INTRODUCTION XI

Finally Turcaret does beyond cavil surpass in two directions: I comic power, and açute. observation. \ Scène after scène are < wliat the Y re'nch call^la bonne comédie." The movement is rapid, the situations are most skilfully arranged, the speeches glitter with wit.

And if Lesage lacks somewhat in niceness of characterization, he compensâtes by his wonderful power of photographie obser- ' vation and reahstic description.^ Turcaret represents Hfe as Lesage saw it about him. , Like the contemporary naturaliste^ he does not attempt to philosophize;LheJs content to présent things exactly as he sees them; he leaves his picture, dark as its shadows are, to tell its own story, and to enforce its own

lesson — if lesson it has. \

^ In respect to both his lack of a " philosophy " and his realistic gifts, it is interesting to compare Lesage with his English contemporary, Defoe.

Note: — The text of thi s édition of Turcaret \%^2± of the Raynouard édition of 1821. It has not been found necessary to abridge or eut the play in any way. The only altérations made are a few trifling changes in the style of printing or punctuation ; thèse, in no case, however, affect the sensé.

I take this opportunity of thanking Professer E. S. Sheldon of Harvard for assistance kindly rendered in connection with some of the notes.

- W^4 lii-A ^

BIBLIOGRAPHY'

Lesage: Œuvres ^ éd. Raynouard, 12 vols., 1821.

Turcarety éd. F. de Marescot, Paris, 1872. Théâtre, éd. Georges d'Heylei, Paris, 1879. Œîivres, Théâtre, éd. F. Dillaye, Paris, 1879.

Dancourt : Œuvres Choisies, 1810.

Barberet: Lesage et le Théâtre de la Foire, 1887.

Brunetière: Epoques du Théâtre Français, Paris, 1893. E tildes Critiques, III, 4th éd., Paris, 1898.