CHAPTER X GENERAL CLASSIFICATION OF HUMAN BEINGS.

General Classification of Human Beings CHAPTER X I PLAN OF THE CLASSIFICATION Each of our 12 Types will necessarily be divided into two, according to the TWO SEXES which affect it. How many are the masculine roles for which we find no feminine equivalent in literature, or even in history, equally blind and partial, it would seem, by contagion! The simple observation of this fact alone suffices to cause to spring up in each of these lacunae a feminine type heretofore unperceived. To this useful evocation, announced in the early pages of this book, the present chapter will be primarily devoted. But the binary subclassification of our human Museum will soon become quaternary, as soon as we shall observe it in the light of the two great aspects of life, the TRAGIC and COMIC. And even from the colorless mass of intermediaries ("serious characters," a species of hermaphrodite adapted to double usage) how many phantoms may be brought under one or another of these lights to be animated! We have already seen the devel opment of this method in Chapter III (NEW COMBINATIONS), and have seen thus produced by the combination of Comic and Tragic characters, the secondary series of characters Parodic, Paradoxical, Odious presented sympathetically, Sympathetic rendered repugnant, Grotesque treated seriously, Serious treated with derision, etc. Finally, we shall see, at the end of the following chapter, how this quadruple hypostasis, inevitable for each of our 12 divine Types (male and female, tragic and comic) will be multiplied by the various ages of life and the various social ranks, in which, turn by turn, it may be studied. What penury we find, in our letters, of Old People differentiated one from another! How little varied are the Bachelors, or the Children! In contrast to the Intellectual (brahmin, artist, scholar, etc.), to the Warrior and to the Man of Money (bourgeois, merchant, etc.), how little shaded are the people of the masses! Even our "naturalistic" writers still confound the souls of a cabinet-maker of the Faubourg St. Antoine, of a mason, of a day-laborer, that modern pariah without hope, and of that pretentious aristocrat the house-painter! We shall content ourselves, in this classification neglecting for the moment the questions of Rank and Age as secondary nuances with submitting the tetrad which inevitably results from the two sexes and the two principal aspects, comic and tragic, to a simple TERNARY SUBDIVISION of each Divine Type. We may, in short, inscribe under Vesta (whose line forms, it will be remembered, the frontier between idealization and emotion) natures PIOUS and FAITHFUL, placing between them the SAGES in the broadest sense of the word. Under Juno (ARETE, as we have seen, between activity and possessivity) we place natures JEALOUS and SEVERE; between them the VINDICTIVE. Under Neptune (possessivity and idealization or abstraction) will be ranged the AVARICIOUS and AMBITIOUS, flanking the DESPOTIC. Under Minerva (idealization and self-manifestation) natures ELOQUENT and DARING, and between these two groups the ADVENTURERS. Under Venus (emotionalism and materialism) we will inscribe the SEDUCTIVE and the VICIOUS, on either side the PROSTITUTES. Under Apollo (emotion and self-manifestation) natures PASSIONATE and ARTISTIC, between them that which our century, fathoming an antique presentiment, has called the FATED or ILLSTARRED. Under Mercury (who marks the limit of abstract idealization and energetic activity) will be disposed the SHREWD and the UNSCRUPULOUS, beside the TRAITOROUS and PERFIDIOUS. Under Jupiter (self-manifestation and activity) natures ARROGANT and PROTECTING; between these groups the LOFTY and MAJESTIC. Under Ceres (materialism and possessivity) the PRODIGAL and the PRACTICAL, between them inserting the SENSUAL. Under Vulcan (manifestation and materialism) the LABORIOUS and also the DUPED or DELUDED, between whom the SELF-SACRIFICING will take their place. Under Mars (energetic activity and materialism) natures VIOLENT to a murderous degree, and the most AUDACIOUS, surrounding the REBELLIOUS. Finally, under Diana (emotion and possessivity) the SENTIMENTAL and the CHASTE, succeeding to the WEAK or TIMID. The terms of the classification are necessarily imperfect and too elastic, and less important than the groups themselves, under whose heads I have used them only in default of better; each of these 36 groups exhibits nevertheless a remarkable coherence, and it is this alone which concerns us- This coherence will extend to each one of the sub-groups. These will present themselves in variable numbers, thus providing lacunae more and more numerous, which we shall observe and measure in descending into the individual realities here explored. But their number, although variable, tends always, in curious fashion, toward the Dozen. II CLASSIFICATION

VESTA

I THE Pious

1. The Constant. Examples: besides the Virgin, the purest of the Saints, the Mexican Koatlikoe, the Hindu Aghdi and Andjani, Liane (in Richter's TITAN); Louis IX, Joachim in THE POWER OF DARKNESS. This category does not admit of parody, a case perhaps unique. A nuance of serene resignation, that of Job or of Celestin V, is wanting in the feminine examples (apart, of course, from the Virgin). 2. Religious Scholars, Theologians: TCHANG THE ANCHORET, Aeneas, St. Thomas Aquinas. In the feminine: Peta, Anouke the Egyptian, Beatrice (PARADISE), Clementine de Rothschild, St. Gertrude. In this last there appears, in softened and milder form, the venerable physiognomy of Friar Laurence (ROMEO AND JULIET), Friar Bonaventure (in Ford's 'TIS PITY . .)> Mordecai (ESTHER), Noah under his various names, Hebrew, Chinese, Hindu, Aztec, Chaldean, etc. 3. Mystics: Madame Swetchine, Marie Alacoque, Bernadette, SALAMMB6, Angelique (Zola, LE RfivE), HANNELE MATERNE; Don Sebastian (Calderon, FOR SECRET OUTRAGE . .), Ruben (in Picard's JERICHO). Nekhludoff (in Tolstoi's RESURRECTION) connects this type with modern humanitarianism. 4. The Superstitious (the comic aspect of 2 and 3). Examples: masculine, none; feminine, possibly the vague Madame de Noares (BOUVARD AND PECUCHET). Menander had painted Phidias as THE SUPERSTITIOUS, in using the 14 fundamental traits indicated by THEOPHRASTUS. 5. Bigots. Examples are few. What fine parodies of 6 and 7 could here be made! 6. The Ardently Devout. Examples: BARLAAM (St. John Chrysostom), POLYEUCTE, THE CONSTANT PRINCE (Calderon), SAINT LUDWINE (Huysmans), THEODORE (Corneille). 