READING OF MOLIERE.

The lecture which was to be delivered last evening under the auspices of the Circle Francais, on "Moliere in the English Drama," had to be postponed on account of the unavoidable absence of Professor Baker.

Professor Baker's place was filled by Professor de Sumichrast, who, though called upon at the last minute, gave an interesting informal talk on the subject of Moliere's "I'Avare," and read passages from Shadwell's adaptation of this play in English.

It was always a fault in the work of Moliere, and of the school to which he was trained, that after the characters and the main theme of the play were worked out, the piece was then brought to a close by the first device which occurred to the mind of the playwright, such as the finding of a letter or of a long lost relative. Little regard was paid to the logical outcome of characters or situations; still less to poetic justice. In this point Fielding really improved his model, according to modern notions.

"L'Avare," with several other works of Moliere's, as Don Juan, is incorrectly called comedy. The French comedy, means, not comedy, but simply play. Comedy was a prominent feature of Moliere's work, but in some of his plays tragedy plays an important part. The two works mentioned above include both tragedy and comedy, corresponding to the English drama. According to the arbitrary rules of the French writers, this mixture of style was more than a mistake, it was a crime. But here, no less than in his regard for the three unities, so dear to the hearts of French writers, Moliere's genius broke loose from all artificial restraint. Corneille is another example of the success of which high ability is capable, even when it disdains technical rules.

Professor de Sumichrast then gave a short summary of "l'Avare" and read several selections from the English.

The main theme of "The Miser," as it is called, is the blind greed and selfishness of the old man, Harpagon. The opportunity for the comic element is evident and it is made the most of. In the relations, however, between Harpagon and Cleante and Mariane, his son and daughter the comedy merges into real tragedy. From an eccentricity, Harpagon's closeness becomes a vice which strains his family ties, and threatens to ruin the lives of his children. Neglected by their father they in turn forget their duty toward him. Finally, in spite of this fatal evil which is the heart of the story, the play is brought to the usual happy ending by devices no less artificial than illogical.