It has usually been thought surprising that Voltaire, consummate wit as he was, should have been so markedly unsuccessful in comedy. Certainly no one with so right a sense of the value of time as Voltaire himself had, will in our day waste many hours over his productions in this order. There are a dozen of them more or less, and we can only hope that they were the most rapid of his writings. Lines of extraordinary vivacity are not wanting, and at their best they offer a certain bustling sprightliness that might have been diverting in actual representation. But the keynote seems to be struck in farce, rather than in comedy; the intrigue, if not quite as slight as in Molière, is too forced; and the characters are nearly all excessively mediocre in conception. In one of the comedies, Le Dépositaire, the poet presented the aged patroness of his youth, but the necessity of respecting current ideas of the becoming prevented him from making a great character out of even so striking a figure as Ninon de l’Enclos. La Prude is a version of Wycherly’s Plaindealer, and is in respect of force, animation, and the genuine spirit of comedy, very inferior to its admirable original. L’Indiscret is a sparkling and unconsidered trifle, L’Ecossaise is only a stinging attack on Fréron, and L’Enfant Prodigue, though greater pains were taken with it, has none of the glow of dramatic feeling. The liveliest of all is La Femme qui a Raison, a short comedy of situation, which for one reading is entertaining in the closet, and must be excellent on the stage. It is very slight, however, and as usual verges on farce.