7. Fanatics: TORQUEMADA, Pastor Kroll (Ibsen, ROSMERSHOLM), Jin THE FANATIC of the Chinese theatre; the Protestant Madame Moise Piedefer and the Catholic Angelique de Granville (Balzac, THE MUSE OF THE DEPARTMENT, A DOUBLE FAMILY), MADAME GERVAISAIS (the Goncourts). 8. Hypocrites are not connected with this group except as its opposites; they are to it what Braggarts are to the Brave. After Plutarch, La Bruydre carefully indicated the identity of the hypocrite, the unbeliever and the libertine ; Molidre also, in his DON JUAN as in his TARTUFE. Examples: Thwackum in Fielding's TOM JONES, the modern and philanthropic De Climal (Man. vaux, LA VIE DE MARIANNE). Feminine examples are less marked: Papelardie in the ROMAN DE LA ROSE, or the Marta of the genial Tirso de Molina. 9. The feminine sex alone, however, has given consistent Prudes to literature: Arsino6 in Moliere, GLYCfiRE (La Bruyere, CHARACTERS), and, more sympathetic, LA FAUSSE AGNES and Angelique in THE PARISIENNE (Destouches). 10. Hypocrite by Necessity, Madame Graslin (Balzac, C6UNTRY PARSON) is connected with 11. Tragic Hypocrites: Cromwell, Elizabeth of England. There are few good modern studies. II --THE WISE I trust the Hellenists will here pardon me: the Wise appear to me to belong to Vesta, even though captured, in adventurous Greece, by Athene, whom we have seen grow equally at the expense of Ares, Artemis, Hermes and Apollo. Let us first inspect the cortege of 1. The Impious: THE LIBERTINE (Lessing); Barbarina (Gozzi, THE GREEN BIRD). 2. Sarcastic Philosophers : Voltaire, Mephisto, Schopenhauer; feminine examples are lacking. 3. They are likewise lacking for the Sceptics: Dr. Relling (Ibsen, THE WILD DUCK). 4. Jovial Sages: Rabelais, Guido Cavalcanti (Boccacio, DECAMERON VI, 4), Luc (Gorki, THE LOWER DEPTHS). Olympe (Dancourt, THE PARISIENNE) is weak by comparison. 5. JEsopic Sages: JEsop in the two comedies of Boursault, the Socrates of the BANQUETS, Melchisedec (Decameron I, 3), that prototype of NATHAN THE WISE, the ingenious and loquacious M. Bergeret; the young Chinese woman, PEACH-BLOSSOM, and, in Plutarch, the wife of the covetous Pythes. 6. Adventurous Sages: ZANONI (Bulwer- Lytton), the Marquis de Posa (DON CARLOS), Anarcharsis, Abaris the Hyperborean, ARCHYTAS DE METAPONTE (Mazel) and his Theano; Parthenia (Halm, INGOMAR THE BARBARIAN). 7. Soothsayers and Good Counsellors: the Argonaut Idmon, Helenus, Protes, Poltis the Thracian king; Egeria, Cassandra, the Sybils, Bertha and Gertrude in WILLIAM TELL. 8. Healers: Borvo the god of Gaulish origin and his wife Damona, Aesculapius, the physicians of the modern novel and the MIRES of the Middle Ages, as much masculine as feminine; not a single case of the latter sex has been well drawn in literature. 9. Venerable Sages: Prospero (THE TEMPEST), Nestor, Naimes (CHANSON DE ROLAND), Sahadeva; feminine, Marguerite de Parma (EGMONT). 10. Sad or Stern Sages: Cato (PHARSALIA), Hegesias, the Buddha; Anne (d'Annunzio, THE DEAD CITY). 11. Feeble Sages: Lambert (Claudel, LA VlLLE), Titurel (PARSIFAL); no feminine examples. 12. Sages of Comic Aspect: Primrose in THE VICAR OF WAKEFIELD. 13. Simple Sages: Vincent (Mowinsky, THE BLOWS OF FATE), the FIELD MOUSE (La Fontaine). t 14. Sages of Deep Understanding: Christine de Pisane, Blanche of Castile, Isabella (Lope, DISCOVERY OF THE NEW WORLD), Juliana D'Acosta; Sully. 15. Intellectual Sages: Dr. Nangel (Ibsen, THE LADY FROM THE SEA), Liu-thong-pin in THE TRANSMIGRATION OF YO-CHEOU. 16. Prudent Sages: Northumberland in KING HENRY IV, the wandering ascetic in SAKUNTALA; no feminine examples unless it be in comedy, the Elise, Eliante and Henriette of Moliere. 17. Home-lovers: Domicius the god of the home, the Lares and Penates, Deverrona. No particularized literary studies. III THE FAITHFUL 1. Spouses: Penelope (ODYSSEY), Sita (RAMAYANA), Tchaou-nyang (THE Pl-PA-KI), Kadidjah, Madame Stockmann (AN ENEMY OF THE PEOPLE), Savitri (MAHABHARATA), Marguerite de Provence, etc. Masculine examples are rare: Xedor the Japanese saint, and the husband in LA DORMEUSE (A. de. Lorde). 2. In Comedy: Angela (Gozzi, THE STAG KING), Elvire (TARTUFE); no masculine examples- 3. Spouses Faithful from Duty alone, without Love. Examples: masculine, none; feminine: Monime (BAJAZET). 4. Faithful even to Sacrifice: Madame Hulot (COUSIN BETTE), Madame Claes (QUEST OF THE ABSOLUTE), Silvia (d'Annunzio, GlOCONDA), Madame Royre (Bernstein, JOUJOU). No masculine examples. 5. Constant Fiancees: Solveig (PEER GYNT), Elizabeth (TANNHAUSER), Julie (NOUVELLE HELOISE). One masculine example, which comes from the Far East: the student Kouo-hoa in THE PLEDGED SLIPPER. 6. Sacrificed Mistresses: GERTRUDE (Bouchinet), LA RICKE DU PASTEUR (Erik Schlaikjers). See others under Diana. The masculine type hardly exists. 7. Obstinately Faithful Widowhood: ANDROMAQUE, Cornelia (PHARSALIA), Madri (MAHABHARATA), Arganthonis (Parthenius, EROTICS), Jacques Brigaut (Balzac, PIERRETTE). 8. Misunderstood Fidelity: SAKUNTALA, Genevieve de Brabant, (Tieck, Jean Conan), Griselda (Boccacio, Silvestre), BERTHE AU GRAND PIE (Adenes le Roi); masculine examples, different enough: COLONEL CHABERT (Balzac), JACQUES DAMOUR (Zola). 9. Fathers and Mothers: Dacaratha (RAMAYANA), Timour (Gozzi, TURANDOT), OLD GORIOT (Balzac), A#se (PEER GYNT), Sabine (Hervieu, THE TRAIL OF THE TORCH). In comic aspect: Pantalon (Gozzi, THE STAG KING), Sostrate (Terence, HAUTONTIMORUMENOS). 10. Comic Brothers: no notable cases. Comic Sisters: BRIGITTE (Meilhac and Halevy), Serious: Bartholomew Columbus (Lope, DISCOVERY OF THE NEW WORLD), Valentine (FAUST); they are much inferior to the Sisters: ELECTRA, Anna (Marlowe, DUX)). 11. Daughters and Sons: ANTIGONE, Cordelia (LEAR), TELEMAQUE, TCHAO-LI, Pourouvaca, Lausus (AENEID). No interesting examples in the comic genre. 12. Other Relatives: LA GRAND' MERE (Hugo), the aunts Zephirine de Guenic and Countess d'Esgrignon in Balzac's BEATRIX ; sisterin- law, his Duchess de Soria (MEMOIRS OF TWO YOUNG WIVES); nieces, his Pierrette Cambremer (A SEA-SHORE DRAMA) ; daughter-in-law, the surprising Li in SlE-JIN-KOUEI; UNCLE VANIA (Chekhov) and the Abb6 Lefvre, uncle of LOUIS LAMBERT. 13. Adoptive Parents: MANOUNE (Marni), Josabeth (ATHALIE), BENOITE (AND BENOIT, Haraucourt) ; Ananda, St. Joseph. For Fosterers see Vulcan. 14. Disciples: The Apostles, the Holy Women. 