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Updated: May 7, 2025
And in like manner Molière was content to return again and again to the type of play which he had taken over from the Italian comedy-of-masks.
Molière modeled many of his earlier plays upon the loosely-knit comedy-of-masks of the Italian comedians, and the difference between his work and theirs is not external but internal; it is the difference between adroitness and cleverness on their part, and supreme comic genius on his.
Just as Shakspere followed the patterns set by Kyd and Marlowe, by Lyly and Greene, just as Molière copied the model ready to his hand in the Italian comedy-of-masks, so Ibsen began by assimilating the formulas which had approved themselves in France, the land where the drama was flourishing most luxuriantly in the middle of the nineteenth century, formulas devised by Scribe and only a little modified by Augier and the younger Dumas.
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