Such are the repetitions produced on the stage. They are the more laughable in proportion as the scene repeated is more complex and more naturally introduced—two conditions which seem mutually exclusive, and which the playwriter must be clever enough to reconcile.
Contemporary light comedy employs this method in every shape and form. One of the best-known examples consists in bringing a group of characters, act after act, into the most varied surroundings, so as to reproduce, under ever fresh circumstances, one and the same series of incidents or accidents more or less symmetrically identical.
In several of Molière's plays we find one and the same arrangement of events repeated right through the comedy from beginning to end. Thus, the École des femmes does nothing more than reproduce and repeat a single incident in three tempi: first tempo, Horace tells Arnolphe of the plan he has devised to deceive Agnès's guardian, who turns out to be Arnolphe himself; second tempo, Arnolphe thinks he has checkmated the move; third tempo, Agnès contrives that Horace gets all the benefit of Arnolphe's precautionary measures. There is