15. Friends: No good feminine types in the comic but LlDOIRE (Courteline) ; the academician Ho-tchi-tchan (THE GAGE OF LOVE). In the tragic: the Princess de Lamballe, Isabelle (Zelinski, BARBARA RADZIWILL) and Mile Gay (Duranty, FRANCOISE DE QUESNAY) do not equal either Pylade or Schmucke (COUSIN PONS) or Paz (THE FALSE MISTRESS) or Horatio (HAMLET). JUNO I THE JEALOUS 1. Wives and Husbands: Dejanira (THE TRACHINIANS etc.), MJ&ROPE, OTHELLO, MITHRIDATE, ANGELO. Comic: the husband confessor in Boccacio and various "Sganarelles" who will be found under Vulcan; Alcmene (AMPHITRYON). 2. Lovers: Comic feminine example : the Marquise (Baron, LE COQUET TROMPE); tragic: Hermione, MARIE TUDOR. Tragic masculine example : Montes de Montejanos (COUSIN BETTE); comic: Robin (LE JEU DU BERGER ET DE LA BERGERE), Albert (LES FOLIES AMOUREUSES), FLORENTIN (La Fontaine). 3. Jealous Adulterers: there are few but tragic and feminine cases: Roxane (BAJAZET), Vasilissa (Gorki, THE LOWER DEPTHS), Addle (Descaves and Donnay', LA CLAIRIERE). 4. The Scorned and Revengefully Jealous: Countess Orsina (Lessing, EMILIA GALOTTl), MADAME DE LA POMMERAYE (Diderot); Fulbert the butcher of Abelard. No comic examples. 5. Jealousy without the Desire of Possessing: Diana de Belflor (Lope, THE GARDENER'S DOG). No equivalent masculine case. 6. Love through Jealousy: Morin (Candillot, CONJUGAL DUTY). Few distinct feminine examples. 7. Retrospective Jealousy: Michel (Wilhelm Feldmann, THE SHADOW); the too theoretical Svava Bjornson, A GAUNTLET). 8. Jealousy of a Pure Affection (for a child): George Braux (Fleg, THE MESSAGE) ; no feminine examples. There is no symmetric masculine for Heldne d'Aiglemont drowning her little brother from jealousy (A WOMAN OF THIRTY). 9. Jealousy of Friends: no examples. 10. Jealousy of a Mother's New Loves: the little Grandjean (Zola, UNE PAGE D'AMOUR). 11. Of a Father's: no examples. II THE VENGEFUL AND JUST 1. The Passionately Revengeful: ROUSSALKA (Pushkin), Olympias the terrible mother of Alexander the Great ; Jean-sans-peur, MONTE CRISTO. No comic examples. 2. Righteous Avengers of their Cause: Gideon. No comic examples. 3. The Irascible: Madame Guillemot (Boursault, LE MERCURE GALANT); THRASILLE (La Bruyere). There are no romantic and almost no tragic examples. 4. Avengers of their Honor: Vera Gelo, Mathilde (Frank Verax, Sanglante probldme) ; Don Diego in THE ClD. No comic examples. 5. Avengers of the Honor of Relatives: Triboulet (LE ROI S'AMUSE), Odard (EMILIA GALOTTl) ; few good feminine examples. 6. Avengers of Kindred: Hamon (Beaumont and Fletcher, ROLLO); Emilie (ClNNA), the ROSAMONDES of Rucellai and of Alfieri; Constance (KING JOHN), Althee. 7. Avenger of a Mistress: Tuzani (Calderon, LOVE AFTER DEATH): of a wife: Macduff; of a husband or lover: LA TOSCA (Sardou). 8. Avenger of Friends : SON POTEAU (Metenier). No symmetric example in the other sex. 9. Avenger of Compatriots: Xenocrite ridding Cumes of the tyrant Aristodeme the Delicate, Charlotte. Corday, Judith; see the following group, also masculine examples under Tyrannicides in Mars. 10. Judges or Enforcers of Justice: Nemesis and her counterparts in various paganisms; Aeschylus (Alfieri, TlMOLEON), the elder Brutus. A parody, which is lacking in the preceding case, is here sketched in Ibsen's Gregers Wefle (THE WILD DUCK). Ill THE STRICT AND SEVERE 1. Unmerciful Scolds: Grietje (Mitchell and Leborne, THE ABSENT) insufficiently counterbalances the physician Coitier (Delavigne, LOUIS XI) or Brother Archangias (Zola, LA FAUTE DE L'ABBE MOURET). These are parodied in 2. Grumblers and Faultfinders: Madame Pernelle (Tartufe), Madame Grognac (Regnard, LE DISTRAIT); Clistorel, that Coitier of comedy (Regnard, LE LEGATAIRE), Geronte in LE JOUEUR, THE PHILOSOPHER MARRIED (Destouches), Antiphon, (Plautus, STICHUS), Simon, Demea, Demiphon, and Menedemus in the works of Terence, a specialist in this type. 3. THE MISANTHROPE of Molidre, purely comic, derives from this class. There are no feminine examples for this, nor for the more serious case of Jacques (As YOU LIKE IT). 4. Misogynists: We have lost Menander's, who was called Demyle. Lessing's MISOGYNIST is Wumshoeter, La Fontaine's is Anselme (THE ENCHANTED CUP). The corresponding feminine man-hater is lacking and both masculine and feminine are lacking in the tragic! 5. Puritans: Pastor Holm (Engel, ON THE WATERS) ; Miss Stevens in Balzac. 6. Scathing Critics: TlMON OF ATHENS, the Prophets, Juvenal, Leon Bloy; no feminine examples. Cato and Jean-Jacques lead to 7. Malcontents: Prince Andrei (Tolstoi, WAR AND PEACE), parodied in 8. The Morose and Churlish: Leroy (Janvier, LES APPELEURS). 9. The Harsh and Resolute: Stockmann (ENEMY OF THE PEOPLE), Burrhus (BRITANNICUS) , Michael Angelo; comic: William Thornwill in THE VICAR OF WAKEFIELD. Neither 6, 7 nor 8 has good feminine examples, nor has 10. The Sarcastic: Mauly in THE PLAIN DEALER (Wycherly). Thersite la Brige, in Courteline, leads to 11. The Litigious: Lanternois and Chiquinoux in PANTAGRUEL, Protais (Mickiewicz, THADDEUS SOPLITZA); the Countess de Pimbeche (LES PLAIDEURS, Chicane (LUTRIN). 12. Vixens and Scolds : Xantippe; LaBruyeYe's DISAGREEABLE MAN, his BUSYBODY and his CRABBED MAN. In the tragic : Eleanor of Acquitaine, Amate and Juno in the ILIAD. Here masculine examples are lacking. 13. The Uneven-tempered: La Bruyere's EUTICHRATE has as yet no worthy feminine. Nor has the following: 14. The Headstrong: L'OPINIONATRE (Brueys), nor 15. THE SINGULAR MAN (Balzac). NEPTUNE I THE GREEDY AND AVARICIOUS 1. The Selfish: Dr. Halpersohn (Balzac), Madame Kriwdine (Mowinsky, THE BLOWS OF FATE). More dramatic: Klechtch (Gorki, THE LOWER DEPTHS), Madame Ambroise (Decameron VIII, 1). 2. The Covetous: Louise of Savoy, MANETTE SALOMON (Goncourt) ; Remonencq (COUSIN PONS). Comic: the Fish-vendors of the Greek drama, Rabelais' Dindenault. 3. Speculators, Stock-jobbers, etc.: TURCARET, MERCADET, Isidor Lechat (Mirbeau, LES AFFAIRES. . . ), Saccard (Zola, LA CURE, L'ARGENT, etc. There are no feminine examples, at least in literature. Nor are there for the 4. Unscrupulous Rascals: Kovacs (Zola, THE LAND), Prince Basil (Tolstoi, WAR AND PEACE). 5. The Criminally Covetous: Tarpeia, Taillefer in Balzac, Buteau (Zola, THE LAND), Dick Hatteraick (Scott, GUY MANNERING). No comic examples. 6. Cajolers of Parents or Rich Masters: Madame Massin-Bevrault (URSULE MlROUET), Francoise (A DOUBLE FAMILY), Voltore and Corvino (Ben Jonson, VOLPONE). 7. Go-betweens and Procurers: the Lenons of the Greco-Latin stage, Kaled (Chamfort, THE SLAVE-DEALER), Bordenave (Zola, NANA), MADAME CARDINAL (Halevy), MACETTE (Regnier). 8. Keepers of Gaming Houses: Feminine ex amples are wanting in literature. Masculine: the Croupier in THE EARTHEN CHARIOT (Sudraka), Lie-chi-ki-ouen (THE STORY OF THE RIVER BANKS). 