Tallemant des Réaux, La Fontaine and others. Moreover, if we are to judge of the character of the elder Poquelin in the light of recent research, it is more than likely that the poet reproduced a number of his father's traits in the character of Harpagon.

Among the stories current then we may mention that of a certain Charles Maslon, Seigneur de Bersy, and his son. The former was a miser and practised usury and the latter borrowed money at a high rate of interest — each without the knowledge of the other. One day the two met under circumstances very much the same as Harpagon and Cléante in L'Avare, II, 2. The father exclaimed: “Ah! débauché, c'est toi?". to which the son replied: "Ah! vieil usurier, c'est vous?"*

Perhaps the most notorious misers known at that time were the lieutenant-criminel Tardieu and his wife. Tallemant des Réaux† speaks of them as follows: "Ils n'ont pour tous valets qu'un cocher: le carrosse est si méchant et les chevaux aussi, qu'ils ne peuvent aller."

Molière, it seems, made use of these and other real or fictitious events- but whether they, or his reading of plays in which avarice formed the subject, gave him his first inspiration cannot be determined.

In the following will be found the principal sources‡ of Molière's comedyOn account of its striking resemblance to L'Avare we shall begin with an analysis of the Aulularia by Plautus:

Euclio, a poor man, has accidentally discovered a pot of gold which his grandfather had hidden in the house before his death. He is now anxiously watching lest anyone should find

Boisrobert's Belle Plaideuse is said to be based on this occurrence.

† Cf. Tallemant des Réaux, Les Historiettes (Ed. Monmerqué et Paris), t. III, p. 137.

Cf. Zeitschrift für neufranz. Sprache u. Litteratur, vol. VIII, p. 51 ff.— Also Molière in the Grands Écrivains series, t. VII, p. 14 ff.

out where he has concealed the treasure. His suspicion is aroused by the fact that everybody salutes him more civilly than before, and when Megadorus, a rich gentleman, asks his daughter in marriage, he thinks, that he is aiming at his gold. When, however, the suitor for Phaedra's hand shows his willingness to marry her without a dowry, Euclio gives his consent. While the preparations for the wedding are going on, Euclio goes to the market in order to buy a wedding-present for his daughter. On his return he finds in his house a number of cooks whom Megadorus has sent in order to prepare the marriage feast. He scolds, beats and drives them out because he suspects that they are after his money. He then conceals his pot in the Temple of Faith. Strobilus, a slave of Lyconides, overhears Euclio's conversation concerning the hiding-place of the gold, and he resolves to steal it. The miser, however, discovers the would-be thief just in time to prevent him from carrying out his project. He then takes his pot to an unfrequented grove. The slave overhears him again and he now succeeds in stealing the gold after watching Euclio from a tree, as the latter is burying his treasure.

As soon as Euclio discovers the loss of his money, he laments most bitterly. Lyconides, a nephew of Megadorus, and also in love with Phaedra, to whom he has done violence, thinking that the miser is lamenting over his daughter, confesses to him his crime. This gives rise to a comical misunderstanding, since Euclio is under the impression that Lyconides is confessing the theft of the pot. Lyconides asks for Phaedra's hand and announces at the same time to the miser that Megadorus has given up his claim to her hand in his favor. When Strobilus informs his master that he has stolen Euclio's treasure, Lyconides orders him to give it up at once so that he may restore it to its rightful owner. The slave is willing to do so on condition that Lyconides will set him free. Here ends Plautus's comedy. There exists a supplement written by Codrus Urceus - an Italian grammarian, according

to which Lyconides becomes the son-in-law of Euclio and his heir- for the miser has suddenly become so liberal as to give him all his gold in addition to his daughter. In general outline, Aulularia and L'Avare resemble each other very closely in each there is a miser, a daughter and two lovers of the daughter. The part of Strobilus becomes that of La Flèche in Molière's comedy. Again in both plays we find a number of servants who are made to suffer from harsh treatment, and who freely give vent to their feelings. Molière produced some fine comic effects by means of these servants.

But although the principal characters of the Aulularia reappear in L'Avare, their particular treatment differs greatly in the two comedies. The characters newly created by Molière are Cléante, Mariane, Frosine, 'maître' Simon and the Commissaire.

