lively conversational play of a beautiful mouth.

But in wit she is no rival of Celimene. What she utters adds to her
personal witchery, and is not further memorable. She is a flashing
portrait, and a type of the superior ladies who do not think, not of
those who do. In representing a class, therefore, it is a lower class,
in the proportion that one of Gainsborough's full-length aristocratic
women is below the permanent impressiveness of a fair Venetian head.

Millamant side by side with Celimene is an example of how far the
realistic painting of a character can be carried to win our favour; and
of where it falls short. Celimene is a woman's mind in movement, armed
with an ungovernable wit; with perspicacious clear eyes for the world,
and a very distinct knowledge that she belongs to the world, and is most
at home in it. She is attracted to Alceste by her esteem for his
honesty; she cannot avoid seeing where the good sense of the man is
diseased.

Rousseau, in his letter to D'Alembert on the subject of the Misanthrope,
discusses the character of Alceste, as though Moliere had put him forth
for an absolute example of misanthropy; whereas Alceste is only a
misanthrope of the circle he finds himself placed in: he has a touching
faith in the virtue residing in the country, and a critical love of sweet
simpleness. Nor is he the principal person of the comedy to which he
gives a name. He is only passively comic. Celimene is the active
spirit. While he is denouncing and railing, the trial is imposed upon
her to make the best of him, and control herself, as much as a witty
woman, eagerly courted, can do. By appreciating him she practically
confesses her faultiness, and she is better disposed to meet him half-way
than he is to bend an inch: only she is _une ame de vingt ans_, the world