9. Keepers of Opium Dens: One feminine example in THE MYSTERY OP EDWIN DROOD (Dickens). 10. Saloon-keepers : No thorough study as yet. 11. Usurers: Madame la Ressource (Regnard, LE JOUEUR), poorly counterbalances GOBSECK and his twelve rivals of THE HUMAN COMEDY, Shylock, Barrabas THE JEW OF MALTA (Marlowe). 12. Misers: Harpagon follows old precedents ; Euclion (Plautus, AULULARIA), Isaac of York Tragic: Koujin the Chinese MISER, GRANDET. Feminine examples, either tragic or comic, are mediocre. 13. Luxurious Misers: the Baroness in LE CHEVALIER A LA MODE. II THE DESPOTIC 1. Domestic Despots: GRANDET, whom we have just noted in his principal aspect under Misers; the president Walter (Schiller, CABAL AND LOVE), Commander Siesi (Butti, THE TEMPEST), Sorel (Stendhal, LE ROUGE ET LE NOIR); Madame Josserand (POT-BOUILLE), Mistress Otter (Ben Jonson, EPICOENE). 2. Imperious Despots: TURANDOT (Gozzi), SAINT-CENDRE (Maindron). 3. Tyrannical Subordinates: Gessler (WILLIAM TELL), Galerius (THE MARTYRS), Wolsey (Calderon, THE SCHISM OF ENGLAND), Haman (ESTHER). Comic: LE COMMISSAIRE and LE GENDARME of Courteline; no feminine examples. 4. Tyrannical and Lustful Subordinates: the Commissaire (Mirbeau, LE PORTEFEUILLE), LE BON JUGE (Brisson). Tragic: Appius Claudius of the innumerable VIRGINIAS, Giannetino Doria (Schiller, FlESCO). No feminine examples in lit. erature. 5. Despotic and Fanatical Subordinates: Angelique Arnauld; Saul (the future St. Paul). 6. Fanatical and Intolerant Tyrants: Catherine de Medicis (Marlowe, THE MASSACRE AT PARIS), Pentheus (Euripides, BACCHAE), Philip II in score of plays. 7. Tyrants: Catherine de Medicis after Balzac, who paints her #s shrewd and unbelieving, ATHALIE, Cleopatra (RODOGUNE); Bone in BARBARA RADZIWILL, CAMBYSES (Preston), Atar (Beaumarchais, TARARE), Grimoald (Corneille, PERTHARITE), Al-Hassan (LALLA ROOKH), Diocletian (Rotrou, SAINT-GENEST), Creon in the Tragics, ATTILA (Herbert, Corneille, Werner, Bornier), TAMERLANE (Marlowe), Napoleon. 8. Pitiless Parents: Acrisius, Orchame, Echete, etc. No good feminine examples. 9. Evil Geniuses: monsters: Satan, Ahriman and other synonyms, Adamastor (LUSIADE), Polyphemus (ODYSSEY), Polemos (Aristophanes, THE PEACE), the CYCLOPS (Euripides), the Old Man of the Dovre (PEER GYNT); ogres: Morgane (THE LOVE OF THE THREE ORANGES), L'lNTRUSE, Death in the DANSES MACABRES. 10. Base Despots: Menelaus after Euripides, Phocas (Corneille, HERACLIUS). Comic: Rabelais' Grippeminaud. Feminine examples are lacking. % 11. Voluptuous Tyrants; SEMIRAMIS (Crebillon), Catherine II, Christina of Sweden; Nero, Tiberius, Henry VIII. See also the Vicious under Venus. Ill THE AMBITIOUS 1. Ordinary Ambition : Few women: Madame Rogron (Balzac, PIERRETTE); masculine: Rastignac, THEONAS (La Bruyere), EUGENE ROUGON (Zola). No comic examples. 2. The Ambitious Troubled in Mind, or Already Guilty: Comic: Jules Hniot (Fdvre, LES BEAUX MARIAGES), Morin (Janvier, PRESTIGE). Tragic: Mouzon (Brieux, THE RED ROBE), Henri Mauperin (the Goncourts), LlUTHONG- PIN. No feminine examples either comic or tragic. 3. Presumptuous Ambition: a comic example may be found in Perrault's SOUHAITS RIDICULES; tragic: Maurice Leon in LE LlVRE DU PETIT GENDELETTRE. Feminine examples might be found among our modern poetesses and artists. 4. Forceful Ambition: Solness THE MASTER BUILDER (Ibsen), BORIS GODOUNOPF (Pushkin), CAESAR (Plutarch, Mommsen). 5. Hard Ambition: Caesar in Lucan's PHARSALIA, Jean de Giscale, Napoleon (P. Adam, LA FORCE); Mesdames Thuillier and Camusotet de Lenoncourt in Balzac are very inferior. 6. Unbecoming Ambition: the Byzantine Placidia; Caesar after Suetonius, Shakespeare's HENRY IV. 7. Infatuated by Ambition: LA MONTESPAN (Rolland); Julien Sorel (LE ROUGE ET LE NOIR), Ruggero Flamma (d'Annunzio, LA GLORIA). 8. Murderers through Ambition: MACBETH, KING JOHN, Knut the Great, the uncle of HAMLET; Agrippina, Lady Macbeth, Tullia the parricide. 9. Vague Comic Ambitions: JEROME PATUROT, a general parody of this class. MINERVA I THE DARING AND ROMANTIC 1. Daring by Circumstance: Imogene (CYMBELINE), Helena (ALL'S WELL THAT ENDS WELL), our Henri IV. 2. Greatly Daring Men: Hannibal, SERTORIUS (Corneille), David, Cyrus, Ulysses, Wainamoinen in the KALEVALA; no feminine equivalents. 3. Conspirators: Mile de Cinq-Cygne (Balzac, A DARK AFFAIR), Procida (Delavigne, SICILIAN VESPERS). Comic: Lysistrata and Praxagora (Aristophanes, ASSEMBLY OF WOMEN), Gavard (Zola, VENTflE DE PARIS), the pharmacist Don Franco (Verga, I MALAVOGLIA). 4. Daring Conquerors: Charles VIII, the young Cyrus of the ANABASIS, Brutus, legendary founder of England (THE BRUT) and other great colonizers, Dardanus, etc. 5. Knightly Adventurers: LOHENGRIN, Perseus, St. George, AMADIS, ANTAR the Arab, EVIRADNUS (Hugo), HUON (Wieland). A parody: DON QUIXOTE. Feminine: the Valkyrie, THE AMAZONS (Mazel), Jeanne d'Arc. 6. The Chevaleresque : tragic: ALEXANDRELE- GRAND (Racine), the hideous and good Tchang- KOUE (THE VICTORY OVER DEMONS), La Fayette. Comic: Pickwick (Dickens) and Mattheus (Erck mann-Chatrian) belong rather to the Utopian type of Apollo. 7. Explorers: Christopher Columbus, Livingstone, Marco Polo, the Conquistadores, the heroes of Jules Verne; Lady Hester Stanhope, Madame Dieulafoy, etc., are inferior. In the comic there are only masculine examples: GULLIVER, PETER WILKINS. 8. Travellers: comic: CAPTAIN PAMPHILE (Dumas), Evelpide (Aristophanes, THE BIRDS); tragic: ROBINSON CRUSOE, JAMBULE, Nauplius (Sophocles, THE NAVIGATIONS), Sindbad, WILHELM MEISTER. 9. The Curious and Imprudent: Psyche, Eve, Pandora, Elsa (LOHENGRIN), Bluebeard's wife and, in the comic, Schirina (Gozzi, TURANDOT) and L'lNDISCRETE (Destouches). Masculine, tragic: Actaeon; comic: LE CURIEUX IMPERTINENT (Destouches). 10. The Romantic: Jehan de Paris, Prince Rodolphe (Sue, THE MYSTERIES OF PARIS), Valentin (Sandeau, LA CHASSE 'AU ROMAN); feminine, tragic: Ellida THE LADY FROM THE SEA (Ibsen), Bettina von Arnim; no good comic examples. 11. Daring in Love: MADEMOISELLE DE MAUPIN (Gautier), CAPTAIN THERESE (Bisson and Planquette), LA CAVALIERE (Jacques Richepin), Jessica in THE MERCHANT OF VENICE. There are no strictly corresponding masculine types; they oscillate between 11 and 12. The Daring by Nature: D'Artagnan and other heroes of cloak and sword; Hilda in THE MASTER BUILDER. II ADVENTURERS 1. Adventurers Painted by their Enemies: the Conquistadores, Routiers, etc. 2. Adventurers by Nature: GIL BLAS, DON PABLO DE SEGOVIA. 3. Corsairs, etc.: JEAN-BART (Haraucourt) , CAPTAIN PAUL (Dumas), Duryodhana (MAHABHARATA), Roger de Flor, the CONDOTTIERI. 