sallies of Dorine, who ridicules the family she serves with affection; are all faithfully drawn, and contribute their own share on the effect of the piece, while they assist in bringing on the catastrophe. In this catastrophe, however, there is something rather inartificial. It is brought about too much by a tour de force, too entirely by the de par le roi, to deserve the praise bestowed on the rest of the piece. It resembles, in short, too nearly the receipt for making the "Beggars' Opera" end happily, by sending someone to call out a reprieve. But as it manifested at the same time the power of the prince, and afforded opportunity for panegyric on his acuteness in detecting and punishing fraud, Moliere, it is certain, might have his own good reasons for unwinding and disentangling the plot by means of an exempt or king's messenger.
"George Dandin " was acted July 18, 1668. On September 3, in the same year, the moral comedy of "L'Avare" was presented to the public by the fertile muse of our author. The general conception of the piece, as well as many of the individual scenes, are taken from Plautus, but adapted to French society with a degree of felicity belonging to Moliere alone. Omitting " Les Amants Magni fiques," called by Molière a minor comedy, but which may be rather considered as a piece of framework for the introduction of scenic pageantry, and which is only distinguished by some satirical shafts directed against the now obsolete folly of judicial astrology, we hasten to notice a masterpiece of Molière's art in "Le Bourgeois Gentilhomme." This piece was written to please the court and gentry, at the expense of the nouveaux riches, who, rendered wealthy by the sudden acquisition of immense fortune, become desirous to emulate such as have been educated in the front ranks of society, in those accomplishments, whether mental or personal, which cannot be gracefully acquired after the early part of life is past. A grave, elderly gentleman learning to dance is proverbially ridiculous; but the same absurdity attaches to everyone who, suddenly elevated from his own sphere, becomes desirous of imitating, in the most minute particulars, those who are denizens of that to which he is raised. It is scarcely necessary to notice that the ridicule directed against such characters as Monsieur Jourdain properly applies, not to their having made their fortunes, if by honest means, but to their being ambitious to distinguish themselves by qualities inconsistent with their age, habits of thinking, and previous manners.
The last of this great author's labors was at once directed against the faculty of medicine, and aimed at its most vulnerable point—namely, the influence used by some unworthy members of the profession to avail themselves of the nervous fears and unfounded apprehensions of hypochondriac patients. Instead of treating imaginary maladies as a mental disease requiring moral medicine, there have been found in all times medical men capable of listening to the rehearsal of these brain-sick whims as if they were real complaints, prescribing for them as such, and receiving the wages of imposition, instead of the honorable reward of science. On the other hand, it must be admitted that the faculty has always possessed members of a spirit to condemn and regret such despicable practices. There cannot be juster objects of satire than such empirics, nor is there a foible
