spell previously cast on the
mind. There we feel the power of the poet's creation; and in the sharp
light of that sudden turn the humanity is livelier than any realistic
work can make it.

Italian Comedy gives many hints for a Tartuffe; but they may be found in
Boccaccio, as well as in Machiavelli's Mandragola. The Frate Timoteo of
this piece is only a very oily friar, compliantly assisting an intrigue
with ecclesiastical sophisms (to use the mildest word) for payment. Frate
Timoteo has a fine Italian priestly pose.

DONNA: Credete voi, che'l Turco passi questo anno in Italia?

F. TIM.: Se voi non fate orazione, si.

Priestly arrogance and unctuousness, and trickeries and casuistries,
cannot be painted without our discovering a likeness in the long Italian
gallery. Goldoni sketched the Venetian manners of the decadence of the
Republic with a French pencil, and was an Italian Scribe in style.

The Spanish stage is richer in such Comedies as that which furnished the
idea of the Menteur to Corneille. But you must force yourself to believe
that this liar is not forcing his vein when he piles lie upon lie. There
is no preceding touch to win the mind to credulity. Spanish Comedy is
generally in sharp outline, as of skeletons; in quick movement, as of
marionnettes. The Comedy might be performed by a troop of the _corps de
ballet_; and in the recollection of the reading it resolves to an
animated shuffle of feet. It is, in fact, something other than the true
idea of Comedy. Where the sexes are separated, men and women grow, as
the Portuguese call it, _affaimados_ of one another, famine-stricken; and
all the tragic elements are on the stage. Don Juan is a comic character
that sends souls flying: nor does the humour of the breaking of a dozen
women's hearts conciliate the Comic Muse with the drawing of blood.

German attempts at Comedy remind one vividly of Heine's image of his
country in the dancing of Atta Troll. Lessing tried his hand at it, with
a sobering effect upon readers. The intention to produce the reverse
effect is just visible, and therein, like the portly graces of the poor
old Pyrenean Bear poising and twirling on his right hind-leg and his
left, consists the fun. Jean Paul Richter gives the best edition of the
German Comic in the contrast of Siebenkas with his Lenette. A light of
the Comic is in Goethe; enough to complete the splendid figure of the
man, but no more.

The German literary laug