4. False Pretenders: Demetrius (Schiller, Pushkin), the heroes of THE IMPERIAL DRAGON (Judith Gautier), the false Smerdis, Naundorff. No feminine examples. 5. Criminal Adventurers: Buridan (LA TOUR DE NESLE), Cartouche, MOLL FLANDERS, (Defoe); comic: Don Caesar de Bazan (RUY BLAS). 6. Mysterious Strangers: THE FLYING DUTCHMAN, the Stranger in THE LADY FROM THE SEA (Ibsen), the Byronic heroes, THE BLUE BIRD. No feminine examples. 7. Intellectual Adventurers: Benvenuto Cellini, Beaumarchais, Villon, the Trouvdres. No feminine examples. 8. Plotters: Therese Humbert, LA FEMME D'INTRIGUES (Dancourt), the Countess in DER GROSSKOPHTA (Goethe); VOLPONE, ROBERT MACAIRE, ZYGMUNT PODFILIPSKI (Wissenhoff). 9. Occultists: THE ALCHEMIST (Ben Jonson), DER GROSSKOPHTA (Goethe), Chaffery (Wells, LOVE AND MR. LEWISHAM), Dousterwivel (Scott, THE ANTIQUARY) ; Mile Lenormand, Madame Fontaine (THE HUMAN COMEDY). 10. Tragic Sorcerers: the heroes of LE LAC NOIR (Bordeaux); LA SORCIERE and other repugnant criminals. 11. Liars: LE MENTEUR (Corneille), MONSIEUR DE CRAC (Harleville). No good tragic masculine examples; no good comic feminine examples. A sad feminine example is LA MENTEUSE (Daudet). Ill THE ELOQUENT 1. Imaginative Story-tellers: Ulysses (ODYSSEY), the Hindu Vampire of the 25 TALES OF THE VAMPIRE; Scheherezade. Tragic: the Author . of the Parables. 2. The Loquacious: Oriane and Elise (Boursault, MERCURE GALANT); the Marquis in THE COUNTRY HOUSE (Dancourt), Dinacion (Plautus, STICHUS). 3. Fluent and Ready Talkers: MADAME ANGOT, MADAME SANS-GENE (Sardou); Molidre's Dorine and Martine. No symmetric masculine examples. 4. The Garrulous: Milpertius (Flers and Caillavet, LE SIRE DE VERGY). No notable feminine examples. 5. The Witty: Mercutio, Benedict; Rosalind, Beatrice. 6. Jesters and Banterers: Regnard's Marine and Lisette (LA SERENADE, LE DISTRAIT), Baron's Marton tmd Marion (THE JEALOUS, THE COQUETTE and THE SHAM PRUDE) ; the Satirics. 7. Mystificators and Mockers: Panurge (PANTAGRUEL), Cabrion (MYSTERIES OF PARIS), Truewit (Ben Jonson, (EPICOENE). Few women. 8. Brazen Boasters: Cleon (Aristophanes, THE KNIGHTS), NUMA ROUMESTAN (Daudet), RABAGAS (Sardou). No good feminine examples. 9. The Eloquent: John Chrysostom, a greater than Demosthenes and Pericles. Feminine reductions: Portia (MERCHANT OF VENICE), Sophia (Beaumont and Fletcher, THE LITTLE FRENCH LAWYER). 10. Adventurers Luring and Misleading by their Language : Bassanio, Lemminkainen (KALEVALA) VENUS > I THE SEDUCTIVE AND SEDUCING 1. Seductive and Persuasive Talkers: Leicester (Schiller, MARY STUART). 2. Seduction and Base Conduct : IRIS (Pinero) ; Paris (ILIAD), Egisthus in the Tragics, Mahomet (Lope, CONQUEST OP GRANADA), Leon (MADAME BOVARY). Comic: Agathon (Aristophanes, THE FEASTS OF CERES AND PROSERPINE); no similar satire in the feminine. 3. Ingenuous Impurity: Cherubin (MARRIAGE OF FIGARO), TOM JONES (Fielding), LE PETIT AMI (Leautaud); Nicette (LA CHERCHEUSE D'ESPRIT, Favart). 4. Lofty Allurement: Aspasia, the future St. Aglae of THE MARTYRS, Beatrice, Laura; St. John the Evangelist. 5. The Pretentious: MADAME GlBOU and various "snobs." 6. Tender Coquetry: Anne the wigmaker (LUTRIN), Criseis (Regnard, DEMOCRITE). No masculine examples. 7. Coquettes in Love: Titania (MIDSUMMER NIGHT'S DREAM), Pyrrha (DEUCALION AND PYRRHA, St. Foix), the Countess (Marivaux, SURPRISES OF LOVE); masculine: Aubert (Adam de la Halle, LE JEU DU BERGER ET DE LA BERGERE), RoySre (Bernstein, JOUJOU), CLAVIGO (Goethe). 8. Coquettes par excellence: LA VIE DE MARIANNE (Marivaux); the symmetric masculine would necessarily be ridiculous. 9. Fickle Triflers: The traditional Marquis of repertoire has no tragic side. Comic feminine examples: Madame de Plouah (Donnay, LA BASCULE); tragic: Ida de Barancy (Daudet, JACK), Marie-Louise (Pouvillon, LE ROI DE ROME) and Rostand (L'AlGLON). 10. The Immodest and Provocative: Rosette (Gautier, MLLE DE MAUPINJ, many heroines of Boccacio. A symmetric masculine is Butti's Aldo (THE PATH OF PLEASURE). 11. Great Seducers: Don Juan (Tirso de Molina and two score authors of various lands), Lavedan's MARQUIS DE PRIOLA; Celimdne, Laura (Lope de Vega, The Mill), Cleopatra, the Queen of Sheba (Flaubert, Salomon). 12. Fops and Coxcombs: Armado (Shakespeare, LOVE'S LABOR LOST), Kalb (Schiller, CABAL AND LOVE), Dorante (Regnard, AlTENDEZ-MOI SOUS L'ORME). Who can say that no feminine cases are to be found? 13. Fatal Seductions: Helen (ILIAD), Mohini- Maia (BHAGAVAD-GITA), Delilah, CARMEN, LA GlOCONDA (d'Annunzio). A single masculine example, which, on the contrary, is comic: the admirable SATYROS of Goethe. 14. Machiavellian Seducers: Lovelace, THE LIBERTINE, Lou-tchai-long; VlTTORIA COROMBONA (Webster), the Princess d'Eboli (Schiller, DON CARLOS), Adelaide (Goethe, GOETZ). II COURTESANS 1. Cold and Selfish: Sidonie, FROMONT JUNIOR AND RlSLER SENIOR (Daudet), MADAME LUPAR (Lemonnier), Ellen (Tolstoi, WAR AND PEACE). 2. Dangerous and Perfidious: Madame Marneffe (COUSIN BETTE), Euphrasie (THE MAGIC SKIN); masculine: Jupillon (GERMINIE LACERTEAUX). 3. Hypocritical Parasitic Men: ANDRfi TOURETTE (Muhlfield), BEL AMI (Maupassant). 4. Profligate Girls : Dol Common (Ben Jonson, THE ALCHEMIST), Anitra (PEER GYNT), Toudou of the Turkish theatre; tragic: SALOME (Oscar Wilde), Kundry (PARSIFAL), Circe (ODYSSEY), Armide (JERUSALEM DELIVERED). 5. Powerful Courtesans: MADAME DU BARRY (Belasco), Comnena (d'Annunzio, LA GLORIA), NANA. Comic: THE GIRL FROM MAXIM'S (Feydeau); masculine: the academician Alain Valran (Berton, LA MARCHE A L'ETOILE) ; tragic: Fabriani (MARIE TUDOR), Gaveston (Marlowe, EDWARD II). A higher type: Madame de Pompadour. 6. Courtesans of Antiquity: the Bacchae, etc., or, in the Orient, the Princesses of Love (Judith Gautier) are related to 7. Humble, Tender or Innocent Girls: Maslova (Tolstoi, RESURRECTION), Sonia (Dostoievsky, CRIME AND PUNISHMENT), Petite-Secousse (Barres, THE GARDEN OF BERENICE). 8. Amorous Courtesans: Esther van Gobseck (HUMAN COMEDY), Goncourt's ELIZA, the courtesan in THE EARTHEN CHARIOT (Sudraka). 9. Affectionate Girls: Riquette (Meilhac and Halevy, MY COUSIN), THE LITTLE DUCHESS (Temens), NELLY ROZIER (Bilhaud and Hennequin). Ill THE Vicious 1. The Inhumanly Vicious: Pasiphae, Stellius, Aristonyme of Ephesus (Plutarch, PARALLELS OF HISTORY, an apocryphal work). 2. The Infatuated: ANTONY AND CLEOPATRA (Shakespeare), the hero of VOLUPTE (Sainte- Beuve), Frantz in GOETZ VON BERLICHINGEN. 