamation. What can exceed, for example, the absurdity of the Misanthrope, who leaves his mistress, after every proof of her attachment and constancy, for no other reason than that she will not submit to the technical formality of going to live with him in a wilderness? The characters, again, which Celimene gives of her female friends, near the opening of the play, are admirable satires, (as good as Pope's characters of women,) but not exactly in the spirit of comic dialogue. The strictures of Rousseau on this play, in his Letter to D'Alembert, are a fine specimen of the best philosophical criticism.-The same remarks apply in a greater degree to the Tartuffe. The long speeches and reasonings in this play tire one almost to death: they may be very good logic, or rhetoric, or philosophy, or any thing but comedy. If each of the parties had retained a special pleader to speak his sentiments, they could not have appeared more verbose or intricate. The improbability of the character of Orgon is wonderful. This play is in one point of view invaluable, as a lasting monu. ment of the credulity of the French to all verbal professions of wisdom or virtue; and its existence can only be accounted for from that astonishing

and tyrannical predominance which words exercise over things in the mind of every Frenchman. The Ecole des Femmes, from which Wycherley has borrowed his Country Wife, with the true spirit of original genius, is, in my judgment, the masterpiece of Moliere. The set speeches in the original play, it is true, would not be borne on the English stage, nor indeed on the French, but that they are carried off by the verse. The Critique de l'Ecole des Femmes, the dialogue of which is prose, is written in a very different style. Among other things, this little piece contains an exquisite, and almost unanswerable defence of the superiority of comedy over tragedy. Moliere was to be excused for taking this side of the question.

A writer of some pretensions among ourselves has reproached the French with "an equal want of books and men." There is a common French print, in which Moliere is represented reading one of his plays in the presence of the celebrated Ninon de l'Enclos, to a circle of the wits and first men of his own time. Among these are the great Corneille; the tender, faultless Racine; Fontaine, the artless old man, unconscious of immortality; the accomplished St. Evremond; the Duke de la Rochefocault, the severe anatomiser of the human breast; Boileau, the flatterer of courts and judge of men! Were these

men nothing? They have passed for men (and great ones) hitherto, and though the prejudice is an old one, I should hope it may still last our time.

Rabelais is another name that might have saved this unjust censure. The wise sayings and heroic deeds of Gargantua and Pantagruel ought not to be set down as nothing. I have already spoken my mind at large of this author; but I cannot help thinking of him here, sitting in his easy chair, with an eye languid with excess of mirth, his lip quivering with a new-born conceit, and wiping his beard after a well-seasoned jest, with his pen held carelessly in his hand, his wine-flagons, and his books of law, of school divinity, and physic before him, which were his jest-books, whence he drew endless stores of absurdity; laughing at the world and enjoying it by turns, and making the world laugh with him again, for the last three hundred years, at his teeming wit and its own prolific follies. Even to those who have never read his works, the name of Rabelais is a cordial to the spirits, and the mention of it cannot consist with gravity or spleen!

LECTURE II.

ON SHAKSPEARE AND BEN JONSON.

DR. JOHNSON thought Shakspeare's comedies better than his tragedies, and gives as a reason, that he was more at home in the one than in the other. That comedies should be written in a more easy and careless vein than tragedies, is but natural. This is only saying that a comedy is not so serious a thing as a tragedy. But that he shewed a greater mastery in the one than the other, I cannot allow, nor is it generally felt. The labour which the Doctor thought it cost Shakspeare to write his tragedies, only shewed the labour which it cost the critic in reading them, that is, his general indisposition to sympathise heartily and spontaneously with works of high-wrought passion or imagination. There is not in any part of this author's writings the slightest trace of his having ever been "smit with the love of sacred song," except some passages in Pope. His habitually morbid temperament and saturnine turn of thought