his tragedies-except for an occasional revival -are never acted. As a dramatist Voltaire is negligible for the very reasons that made him so successful in his own day. It was not his object to write great drama, but to please his audience: he did please them; and, naturally enough, he has not pleased posterity. His plays are melodramas-the melodramas of a very clever man with a great command of language, an acute eye for stage-effect, and a consummate knowledge of the situations and sentiments which would go down with his Parisian public. They are especially remarkable for their wretched psychology. It seems well-nigh incredible that Voltaire's pasteboard imitations of humanity should ever have held a place side by side with the profound presentments of Racine; yet so it was, and Voltaire was acclaimed as the equalor possibly the triumphant rival of his predeAll through the eighteenth century this singular absence of psychological insight may be observed.

cessor.

The verse of the plays is hardly better than the character-drawing. It is sometimes good rhetoric; it is never poetry. The same may be said of La Henriade, the National Epic which placed Voltaire, in the eyes of his admiring countrymen, far above Milton and

Dante, and, at least, on a level with Virgil and Homer. The true gifts displayed in this unreadable work were not poetical at all, but historical. The notes and dissertations appended to it showed that Voltaire possessed a real grasp of the principles of historical method-principles which he put to a better use a few years later in his brilliant narrative, based on original research, of the life of Charles XII.

During this earlier period of his activity, Voltaire seems to have been trying-half unconsciously, perhaps to discover and to express the fundamental quality of his genius. What was that quality? Was he first and foremost a dramatist, or an epic poet, or a writer of light verse, or an historian, or even perhaps a novelist? In all these directions he was working successfully-yet without absolute success. For, in fact, at bottom, he was none of these things: the true nature of his spirit was not revealed in them. When the revelation did come, it came as the result of an accident. At the age of thirty he was obliged, owing to a quarrel with a powerful nobleman, to leave France and take up his residence in England. The three years that he passed there had an immense effect upon his life. In those days England was very

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little known to Frenchmen; the barrier which had arisen during the long war between the two peoples was only just beginning to be broken down; and when Voltaire arrived, it was almost in the spirit of a discoverer. What he found filled him with astonishment and admiration. Here, in every department of life, were to be seen all the blessings so conspicuously absent in France. Here were wealth, prosperity, a contented people, a cultivated nobility, a mild and just administration, and a bursting energy which manifested itself in a multitude of ways-in literature, in commerce, in politics, in scientific thought. And all this had come into existence in a nation which had curbed the power of the monarchy, done away with priestcraft, established the liberty of the press, set its face against every kind of bigotry and narrow-mindedness, and, through the means of free institutions, taken up the task of governing itself. The inference was obvious: in France also, like.causes would lead to like results. When he was allowed to return to his own country, Voltaire published the outcome of his observations and reflections in his Lettres Philosophiques, where for the first time his genius displayed itself in its essential form. The book contains an account of England as Voltaire saw

it, from the social rather than from the political point of view. English life is described in its actuality, detailed, vivid, and various; we are shown Quakers and members of Parliament, merchants and philosophers; we come in for the burial of Sir Isaac Newton; we go to a performance of Julius Cæsar; inoculation is explained to us; we are given elaborate discussions of English literature and English science, of the speculations of Bolingbroke and the theories of Locke. The Letters may still be read with pleasure and instruction; they are written in a delightful style, running over with humour and wit, revealing here and there remarkable powers of narrative, and impregnated through and through with a wonderful mingling of gaiety, irony, and common sense. They are journalism of genius; but they are something more besides. They are informed with a high purpose, and a genuine love of humanity and the truth. The French authorities soon recognised this; they perceived that every page contained a cutting indictment of their system of government; and they adopted their usual method in such a case. The sale of the book was absolutely prohibited throughout France, and a copy of it solemnly burnt by the common hangman.

It was only gradually that the new views, of which Montesquieu and Voltaire were the principal exponents, spread their way among the public; and during the first half of the century many writers remained quite unaffected by them. Two of these resembling each other in this fact alone, that they stood altogether outside the movement of contemporary thought, deserve our special attention.

The mantle of Racine was generally supposed to have fallen on to the shoulders of Voltaire-it had not: if it had fallen on to any one's shoulders it was on to those of MARIVAUX. No doubt it had become diminished in the transit. Marivaux was not a great tragic writer; he was not a poet; he worked on a much smaller scale, and with far less significant material. But he was a true dramatist, a subtle psychologist, and an artist pure and simple. His comedies, too, move according to the same laws as the tragedies of Racine; they preserve the same finished symmetry of design, and leave upon the mind the same sense of unity and grace. But they are slight, etherealised, fantastic; they are Racine, as it were, by moonlight. All Marivaux's dramas pass in a world of his own invention a world curiously compounded of