Among such friends--wild, gay, and witty--Molière might easily have his attention directed to farcical and amusing subjects. Some say that "Monsieur Porceaugnac" was founded on the adventure of a poor rustic, who fled from pursuing doctors through the streets of Paris: it is one of the most ridiculous as well as lively of his smaller pieces; but so excellent is the comic dialogue, that Diderot well remarks, that the critic would be much mistaken who should think that there were more men capable of writing "Monsieur Porceaugnac" than of composing the "Misanthrope." This piece has of course been adapted to the English stage; and an Irishman is burdened with all the follies, blunders, and discomfitures of the French provincial; with this difference, that the "brave Irishman" breaks through all the evils spread to catch him, and, triumphing over his rival, carries off the lady. The "Bourgeois Gentilhomme" deserves higher praise; and _M. Jourdain_, qualifying himself for nobility, has been the type of a series of characters, imitating, but never surpassing, the illustrious original. This play was brought out at Chambord, before the king. Louis listened to it in silence; and no voice dared applaud: as absence of praise denoted censure to the courtiers, so none of them could be amused; they ridiculed the very idea of the piece, and pronounced the author's vein worn out. They scouted the fanciful nonsense of the ballet, in which the _Bourgeois_ is created Mamamouchi by the agents of the grand signor, and invested with a fantastic order of knighthood. The truth is, that Molière nowhere displayed a truer sense of fanciful comedy than in varying and animating with laughable doggrel and incidents the ballets that accompanied his comedies; the very nonsense of the choruses, being in accordance with the dresses and scenes, becomes wit. The courtiers found this on other occasions, but now their faces elongated as Louis looked grave: the king was mute; they fancied by sarcasm to echo a voice they could not hear. Molière was mortified; while the royal listener probably was not at all alive to the damning consequences of his hesitation. On the second representation, the reverse of the medal was presented. "I did not speak of your play the first day," said Louis, "for I fancied I was carried away by the admirable acting; but indeed, Molière, you never have written any thing that diverted me so much: your piece is excellent." And now the courtiers found the point of the dialogue, the wit of the situations, the admirable truth of the characters. They could remember that M. Jourdain's surprise at the discovery that he had been talking prose all his life, was a witty plagiarism from the count de Soissons' own lips--they could even enjoy the fun of the unintelligible mummery of the dancing Turks; and one of the noblest among them, who had looked censure itself on the preceding evening, could exclaim in a smiling ecstasy of praise: "Molière is