point, as he, in praising the queen's attainments, was vaunting his own success as a teacher, and, moreover, if he flattered her he could plead prevailing custom. But we have, I believe, abundant evidence that Elizabeth was an accomplished scholar.

Before I leave Ascham I must make one more quotation, to which I shall more than once have occasion to refer. Speaking of the plan of double translation, he says: "Ere the scholar have construed, parsed, twice translated over by good advisement, marked out his six points by skilful judgment, he shall have necessary occasion to read over every lecture a dozen times at the least; which because he shall do always in order, he shall do it always with pleasure. And pleasure allureth love; love hath lust to labor; labor always obtaineth his purpose." When we compare Ratich's method with that of Ascham, we find that they have much in common. Ratich began the study of a language with one book, which he worked over with the pupil a great many times. Ascham did the same. Each lecture, he says, would, according to his plan, be gone over a dozen times at the least. Both construed to the pupil, instead of requiring him to make out the sense for himself. Both taught grammar, not independently, but in connection with the model book. So far as the two methods differed, I have no hesitation in pronouncing Ascham's the better. It gave the pupil more to do, and contained the very important element, writing. By this means there was a chance of the interest of the pupil surviving the constant repetition, but Ratich's pupils must have been bored to death. His plan of making them familiar with the translation first, was subsequently advocated by Comenius, and may have advantages, but in effect the pupil would be tired of the play before he began to translate it. Then Ratich's plan of going through and through seems very inferior to that of thoroughly mastering one lesson before going on to the next. I should say that whatever merit there was in Ratich's plan, lay in its insisting on complete knowledge of a single book, and that this knowledge would be much better attained by Ascham's practice of double translation.

JEAN-BAPTISTE POQUELIN MOLIÈRE

1622-1672

JEAN-BAPTISTE POQUELIN was born at Paris in 1622. From childhood he was drawn irresistibly toward the stage. When scarcely more than an infant, he found his chief delight in accompanying his grandfather to witness the plays of Corneille, at the Hôtel de Bourgogne. Poquelin was destined by his parents for the legal profession. He entered college, and was an enthusiastic and ambitious student. With great self-reliance he organized a theatrical company, when his college days were ended, and opened the Théâtre Illustre in his native city. It was a mortifying failure, and Poquelin was imprisoned for debt. On regaining his freedom he disappeared from view at the capital. Twelve years later he returned under a new name— -Molière-destined to be imperishable in letters. In the interval he had learned much of wisdom and of the art of the playwright. His star was now in the ascendant. He wrote, in all, about thirty plays, nearly all of which enjoyed a high measure of success.

His best productions are "The Misanthrope". (Le Misanthrope), "Learned Women" (Les Femmes Savantes), "The Miser" (L'Avare), and The Hypocrite" (Le Tartufe), which are regarded as models of high comedy. "The Shopkeeper turned Gentleman" (Le Bourgeois) is one of his most popular dramas. Mr. Charles Heron Wall, the translator of Molière, says of this play: "Le Bourgeois Gentilhomme was acted before the king for the first time at Chambord, on October 14, 1670, and on November 23, at the Palais Royal. After the second representation, Louis XIV. said to Molière: You have never written anything which amused me more, and your play is excellent.' But it obtained a still greater success in Paris, where the bourgeois willingly and good-humoredly laughed at what they deemed their neighbors' weaknesses. The first three acts are the best; Louis XIV. hurried Molière so with the last that they degenerated into burlesque. Molière acted the part of Bourgeois."

Molière died in 1672.

Characterization

Molière, the noblest heart, the most illustrious soul, the greatest writer, the grandest philosopher of France, in the seventeenth century, and of the whole world in all time; Molière, whose life was so beauti

ful, whose knowledge was so wide, whose benevolence was so deep; Molière, the first literary man of France who realized his worth, and lived and was enriched by his genius, has been dead a hundred and fifty years, yet he remains the most youthful, the liveliest, the truest of the great writers of France.

JULES JANIN.

Molière is the most distinguished comic poet of modern times. While he is the complete embodiment of the spirit of his people, he yet rises, independent of all prejudices of nation and age, to the plane of the true great author. His bust, standing in the hall of the French Academy, bears the triumphant inscription:

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Rien ne manque à sa gloire; il manquait à la notre.