The most general difference between the two misers is that one has been a poor man until he suddenly finds a pot of gold, whereas the other, Harpagon, has always kept up a comparatively big establishment, comprising a large house and garden, a carriage, horses, and a number of servants. Euclio continues the same mode of living as before he found the treasure, and there is nothing in his surroundings to show that he is in good circumstances. Harpagon, on the other hand, exhibits his avarice in the midst of comparative elegance. This difference becomes all the more interesting, since Harpagon's downright niggardliness and sordid avarice form a marked contrast to the "milieu" in which he moves. The result is that he becomes extremely odious, and, at the same time, comic. There are other differences between the two misers, the principal one being that Harpagon is in love, while Euclio is not. To make a miser—and an old miser at that—fall in love, adds much to the comic effect, not only of this character but also of the entire comedy. Moreover, Harpagon is in love with the

* Staphyla also reappears to some extent in Cléante's valet.

same girl as his son. From this difference in the gener of the two plays arises the necessity of creating most additional personages found in L'Avare.

If we now consider the purpose of the Latin come shall find that it is not so much to depict the avarice of 1 as it is to describe the fate of a pot of gold. Hen comedy becomes one of situation, whereas L'Avare is a c of character. Euclio's chief concern is to find a hiding for his pot. The effects of his avarice can hardly be s manifest themselves anywhere very strongly. No one seriously in consequence of it. In L'Avare, however, M principal purpose was to show the evil effects of the stinginess upon his children, his sweetheart, his se Anselme, Frosine, and even his horses-in short on eve that comes in contact with him. L'Avare all the cha are made to set forth the principal one-thus differing 'from the Aulularia in which the characters have a mor pendent existence. Finally Plautus had in mind an u aim which was partly religious and partly political. Lares neglected by Euclio have taken vengeance upon } keeping him poor for a long time. As for the politic pose, Plautus aimed at bringing the rich and poor into union by intermarriage between those classes. He ho before his audience the example of Megadorus.

Of the characters retained in L'Avare from the Aul it is to be said that what Megadorus has lost in Ar Lyconides has gained in Valère. Megadorus seems a flesh and blood compared with Anselme. Closely con with this fact is the unnatural dénouement of L'Avare. Lyconides, he seems a weakling by the side of Valèr former acts like a coward who has no will of his own, driven about by the force of circumstances. Valère, other hand, will risk everything to win the hand of El beloved. It is to the credit of the French author t purified the relations between these young people.

A general comparison between the two comedies shows that L'Avare is a much more artistic and living production than the Aulularia. While the broad outlines of both are the same, the particular age and society in which they were written make them differ widely. But more than this-the superior talent of Molière changed and amplified the comedy of Plautus in so skilful a manner that the Aulularia seems a mere sketch when compared with L'Avare. There is a charm and finish in the work of Molière that reveals at once the greater genius and a period of higher social refinement.

Among the French sources of L'Avare mention is usually made first of Les Esprits, a comedy by Larivey (1579). This comedy is founded on several plays, among them the Aulularia. Séverin, an inveterate miser, has a son and a daughter, Urbain and Laurence, who live with him. (Fortuné, another son, has been adopted by the miser's brother, Hilaire). Urbain is secretly in love with Féliciane, and Laurence loves a young man named Désiré. The miser, who is opposed to the plans of his children, is greatly troubled by a treasure that he carries about with him in a purse. Fearing lest some one may get possession of his ́ money, the miser buries his purse. Désiré watches him, steals the purse, and puts it back after having filled it with pebbles. The lover of Laurence, through the intercession of Séverin's brother, Hilaire, restores the money to the miser on condition that he will consent to the marriages of his children, Urbain and Laurence.

From a close comparison between Les Esprits and L'Avare it appears that Molière made considerable use of the former comedy. Séverin makes himself ridiculous by his avarice, and brings upon himself the hatred of his children through his hard-heartedness. These traits reappear, but more strongly, in L'Avare. The special obligation of Molière to Larivey is the recognition scene towards the end of L'Avare (V, 5). In Les Esprits, the father of Féliciane, a rich merchant, reappears after a long absence, and by this timely return the marriage of