The absence of the broad comic of Moliere, Regnard, or Beaumarchais is conspicuous. The comedies of Marivaux rarely provoke more than a smile, and never bursts of merriment. The pathetic is no less lacking, and yet the interest never flags. Where, then, is their charm? It lies in the brilliant dialogue and in the interest Marivaux has been able to awaken in the psychological development of love in the hearts of the chief characters. With so much similarity, it is yet wonderful to note the variety that the author has been able to introduce into his comedies, which some critics and envious ones of his time have dubbed, one and all, as so many _Surprises de l'amour_, D'Alembert, who was often so just, and at times so unjust, towards Marivaux, blames him for having made but one comedy in twenty different fashions,[110] but is fair enough to quote the author's own defence of the accusation, "Dans mes pieces, c'est tantot un amour ignore des deux amants, tantot un amour qu'ils sentent et qu'ils veulent se cacher l'un a l'autre, tantot un amour timide, qui n'ose se declarer; tantot enfin un amour incertain et comme indecis, un amour a demi-ne, pour ainsi dire, dont ils se doutent sans etre bien surs, et qu'ils epient au-dedans d'eux-memes avant de lui laisser prendre l'essor. Ou est en cela toute cette ressemblance qu'on ne cesse de m'objecter?"[111] The years have passed, and critics have fully justified this plea. The most convincing argument is undoubtedly the examination of the plays themselves. Leaving out of account _le Pere prudent_ and _Annibal_, the following more or less arbitrary classification may serve to show the predominating note in each comedy:-- I. Surprises de l'Amour.--The two _Surprises de l'Amour_ (1722 and 1727), _la Double Inconstance_ (1723), _le Denouement imprevu_ (1724), _le Jeu de l'Amour et du Hasard_ (1730), _les Serments indiscrets_ (1732), _l'Heureux Stratageme_ (1733), _la Meprise_ (1734), _le Legs_ (1736), _les Fausses Confidences_ (1737), _la Joie imprevue_ (1738). II. Comedies de caractere.--_La Fausse Suivante_ (1724), _le Petit-maitre corrige_(1734), _la Mere confidente_ (1735), _les Sinceres_ (1739), _l'Epreuve_ (1740). III. Comedies de moeurs.--_L'Heritier de Village_ (1725), _l'Ecole des Meres_ (1732), _le Prejuge vaincu_ (1746). IV. Comedies heroiques.--_Le Prince travesti_ (1724), _le Triomphe de l'Amour_ (1732), _la Dispute_ (1744). V. Comedies philosophiques.--_L'Ile des Esclaves_ (1725), _l'Ile de la Raison_ (1727), _la Colonie_ (1729). VI. Comedies mythologiques.--_Le Triomphe de Plutus_ (1728), _la Reunion des Amours_ (1731). VII. Comedies feeries.--_Arlequin poli par l'Amour_ (1720), _Felicie_ (1757). VIII. Fantaisie.--_Les Acteurs de bonne foi_ (1757).