PROF. A. H. MIXER.

The Education of M. Jourdain

Scenes from " Le Bourgeois "-" The Shopkeeper turned Gentleman "

DRAMATIS PERSONE

M. JOURDAIN, the Shop-keeper turned Gentleman.

Professor of Philosophy.

Dancing Master.

Fencing Master.

Music Master.

Servants.

MADAME JOURDAIN.

Nicole, a Female Servant.

The Scene is in Paris, in the Residence of M. Jourdain.

ACT II

SCENE III.-M. JOURDAIN, FENCING MASTER, MUSIC MASTER, DANCING MASTER, A SERVANT HOLDING TWO FOILS.

FEN. MAS. (Taking the two foils from the hands of the servant, and giving one to M. Jourdain.) Now, sir, the salute. The body upright, resting slightly on the left thigh. The legs not so far 'Nothing is lacking in his glory; he is lacking to ours."

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apart; the feet in a line. The wrist in a line with the thigh. The point of the foil opposite the shoulder. The arm not quite so much extended. The left hand as high as the eye. The left shoulder more squared. The head erect; the look firm. Advance, the body steady. Engage my blade in quart, and retain the engagement. One, two. As you were. Once more, with the foot firm. One, two; a step to the rear. When you make an attack, sir, the sword should move first, and the body be well held back. One, two. Engage my blade in tierce, and retain the engagement. Advance; the body steady. Advance; one, two. Recover. Once more. One, two. A step to the rear. On guard, sir; on guard. (The Fencing Master delivers two or three attacks, calling out, "On guard!")

M. JOUR. Ah!

MUS. MAS. You are doing wonders.

FEN. MAS. As I have already told you, the whole art of fencing consists of one or two things-in giving and not receiving; and, as I showed you the other day by demonstrative reason, it is impossible for you to receive if you know how to turn aside your adversary's weapon from the line of your body; and this again depends only on a slight movement of the wrist to the inside or the out.

M. JOUR. So that a man, without having any courage, is sure of killing his man and of not being killed himself.

FEN. MAS. Exactly. Did you not see plainly the demonstration of it?

M. JOUR. Yes.

FEN. MAS. And this shows you of what importance we must be in a state; and how much the science of arms is superior to all the other useless sciences, such as dancing, music

DAN. MAS. Gently, Mr. Fencing Master; speak of dancing with respect, if you please.

MUS. MAS. Pray learn to treat more properly the excellence of music.

FEN. MAS. Just see the man of importance!

DAN. MAS. A fine animal, to be sure, with his plastron.

FEN. MAS. Take care, my little dancing master, or I shall make you dance in fine style. And you, my little musician, I'll teach you to sing out.

DAN. MAS. And you, my beater of iron, I'll teach you your trade.

M. JOUR. (To the Dancing Master.) Are you mad, to go and quarrel with a man who understands tierce and quart, and knows how to kill another by demonstrative reason?

DAN. MAS. I don't care a straw for his demonstrative reason, and his tierce and quart.

M. JOUR. (To the Dancing Master.) Gently, I tell you.

FEN. MAS. (To the Dancing Master.) How, you little impudent fellow!

M. JOUR. Ah, my Fencing Master!

DAN. MAS. (To the Fencing Master.) How, you great carthorse!

M. JOUR. Stop, my Dancing Master!

FEN. MAS. If I once begin with you

M. JOUR. (To the Fencing Master.) Gently.

DAN. MAS. If I lay my hand upon you

M. JOUR. Softly.

FEN. MAS. I will beat you after such a fashion

M. JOUR. (To the Fencing Master.) For goodness sake!

DAN. MAS. I'll thrash you in such a style

M. JOUR. (To the Dancing Master.) I beg of you

MUS. MAS. Let us teach him a little how to behave himself. M. JOUR. (To the Music Master.)

stop.

Gracious heavens!

Do

SCENE IV. PROFESSOR OF PHILOSOPHY, M. JOURDAIN, MUSIC MASTER, DANCING MASTER, FENCING MASTER, A SERVANT.

M. JOUR. Oh! you are in the very nick of time with your philosophy. Pray come here and restore peace among these people.

PROF. PHIL. What is going on? What is the matter, gentlemen?