few moments, affords us the distinct sensation of a spring being released. This spring Dorine delights in pushing back, each time she resumes her account of Elmire's illness. And when Scapin informs old Géronte that his son has been taken prisoner on the famous galley, and that a ransom must be paid without delay, he is playing with the avarice of Géronte exactly as Dorine does with the infatuation of Orgon. The old man's avarice is no sooner repressed than up it springs again automatically, and it is this automatism that Molière tries to indicate by the mechanical repetition of a sentence expressing regret at the money that would have to be forthcoming: "What the deuce did he want in that galley?" The same criticism is applicable to the scene in which Valère points out to Harpagon the wrong he would be doing in marrying his daughter to a man she did not love. "No dowry wanted!" interrupts the miserly Harpagon every few moments. Behind this exclamation, which recurs automatically, we faintly discern a complete repeating-machine set going by a fixed idea.
At times this mechanism is less easy to detect, and here we encounter a fresh difficulty