3. Gross Libertines: Catherine II, George Sand, Serenissime, ABBE PROUT (Ranson), the Turkish Karaghuez, Priapus, etc. 4. Mature Sensualists: Lycemon (Longus, DAPHNIS AND CHLOE), THE DUENNA (Sheridan), Lady Bellaston (Fielding, TOM JONES), Marceline (MARRIAGE OF FIGARO), Hulot (COUSIN BETTE), Muffat (NANA). 5. The Disgraced and Degraded: Chevalier des Grieux (MANON LESCAUT), ROLLA, TANNHAUSER. 6. Cruel Debauchees: Nero, Gilles de Retz, Marquis de Sade, etc.; LUCRECE BORGIA (Hugo). 7. The Insatiable: Messalina, ISABEL OF BAVARIA (Dumas), THEODORA. 8. Perfidious Debauchees: Nicele, Potiphar's wife (Lope, LABORS OF JACOB), Anne (Maeterlinck, PRINCESS MALEINE), PHAEDRA; Streckmann (Hauptmann, ROSE BERNDT). 9. Impious Debauchees: Madame de Chantelouve (Huysmans, LA-BAS); masculine examples, such as the wicked Monks of the fables, are all comic. 10. Pedantic Debauchees: Dr. Pangloss (CANDIDE), ARISTOTE and VlRGILE in the two mediaeval Lays. 11. The Abnormal: VAUTRIN (Balzac), Jupiter (Marlowe, DlDO), EDWARD II (Marlowe); comic: THE CYCLOPS (Euripides); feminine: Paquita Valdes (Balzac), MLLE DE MAUPIN, etc. 12. Morphomaniacs and Opium-eaters: Marthe (Luguet and Lauras, LA PlQURE), LELIE (Willy). 13. Masochists and other Bizarre Cases: NINI L'ASSOMMEUR (Maurice Bernhardt), Albert (MLLE DE MAUPIN). APOLLO I THE IMPASSIONED 1 . Hysterical Temperaments : Adelaide Fouque (Zola, Fortune of THE ROUGONS), GERMINIE LACERTEUX (Goncourt) ; LE POSSEDE (Lemonnier). 2. The Incestuous: MYRRHA (Alfieri); Giovanni (Ford, 'TIS PITY . . . ), Cenci (Shelley) Antiochus (Shakespeare, PERICLES). 3. Adulterers: THERESE RAQUIN (Zola), Clytemnestra (Aeschylus, AGAMEMNON). 4. Impassioned Profaners of Religion : Marthe Rougon (Zola, CONQUETE DE PLASSANS), Henriette (Ancey, CES MESSIEURS), Luther, etc. 5. Generous Sacrifices of Love: Fersen (Lenoir and Lavedan, VARENNES), Lord Grenville (A WOMAN OF THIRTY), THE SORCERESS (Sardou), MADAME DE SOMMERVILLE (Sandeau). 6. Brisk Gallants: Henri IV. No symmetric feminine. 7. Noble Hearts: TARARE (Beaumarchais), (Severus (POLYEUCTE), Nearchus (Ford, THE BROKEN HEART), Tancred (JERUSALEM DELIVERED), Max (Schiller, WALLENSTEIN) ; Minna von Barnhelm (Lessing). In comedy: Annette (Mowinsky, BLOWS OF FATE), Ferdinand (Shakespeare, THE TEMPEST) Tchao-ju-tcheou (THE PEARBLOSSOM, and the majority of the classic "JEUNES PREMIERS," a trifle vague, to be sure. 8. Sinners Redeemed by Love: MARION DELORME, CAMILLE, Lady Milford (Schiller, CABAL AND LOVE). No exact masculine equivalents. 9. Unfortunate in their Loves: Isis (Flaubert, TEMPTATION OP ST. ANTHONY), Heloise; Hialmar (PRINCESS MALEINE), APOLLO which is remarkable in all his amours. 10. Proscribed Lovers: RHADAMISTE (Crebillon), Almachilde (Alfieri, ROSAMONDE), HERNANI; none feminine. 11. Forsaken or Forlorn Lovers: GRAZIELLA, DIDO, Balzac's ARIANE, Viola (Shakespeare, TWELFTH NIGHT); Antiochus (BERENICE). 12. Lovers of Married Women, not less Unfortunate: WERTHER, ANTONY, TRISTAN, PELLEAS. No good feminine equivalents. II THE CHIMERICAL AND ILL-FATED 1. Vowed to Unhappiness for the Sake of Love: Camille (HORACE), PRINCESS MALEINE (Maeterlinck, DUCHESS D'AMALFl) ; Lope, Webster, Bandello and others. 2. Shamed by their Children: Priam (ILIAD), HECUBA (Euripides). 3. Victims: Cassandra (Aeschylus, AGAMEMNON), KING LEAR, the old Moor in Schiller's ROBBERS, CEDIPUS AT COLONUS, the little Prince of Wales in Shakespeare's RICHARD III, TlNTAGILES (Maeterlinck), Arthur (KING JOHN); see others among the Weak under Diana. 4. The Sorrowful : THE MERCHANT OF VENICE, Louis XIII, Madame du Deffant. 5. Victims of Courts: Lesurques (COURRIER DE LYON), etc. 6. The Morbidly Scrupulous: HEAUTONTIMORUMENOS (Terence). Feminine cases, tragic cases and modern cases are lacking. 7. Vanquished by Weakness: ARMANCE (Stendhal), Leonard (LUSIADS). No feminine examples. 8. Tormented by an Obligatory Crime: ORESTES, IDOMENEUS, JEPHTE. 9. Consequences of an Involuntary Sin: Jocasta' (CEDIPUS THE KING), Manuel (Schiller, THE BRIDE OF MESSINA). 10. Remorse: MANFRED, Amfortas (PARSIFAL) 11. Vanquished by Misery or Social Injustice: Gervaise (L'ASSOMMOIR), La Bruydre's ORONTE; the Morels in THE MYSTERIES OF PARIS, PHILOCTETES. 12. Pessimists: Buddha, ST. JOSAPHAT, TlMON OF ATHENS (Shakespeare), Athos (THREE MUSKETEERS), Schopenhauer. No good feminine examples. 13. The Unlucky: Comic: CRAINQUEBILLE (Anatole France), and the hero of LE PORTEFEUILLE (Mirbeau). Tragic: JACK (Daudet), RUY BLAS; Fantine in LES MlSERABLES. 14. Stricken by Madness: HERCULES FURENS, ATHAMAS, PENTHEUS, AJAX, Charles VI; Ophelia, Gretchen, ALICE (Bulwer-Lytton). 15. The Eccentric and Insane: the characters of Hoffman; few feminine cases. 16. Chimerical Lovers: MODESTE MlGNON, MADAME BOVARY, Mile de la Motte (Stendhal, LE ROUGE ET LE NOIR), the Troubadours of LA PRINCESSE LOINTAINE (Rostand). Comic: LES ROMANESQUES (Rostand), the Count in THADDEUS SOPLITZA, Andrason (Goethe, DER TRIUMPH DER EMPFINDSAMKEIT). 17. Superstitious but not Religious: Matthew Nikititch in RESURRECTION. There are no good literary studies. 18. Utopians: Olga Kroutchinine (Bariatinsky, THE SAND BANKS), Catherine Theot, the Gnostics, Comtean Positivists, Fourrierists, Esperantists, etc.; Sir Politic Would-be (Ben Jonson). 19. Sincere Occultists: Julie (St. Foix, THE SYLPH), FRUITS of CULTURE (Tolstoi), all comic. 20. Cnimerical Philosophers: Socrates (Aristophanes, THE CLOUDS), Louis LAMBERT. No women. 21. Collectors and Statisticians: COUSIN PONS, SYLVESTRE BONNARD (France); no good feminine examples. Ill THE INTELLECTUAL 1. Savants: Oldbuck THE ANTIQUARY (Scott) ; Madame Dacier. Pedants: Madame du Chatelet; MARGITES, Zoile and his follower Wolff, Lessing's YOUNG SCHOLAR, Begriffenfeld (PEER GYNT), Rondibilis (PANTAGRUEL). 2. Sham Savants: Clarice (Gozzi, LOVES of THE THREE ORANGES), Square (TOM JONES). See also, under Neptune, Emperor Claude, Chilperic, etc. 3. Pretentious Patrons of the Arts: Laurent (Lavedan, THE MEDICIS); feminine examples are lacking. 4. Enthusiastic Dilettantes: Maecenas, Prince Touan (STORY OF THE RIVER BANKS), Louis II of Bavaria. In literature, no feminine examples; in history: Elizabeth, Christina, our Countess of Beam. 5. Theorists of Art: Paolo Gambara and Garangeot (HUMAN COMEDY) might also be classed with either 3 or 4. No feminine examples. 6. Pedantic Scribblers: THE BLUE-STOCKINGS (Byron); THE SYMBOLIST (Kozlowski), the Scholar Limousin (PANTAGRUEL), d'Argenson (JACK). 7. Professional Pedants: our CORDONS BLEUS; the Cooks of Greco-Latin comedy, the Utopian pedicure Publicola Masson (HUMAN COMEDY), Daudet's Delobelle. 8. Sham Intellectuals: LES PRfcCIEUSES RIDICULES, FEMMES SAVANTES; Oronte in THE MISANTHROPE. 