Contemporary light comedy employs this method in every shape and form. One of the best-known examples consists in bringing a group of characters, act after act, into the most varied surroundings, so as to reproduce, under ever fresh circumstances, one and the same series of incidents or accidents more or less symmetrically identical. In several of Moliere's plays we find one and the same arrangement of events repeated right through the comedy from beginning to end. Thus, the Ecole des femmes does nothing more than reproduce and repeat a single incident in three tempi: first tempo, Horace tells Arnolphe of the plan he has devised to deceive Agnes's guardian, who turns out to be Arnolphe himself; second tempo, Arnolphe thinks he has checkmated the move; third tempo, Agnes contrives that Horace gets all the benefit of Arnolphe's precautionary measures. There is the same symmetrical repetition in the Ecole des marts, in L'Etourdi, and above all in George Dandin, where the same effect in three tempi is again met with: first tempo, George Dandin discovers that his wife is unfaithful; second tempo, he summons his father--and mother-in-law to his assistance; third tempo, it is George Dandin himself, after all, who has to apologise. At times the same scene is reproduced with groups of different characters. Then it not infrequently happens that the first group consists of masters and the second of servants. The latter repeat in another key a scene already played by the former, though the rendering is naturally less refined. A part of the Depit amoureux is constructed on this plan, as is also Amphitryon. In an amusing little comedy of Benedix, Der Eigensinn, the order is inverted: we have the masters reproducing a scene of stubbornness in which their servants have set the example.