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It associates itself with the entertainments of the ancients, with the Augustan age, with Horace and Maecenas; with the only elegant but too fleeting period of the modern world; with the nobles and wits of Paris, when Paris had wits and nobles; with Moliere and the warm-hearted Duke who is said to have been the original of Moliere's Misanthrope; with Madame de Sevigne and the Racine whom that inimitable letter-writer denied to be a poet; with Swift and Bolingbroke; with Johnson, Goldsmith, and Garrick.
It associates itself with the entertainments of the ancients, with the Augustan age, with Horace and Maecenas; with the only elegant but too fleeting period of the modern world; with the nobles and wits of Paris, when Paris had wits and nobles; with Moliere and the warm-hearted Duke who is said to have been the original of Moliere's Misanthrope; with Madame de Sevigne and the Racine whom that inimitable letter-writer denied to be a poet; with Swift and Bolingbroke; with Johnson, Goldsmith, and Garrick.
The Silent Woman is, perhaps, the easiest of all Jonson's plays for a modern reader to follow and appreciate. There is a distinct plot to it, the situation is extremely ludicrous, and the emphasis is laid upon a single humor or eccentricity, as in some of Molière's lighter comedies, like Le Malade Imaginaire, or Le Médecin malgré lui.
In short, it was plain the latter part of my introduction was altogether lost on poor Janet; and so, to have acted up to Moliere's system, I should have cancelled the whole, and written it anew. But I do not know how it is.
It became only too evident that the philosophers were perfectly reconciled with all the evil in the world, provided it did not contradict their theories; that they were men of the same type as the physician in Moliere's comedy, whose chief care was that his patients should die selon les ordonnances de la medicine. In Russia the reaction first appeared in the aesthetic literature.
My noble friend would give a far longer term to Racine's Freres Ennemis than to Athalie, and to Moliere's Etourdi than to Tartuffe. Go to Spain. My noble friend would give a longer term to forgotten works of Cervantes, works which nobody now reads, than to Don Quixote. Go to Germany.
Passages of Rabelais, one or two in Don Quixote, and the Supper in the Manner of the Ancients, in Peregrine Pickle, are of a similar cataract of laughter. But it is not illuminating; it is not the laughter of the mind. Moliere's laughter, in his purest comedies, is ethereal, as light to our nature, as colour to our thoughts.
Perhaps it is because I came to Moliere's comedies later, and with my taste formed for those of Goldoni; but again, it is here a matter of affection; I find Goldoni for me more sympathetic, and because he is more sympathetic I cannot do otherwise than find him more natural, more true. I will allow that this is vulnerable, and as I say, I do not defend it.
"The Careless Husband" even Pope had praised; "The Nonjuror," an adaptation of Molière's "Tartuffe," was one of the most successful comedies of the period. The King had been delighted with it, a circumstance doubtless considered by Sir Robert in selecting a rival for Savage.
"I do not care for a book that is a series of enigmas. Don Quixote needs no such guess-work. Shakespeare's characters are painted not from the petty models of yesterday and to-day, but from mankind in every age and every climate. Moliere's and Calderon's personages stand on as solid a basis. In less than half a century your 'Grand Cyrus' will be insufferable jargon."
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