y called 'The Guilty
Mother,' acted with slight success in 1790, he brought in Figaro yet
once more. During the Terror he emigrated to Holland, returning to Paris
in 1796 to find his sumptuous mansion despoiled. May 18th, 1799, he
died, leaving a fortune of $200,000, besides numerous claims against the
French nation and the United States.

An interesting parallel could be drawn between 'The Rivals' and the
'School for Scandal' on the one side, and on the other 'The Barber of
Seville' and 'The Marriage of Figaro'; and there are also piquant points
of likeness between Sheridan and Beaumarchais. But Sheridan, with all
his failings, was of sterner stuff than Beaumarchais. He had a loftier
political morality, and he served the State more loyally. Yet the two
comedies of Beaumarchais are like the two comedies of Sheridan in their
incessant wit, in their dramaturgic effectiveness, and in the histrionic
opportunities they afford. Indeed, the French comedies have had a wider
audience than the English, thanks to an Italian and a German,--to
Rossini who set 'The Barber of Seville' to music, and to Mozart who did
a like service for 'The Marriage of Figaro.'

[Illustration: Signature: Brander Matthews]

FROM 'THE BARBER OF SEVILLE'

OUTWITTING A GUARDIAN

[Rosina's lover, Count Almaviva, attempts to meet and converse with her
by hoodwinking Dr. Bartolo, her zealous guardian. He comes in disguise
to Bartolo's dwelling, in a room of which the scene is laid.]

[_Enter Count Almaviva, dressed as a student_.]

_Count [solemnly]_--May peace and joy abide here evermore!

_Bartolo [brusquely]_--Never, young sir, was wish more apropos! What do
you want?

_Count_--Sir, I am one Alonzo, a bachelor of arts--

_Bartolo_--Sir, I need no instructor.

_Count_---- ---- a pupil of Don Basilio, the organist of the convent,
who teaches music to Madame your--

_Bartolo [suspiciously]_--Basilio! Organist! Yes, I know him. Well?

_Count [aside]_--What a man! _[Aloud.]_ He's confined to his bed with a
sudden illness.

_Bartolo_--Confined to his bed! Basilio! He's very good to send word,
for I've just seen him.

_Count [aside]_--Oh, the devil! [_Aloud._] When I say to his bed, sir,
it's--I mean to his room.

_Bartolo_--Whatever's the matter with him, go, if you please.

_Count [embarrassed]_--Sir, I was asked--Can no one hear us?

_Bartolo [aside]_--It's some rogue! _[Aloud.]_ What's that? No, Monsieur
Mysterious, no one can hear! S