9. Intellectual Natures: the young Pascal, the Breton Jean Conan; Madame Leprince (LES EMPLOYES); comic: PECUCHET. 10. Fatal Intellectuality: REMBRANDT (Dumur and Josz), Poe, La Bruyere's ANTISTHENE and THfeOBALDE, TASSO (Goethe). 11. Heroes of an Idea: CORINNE (Stael), Marie Bashkirtseff, Flaubert, Palissy. MERCURY I THE SHREWD 1. Physical Adroitness: Arachne; no literary examples in the feminine. Hamouman (RAMAYANA), Puck (MIDSUMMER NIGHT'S DREAM), Passepartout (Verne, AROUND THE WORLD IN EIGHTY DAYS). 2. Valets or Slaves: Grotesque: JODELET, the Shakespearean Clowns, the Graciosos ; no feminine examples. Sly: Scapin, Face (Ben Jonson, THE ALCHEMIST) ; our soubrettes. 3. Mental adroitness: Rebecca (Lope, Story of Jacob and Esau); Saccard (Zola, LA CUREE), SHERLOCK HOLMES, Rastignac and Desroches (THE HUMAN COMEDY). 4. The Subtle: Claude Vignon (HUMAN COMEDY), Renan, Sainte-Beuve ; no very good feminine examples in literature. 5. Wise Diplomats: Acomat (BAJAZET) ; Madame de Lausac (Balzac, LA PAIX DU MENAGE), Anne de ^eaujeu. 6. Keen Diplomats: Antonio (Goethe, TASSO). 7. Odious Diplomats: Felix (POLYEUCTE), Metternich (Rostand, L'AlGLON), d'Albe (Schiller, DON CARLOS), Talleyrand. 8. The Witty and Adaptable: Beaumarchais ; LYSISTRATA. 9. Flattering Demagogues: Cleon (THE KNIGHTS). 10. Courtiers: Commines (Delavigne, LOUIS XI), THfiODOTE (La Bruydre), Agaz in the Persian romance of AGAZ AND MAHMOUD, THE FLATTERER (J. B. Rousseau). Not a feminine example. 1 1 . Too Crafty Counsellors : PHAEDRA ; Carlos (Goethe, ClAVIGO). 12. The Cunning: Madame Bordin (BOUVARD AND PECUCHET) ; the elder Fourchon (Balzac, THE PEASANTS), the Host in THE MERRY WIVES OF WINDSOR. 13. The Insinuating: Anna Mikhailovna (Tolstoi, WAR AND PEACE) ; the Lupeaulx nephews (THE HUMAN COMEDY). 14. Deceivers and Cheats: Philip (DECAMERON VII, 5), the REYNARD of ^Esop and La Fontaine, the Jackal of the PANCATANTRA. 15. The Artful: Melitta (Wildmann, DAUGHTERS OF LYSANDER), the Buddhist nun in AGNIMITRA AND MALAVIKA (Kalidasa) ; Chilon (Quo Vadis?), Bdelycleon (Aristophanes, THE WASPS), the vagabond Diccon in GAMMER GURTON'S NEEDLE. 16. The Unscrupulous: Monticelse (Webster, VlTTORIA COROMBONA), LOUIS XI (Mercier, Delavigne, Paul Fort), Frederick the Great, Tamerlane; in the feminine, but one aspect of Catherine de Medicis. II THE TRAITOROUS 1. Informers:. . . . 2. Spies (more honorable, on the whole): Corentin, Bibi-Lupin, etc. (HUMAN COMEDY); Mile Michonneau (from Balzac also). 3. Spies of War: Sinon, etc. 4. Traitors through Cupidity: Pylis of Troy; Tarpeia, Eriphyle, Delilah. No good literary studies in the masculine. 5. Treachery of Mean Natures: Pierrotin (the little valet of Dassoucy); no good feminine examples. 6. Traitors from Jealousy or Scorned Love: Rosalie de Watteville (Balzac, ALBERT SAVARUS), Eriphile (Iphigenie); Don Salluste (RUY BLAS), Laffemas (MARION DELORME), Pharnaces (MlTHRIDATE). 7. Revengeful Treachery: Guanhumara (BURGRAVES), Ithamore (Marlowe, THE JEW OF MALTA), lago (OTHELLO). 8. "Third Roles" in general: Feminine, tragic: Matrena (THE POWER OF DARKNESS); comic: SmeraJdine (Gozzi, THE GREEN BIRD), Tartagliona (Gozzi, LOVES OF THE THREE ORANGES). Masculine, tragic: Begearss (Beaumarchais, THE GUILTY MOTHER), Catual (Camoens, THE LUSIADS), Philippe-le-Bel, lachimo (CYMBELINE), Ganelon (CHANSON DE ROLAND), Narcisse (BRITANNICUS) , Valin (RAMAYANA) ... I may be excused for not lingering over the nuances of this repugnant collection. 9. Traitors to Love: the Wife of Bisclavaret (Marie de France), Delilah already cited; LE VAINQUEUR (Brahm). 10. Ingrates: THE INGRATE (Destouches), the minister Rassati-Rouchen (Bokhari, THE CROWN OF KINGS); see others under Ceres. 11. Betrayers of Friends or Brothers: Salieri (MOZART AND SALIERI, Pushkin), Judas, Franz Moor (Schiller, THE ROBBERS), Piccolomini WALLENSTEIN), Polymnestor (HECUBA); no good feminine examples. 12. The Envious: Tcheladin (Wenzyk, GLINSKI), Mortensgaard (Ibsen, ROSMERSHOLM) ; comic: L'ENVIEUX (Destouches). No good feminine examples. Ill THE KNAVISH 1. Evil Speakers and Backbiters: Madame Popinot (THE HUMAN COMEDY), De Chandour, also from Balzac, Thersites (Homer and Shakespeare), Palinure (Plautus, THE WEEVIL). 2. Calumniators: Basile (Beaumarchais), Don Mendo (Alarcon, WALLS HAVE EARS), our official historians, etc. Almost no feminine examples. 3. Degraded by Cupidity: Li-chi (THE ENEMY CREDITOR), Cibot (COUSIN PONS); Truffaldin (Gozzi, TURANDOT). 4. The Base and Mean: Jenkinson (VICAR OF WAKEFIELD). 5. The Sinister: Europe (HUMAN COMEDY), Tristan (Delavigne, LOUIS XI). 6. Knaves: MOLL FLANDERS; Gabrillon (Dancourt, FEMME D' INTRIGUES), Agavos after Homer; tragic: Jacqueline Collin (HUMAN COMEDY). 7. Daring Rogues (see also Minerva): Tchinkhi (THE ACCOMPLISHED WIFE), Don Gabriel de Herrera (Tirso, THE PEASANT OF VALLECAS). JUPITER I THE ARROGANT AND INSOLENT 1. Parvenus: the SANNIONS (La Bruyere), LE BOURGEOIS GENTILHOMME, Trimalcion (SATYRICON), Crevel and Phileas Beauvisage in THE HUMAN COMEDY; Zanthia (Massinger, THE SLAVE). The feminine parvenue has been insufficiently studied. 2. Pedants (the parvenus of the intellectual life): our sham scientists, our "philosophers" of the 18th century, which produced neither a Descartes nor a Malebranche. 3. The Impious: FAUST (Lenau), LUCIFERO (Butti) Campaneus (Aeschylus, SEVEN AGAINST THEBES), Pentheus (Euripides, BACCHAE). No feminine examples. 4. Vanity of Connections: Deborah (VlCAR OF WAKEFIELD), Madame Muller (Shiller, CABAL AND LOVE). 5. Naive Insolence: ERGASTI (La Bruyere), THE CHURL (Plautus). 6. Insolent Beggars: Irus (ODYSSEY). 7. The Haughty and Harsh : Herodiade, Vashti, (ESTHER), Madame de Montespan (Nota, DUCHESS DE LA VALLIRE), Honoria (Massinger, THE PORTRAIT), Edward III (Belloy, THE BURGHERS OF CALAIS), Diocletian (Massinger, THE VIRGIN MARTYR) ,Viriate (SERTORIUS). 8. The Proud: Niobe, Dryden's Indamora, Almeria and Lyndaraxa (AURENG-ZEB, THE EMPEROR OF INDIA, THE CONQUEST OF GRANADA), Diana de Belflor (Lope, THE GARDENER'S DOG), the Empress-mother in Werner's ATTILA, Paulo (Tirso, DAMNED FOR LACK OP FAITH), Bertrand de Rousillon (Boccacio, DECAMERON II, 8) Shakespeare, ALL'S WELL THAT ENDS WELL), GLINSKI (Wenzyk). 9. The Vain: Smeraldine (Gozzi, THE STAG KING), Lisette de Caquerino (DECAMERON IV, 2). 10. Exaggerated Pretensions: CESAR BlROTTEAU, Fungoso (Ben Jonson, EVERY MAN HIS HUMOUR), THE FROG WHO WOULD IMITATE THE Ox. No feminine examples. 11. Vain Imitators: THE JAY IN PEACOCK'S PLUMAGE. Too few examples. 