In several of his comedies he has treated medicine and its professors not only with freedom but severity; it was, however, perverted medicine only, and its quack professors that were the subjects of his ridicule. The respectable members of the faculty could be no more affected by the satire, nor displeased by what they could not fear, than a true prophet by the punishment of imposture. Those who are acquainted with the history of the science will recollect the state of it at Paris in Moliere’s time, and the character of the physicians. Their whole employment was confined to searching after visionary specifics, and experimental trickery in chemistry. The cause of a disease was never inquired after, nor the symptoms regarded; but hypothetical jargon and random prescription were thrown like dust into the eyes of the patient, to the exclusion of a practice founded on science and observation. Thus medicine became a pest instead of a remedy; and this state of things justified the chastisement inflicted. Les Précieuses Ridicules is a comedy intended to reprove a vain, fantastical, and preposterous humour prevailing very much about that time in France. It had the desired effect, and conduced materially towards rooting out a taste in manners so unreasonable and ridiculous. Tartuffe, or The Impostor, has occasionally, and even recently, sometimes to the disturbance of the public peace in France, given great offence not only to those who felt the justice, and winced under the severity of the satire; but to others, who suspected that a blow was aimed at religion, under the mask of an attack upon hypocrisy. But its intrinsic merit, the truth of the drawing, and the justness of the colouring, have secured patrons for it among persons of unquestionable sense, virtue, learning, and taste; and it has always triumphed over the violence of opposition. Cibber, a vamper of other men’s plays, has borrowed from it his favourite Nonjuror, and applied it to the purposes of a political party. On this adaptation has been grafted a more modern attack on the Methodists, under the title of The Hypocrite. But however great may be the merit of this celebrated drama, it cannot boast of entire originality. Machiavelli left behind him three comedies, the fruits of a statesman’s leisure hours. In all three, the author has exhibited the hand of a master; he has painted mankind in the spirit of truth, and unmasked falsehood and hypocrisy in a tone of profound contempt. Two monks, a brother Timothy and a brother Alberico, are represented with too much wit and keenness of sarcasm to have been overlooked by Moliere in his working up of the third specimen. The first three acts of the Tartuffe were played for the first time at court before the piece was finished. Masques of pomp, magnificence and panegyric, such as usually furnish out the amusement of royal saloons, are forgotten as soon as they have served the purpose of the moment: but