But we must leave off. Sir Walter Scott says that, as often as he opened the volume of Molière's works during the composition of his article on that author, he found it impossible to lay it out of his hand until he had completed a scene, however little to his immediate purpose of consulting it; and thus we could prolong and multiply extracts to the amusement of ourselves and the reader; but we restrain ourselves, and, returning to the subject that caused this quotation, we must say, that we differ entirely from Rousseau and other critics who adopt his opinions; and even Schlegel, who accuses the author of being guilty of currying favour with rank in this comedy, and making honest mediocrity ridiculous. If genius was to adapt its works to the rules of philosophers, instead of following the realities of life, we should never read in books of honesty duped, and vice triumphant: whether we should be the gainers by this change is a question. It may be added, also, that Molière did not represent, in "George Dandin," honesty ill-used, so much as folly punished; and, at any rate, where vice is on one side and ridicule on the other, we must think that class worse used to whom the former is apportioned as properly belonging. In spite of philosophers, truth, such as it exists, is the butt at which all writers ought to aim. It is different, indeed, when a servile spirit paints greatness, virtue, and dignity on one side--poverty, ignorance, and folly, on the other. At length the time came when Molière was allowed to bring out the "Tartuffe" in its original shape, with its original name. Its success was unequalled: it went through forty-four consecutive representations. At a period when religious disputes between molinist and jansenist ran high in France--when it was the fashion to be devout, and each family had a confessor and director of their consciences, to whom they looked up with reverence, and whose behests they obeyed--a play which showed up the hypocrisy of those who cloaked the worst designs, and brought discord and hatred into families, under the guise of piety, was doubtless a useful production; yet the "Tartuffe" is not an agreeable play. Borne away by his notion of the magnitude of the evil he attacked, and by his idea of the usefulness of the lesson, Molière attached himself greatly to it. The plot is admirably managed, the characters excellently contrasted, its utility probably of the highest kind; but Molière, hampered by the necessity of giving as little umbrage as possible to true devotees, was forced by the spirit of the times to regard his subject more seriously than is quite accordant with comedy: there is something heavy in the conduct of the piece, and disgust is rather excited than amusement. The play is still popular; and, through the excellent acting of a living performer, it has enjoyed great popularity in these days in its English dress: still it is disagreeable; and the part foisted in on our stage, of the strolling methodist