observation, and as quick an instinct for theatrical effects; he
exhibits in the _Chevalier a la Mode_ and the _Bourgeoises a la Mode_,
if not with exact fidelity, at least in telling caricature, the
struggle of classes in the society around him, wealth ambitious for
rank, rank prepared to sell itself for wealth. The same spirit of
cynical gaiety inspires the _Double Veuvage_ of Charles Riviere
Dufresny (1655?-1724), where husband and wife, each disappointed in
false tidings of the other's death, exhibit transports of feigned
joy on meeting, and assist in the marriage of their respective lovers,
each to accomplish the vexation of the other. Among such plays as
these the _Turcaret_ (1709) of Lesage appears as the creation of a
type, and a type which verifies itself as drawn with a realism powerful
and unfaltering.

In striking contrast with Lesage's bold and bitter satire are the
comedies of Marivaux, delicate indeed in observation of life and
character, skilled in their exploration of the byways of the heart,
brilliant in fantasy, subtle in sentiment, lightly touched by the
sensuality of the day. Philippe Nericault Destouches (1680-1754) had
the ambition to revive the comedy of character, and by its means to
read moral lessons on the stage; unfortunately what he lacked was
comic power. In his most celebrated piece, _Le Glorieux_, he returns
to the theme treated by Dancourt of the struggle between the ruined
noblesse and the aspiring middle class. Pathos and something of
romance are added to comedy.

Already those tendencies which were to produce the so-called _comedie
larmoyante_ were at work. Piron (1689-1773), who regarded it with
hostility, undesignedly assisted in its creation; _Les Fils Ingrats_,
named afterwards _L'Ecole des Peres_, given in 1728, the story of
a too generous father of ungrateful children, a play designed for
mirth, was in fact fitter to draw tears than to excite laughter.
Piron's special gift, however, was for satire. In _La Metromanie_
he smiles at the folly of the aspirant poet with all his cherished
illusions; yet young Damis with his folly, the innocent error of a
generous spirit, wins a sympathy to which the duller representatives
of good sense can make no claim. It is satire also which gives whatever
comic force it possesses to the one comedy of Gresset that is not
forgotten: _Le Mechant_ (1747), a disloyal comrade, would steal the
heart of his friend's beloved; soubrette and valet conspi