This inferiority of Voltaire’s ought not to astonish any one who has reflected how much concentrated feeling and what profundity of vision go to the production of great comedy, and how in the mind of the dramatist, as in the movement of human life, comedy lies close to portentous tragedy. The author of the Bourgeois Gentilhomme and L’Avare was also the creator of the Misanthrope, that inscrutable piece, where, without plot, fable, or intrigue, we see a section of the polished life of the time, men and women paying visits, making and receiving compliments, discoursing upon affairs with easy lightness, flitting backwards and forwards with a thousand petty hurries, and among these one strange, rough, hoarse, half-sombre figure, moving solitarily with a chilling reality in the midst of frolicking shadows. Voltaire entered too eagerly into the interests of the world, was by temperament too exclusively sympathetic and receptive and social, to place himself even in imagination thus outside of the common circle. Without capacity for this, there is no comedy of the first order. Without serious consciousness of contrasts, no humour that endures. Shakespeare, Molière, and even Aristophanes, each of them unsurpassed writers of mere farce, were each of them, though with vast difference of degree, master of a tragic breadth of vision. Voltaire had moods of petulant spleen, but who feels that he ever saw, much less brooded over, the dark cavernous regions of human nature? Without this we may have brilliant pleasantry of surprise, inimitable caricature, excellent comedy of society, but of the veritable comedy of human character and life, nothing. In dazzling and irresistible caricature Voltaire has no equal. There is no deep humour, as in Don Quixote, or Tristram Shandy, which Voltaire did not care for,[122] or Richter’s Siebenkäs, which he would not have cared for any more than De Stael did. He was too purely intellectual, too argumentative, too geometrical, and cared too much for illustrating a principle. But in Candide, Zadig, L’Ingénu, wit is as high as mere wit can go. They are better than Hudibras, because the motive is broader and more intellectual. Rapidity of play, infallible accuracy of stroke, perfect copiousness, and above all a fresh and unflagging spontaneity, combine with a surprising invention, to give these stories a singular quality, of which we most effectively observe the real brilliance, by comparing them with the too numerous imitations that their success has unhappily invited since.