D'Alembert, who was often so just, and
at times so unjust, towards Marivaux, blames him for having made but one
comedy in twenty different fashions,[110] but is fair enough to quote the
author's own defence of the accusation, "Dans mes pieces, c'est tantot un
amour ignore des deux amants, tantot un amour qu'ils sentent et qu'ils
veulent se cacher l'un a l'autre, tantot un amour timide, qui n'ose se
declarer; tantot enfin un amour incertain et comme indecis, un amour a
demi-ne, pour ainsi dire, dont ils se doutent sans etre bien surs, et
qu'ils epient au-dedans d'eux-memes avant de lui laisser prendre l'essor.
Ou est en cela toute cette ressemblance qu'on ne cesse de
m'objecter?"[111]

The years have passed, and critics have fully justified this plea. The
most convincing argument is undoubtedly the examination of the plays
themselves. Leaving out of account _le Pere prudent_ and _Annibal_, the
following more or less arbitrary classification may serve to show the
predominating note in each comedy:--

I. Surprises de l'Amour.--The two _Surprises de l'Amour_ (1722 and 1727),
_la Double Inconstance_ (1723), _le Denouement imprevu_ (1724), _le Jeu de
l'Amour et du Hasard_ (1730), _les Serments indiscrets_ (1732), _l'Heureux
Stratageme_ (1733), _la Meprise_ (1734), _le Legs_ (1736), _les Fausses
Confidences_ (1737), _la Joie imprevue_ (1738).

II. Comedies de caractere.--_La Fausse Suivante_ (1724), _le Petit-maitre
corrige_(1734), _la Mere confidente_ (1735), _les Sinceres_ (1739),
_l'Epreuve_ (1740).

III. Comedies de moeurs.--_L'Heritier de Village_ (1725), _l'Ecole des
Meres_ (1732), _le Prejuge vaincu_ (1746).

IV. Comedies heroiques.--_Le Prince travesti_ (1724), _le Triomphe de
l'Amour_ (1732), _la Dispute_ (1744).

V. Comedies philosophiques.--_L'Ile des Esclaves_ (1725), _l'Ile de la
Raison_ (1727), _la Colonie_ (1729).

VI. Comedies mythologiques.--_Le Triomphe de Plutus_ (1728), _la Reunion
des Amours_ (1731).

VII. Comedies feeries.--_Arlequin poli par l'Amour_ (1720), _Felicie_
(1757).

VIII. Fantaisie.--_Les Acteurs de bonne foi_ (1757).

Comedies which have been lost, wholly or in part, cannot be classified;
but the following list may be of value for reference: --_L'Amour et la
Verite_ (of which the prologue only has come down to us), _la Commere_,
_l'Heureuse Surprise_ (possibly the same as _la Joie imprevue_), _l'Amante
frivole_, _la Femme fidele_ (fragments of which play have been printed by
Lar