Page:A study of Ben Jonson (IA studyofbenjonson00swinrich).pdf/76

skilfully managed as to evade the imputation of incongruity. Nevertheless, there are touches in the dialogue between Lady Tailbush and Lady Eitherside in the first scene of the fourth act which are worthy of Molière himself, and suggestive of the method and the genius to which we owe the immortal enjoyment derived from the society of Cathos and Madelon—I should say, Polixène and Aminte, of Célimène and Arsinoé, and of Philaminte and Bélise. The third scene of the same act is so nobly written that the reader may feel half inclined to condone or to forget the previous humiliation of the too compliant heroine—her servile and undignified submission to the infamous imbecility of her husband—in admiration of the noble and natural eloquence with which the poet has here endowed her. But this husband, comical as are the scenes in which he develops and dilates from the part of a dupe to the part of an impostor, is a figure almost too loathsome to be ludicrous—or at least, however ludicrous, to be fit for the leading part in a comedy of ethics as well as of manners. And the prodigality of elaboration lavished on such a multitude of subordinate characters, at the expense of all continuous interest and to the sacrifice of all dramatic harmony, may