12. The Self-important: Mistress Western (TOM JONES), JOSEPH PRUDHOMME (Monnier), Worms-Clavelin (Anatole France), De Renal (Stendhal, LE ROUGE ET LE NOIR), MONSIEUR CARDINAL (Halevy), De Faverges (BOUVARD AND PECUCHET). II. THE HAUGHTY AND DIGNIFIED 1. Haughty by Nature: Duchess de Verneuil (Balzac, MODESTE MlGNON) ; CORIOLANUS (Plutarch, Shakespeare). 2. The Haughty and Ambitious: JULIUS CAESAR (Shakespeare) ; SURENA (Corneille), Honorie (Corneille, ATTILA), Zenobia. 3. Sorrowful Pride: Calantha (Ford, THE BROKEN HEART), Cleora (Massinger, THE SLAVE), Marie Antoinette before the tribunal. 4. Lofty Dignity: Cornelia, mother of the Gracchi; LE PHILOSOPHE SANS LE SAVOIR. 5. Sham Distinction: Raoula (Nau, FORCE ENNEMl). See the Pretentious under Venus. 6. Old Beaux of Fine Manners: Vigneraie (Regnier, LES VACANCES D'UN JEUNE HOMME SAGE). See Venus. 7. See others of the Proud under Mars. Ill THE MAJESTIC AND PROTECTING 1. Royal Protectors: Ahasuerus (ESTHER), Saladin (DECAMERON I, 3), Theseus of the Greek Tragics and his son Demiphon (Euripides, HERACLIDES), Pelasgos (Aeschylus, THE SUPPLIANTS), Arthur (LAI DE LANVAL). No great feminine examples. 2. Severe Majesty: WALLENSTEIN (Schiller), Don Pedro (Calderon, THREE PUNISHMENTS IN ONE). 3. Scorned and Buffeted Majesty: Noble (REYNARD). 4. Majestic by Nature: the supreme Gods of all the religions, and their maritime counterparts, Neptune (^ENEID), ^Eolus (ODYSSEY), Noah or the king-patriarch of the Chaldeans, Assyrians, Chinese, Armenians, Iranians, Hindus, Germans, Scandinavians, Arabs, etc., under his many names, Moses, Pythagoras (Mazel, ARCHYTAS DE METAPONTE), Vasco de Gama (LUSIADS); no feminine examples. 5. Lofty Bearing: QUEEN OF THE OCCIDENT (Chinese), Constantin (THE MARTYRS), Goethe, Chateaubriand. 6. The Venerable: Dhiritarastra (MAHABHARATA), Charles-Quint (Werner, LUTHER), Marquis de Nangis and Monsieur de St. Vallier (Hugo, MARION DELORME, LE Roi S'AMUSE). 7. The Calm: Madame Hedouin (Zola, POTBOUILLE), the family aspect of Madame Lupar (Lemonnier); WILLIAM TELL (Schiller). 8. The Merciful: No feminine examples. Masculine: August (ClNNA), Joseph (Lope, LABORS OF JACOB). 9. Generous Tenderness : Stratonica (Plutarch, GENEROUS ACTS OF WOMEN), Sarah in the Bible; no masculine examples. 10. The Hospitable: Thespius, Acestes GENEID), Alcinous (ODYSSEY). 11. Protectors: the Manitous, Fetiches, Lares. Modern allegorical figures (Republic, Fatherland, Agriculture, Hygiene, etc.). Countess Mathilde, benefactress of the Papacy; Lord Chang (Pl-PA-Kl). 12. Protection by the Weak: the aged Kin-lao (STORY OF THE RIVER BANKS) . No great feminine examples. 13. See others under the Chevaleresques of Minerva. CERES I THE GENEROUS AND PRODIGAL 1. Benevolent Good-nature: Madame Hans (THE ACCOMPLISHED SOUBRETTE) ; Hannon, Periplectomenes, Lysimachus and Hegion (Plautus, THE CARTHAGINIAN, THE BRAGGART SOLDIER, THE MERCHANT, THE CAPTIVES), ABB CONSTANTIN (Halevy). 2. The Charitable: Saints by the hundred, Bhima (MAHABHARATA), Squire AUworthy (TOM JONES), Omar Abd-el-Aziz (Bokhari, THE CROWN OF KINGS), Tchang-touan (THE JADE SCEPTER); Madame de la Chantrie (Balzac, THE OTHER SIDE OF CONTEMPORARY HISTORY). 3. The Generous: Ceres ; Aristeus (GEORGICS) . 4. The Liberal: PLUTUS (Aristophanes); Lakchmi (BHAGAVAD-GITA) . 5. The Sumptuous: Haroun-al-Raschid (THOUSAND AND ONE NIGHTS), Hatim-tsai (KlTABADAB ES SELATHIN), JEAN DE PARIS. 6. The Ostentatious: Few women; possibly La Bruyere's ZENOBIE; his MAN OF STRANGE COSTUMES, Brussac (Capus, LA BOURSE OU LA VIE). 7. The Prodigal: Madame Ranevsky (Chekhov, THE CHERRY ORCHARD), ^Esop's GRASSHOPPER, La Bruydre's EGINE; Cleante (Molidre, THE MISER), Phidippides (Aristophanes, THE CLOUDS). 8. Gamesters: The heroines of Dancourt; LE JOUEUR (Regnard), Sacco (Fiesco). Tragic: several in THE LAND OF COCKAIGNE (Serao), Diard (THE HUMAN COMEDY), Yudhistira (MAHABHARATA). II THE GAY AND SENSUAL 1. The Gay: THE MERRY WIVES OF WINDSOR, Baubo, Mistress Waters (TOM JONES), Roger Bontemps, LE ROI D'YVETOT, FANFAN-LA-TULIPE. 2. Optimists: BASILIDE (La Bruyere), THE OPTIMIST (Collin d'Harleville). No notable feminine cases. 3. Quiet Epicureans: Helvetius; no women. 4. Bohemians: Jerome Coignard (Anatole France, AT THE SIGN OF THE REINE PEDAUQUE), THE CHEVALIER DE GRAMMONT (Hamilton), the heroes of Murger, Jean Frollo (NOTRE-DAME DE PARIS), Ha-fei-kinh (THE GAGE OF LOVE), Giboyer (LES EFFRONTES). No feminine examples. 5. Buffoons: the Fool in KING LEAR, Karpindala (Rajacekhara, KARPAMANJARI), Wamba (Scott, IVANHOE), Sancho Panza, KARADSCHOUSCHE the Turkish hump-back, the Graciosos, Tabarin; no good feminine examples. 6. Kindly Old People: Dicepolis (Aristophanes, THE BIRDS), Calliphon (Plautus, PSEUDOLUS), Chremes and Micion (Terence, HAUTONTIMORUMENOS, THE ADELPHI), Lovewit (Ben Jonson, THE ALCHEMIST); few feminine examples. 7. Jovial Drunkards: Pleydell (Scott, GUY MANNERING), Bardolph and Sir Toby in Shakespeare, Gnafron of the puppet-theatre, Silenus (Euripides, CYCLOPS) ; the Bacchantes, Anais (Berton and Simon, ZAZA), Aunt Caroline (Mandelstamm, SUSANNAH). 8. Estimable Drunkards: DON PIER CARUSO (Bracco). 9. Degraded by Drunkenness: Victorine the ragpicker (Balzac, COMTE DE SALLENEUVE), and Victoria the queen; Eilert Lovborg, Molvik and Ulric Brendel (Ibsen, HEDDA GABLER, THE WILD DUCK and ROSMERSHOLM) the Baron in THE LOWER DEPTHS (Gorki), THEAGENE and THEODAS (La BruyeYe), Santeul, Coupeau (Zola, L'ASSOMMOffi). 10. Sinister Drunkards: Emperor Wenceslaus, Emeric Baracs (Geza Gardenyi, THE WINE), Macquart (Zola, THE FORTUNE OF THE ROUGONS), Agave (Euripides, BACCHANTES). 11. Drunken Rogues: Vermichel (Balzac, THE PEASANTS), Champagne (Regnard, THE SERENADE) 12. Gluttons: Gargamelle (Rabelais), various Ogresses (notably the stepmother of THE SLEEPING BEAUTY), GARGANTUA, Falstaff (HENRY IV, HENRY VI, MERRY WIVES OF WINDSOR), the antique Hercules and Mercurys, HANSWURST (Goethe), Vitellius. 13. Gourmands and Epicures: Brillat-Savarin, Rossini, HERMIPPE and PHILIPPE (La Bruydre). No feminine examples. 14. Parasites: COUSIN PONS (the unique sympathetic case), the Greek, Latin and Hindu parasites, notably in THE EARTHEN CHARIOT, Italians like Chiaco in the DECAMERON (IV, 8) and Frenchmen like Des Rillettes (Courteline, THE BOWLING-GREEN). Ill THE VULGAR AND PRACTICAL 1. The Lazy: MONSIEUR BADIN (Courteline); no fetninine examples. 2. Egoists: Madame de Grignan and a number of the MONDAINES of Balzac (Baronnes d'Aldrigger and du Chatelet, Countess de St. Herem, etc.); the husband in Mirbeau's VlEUX MENAGE, Berg (Tolstoi, WAR AND PEACE), GNATHON, the opulent GlTON and the intestate GERONTE (La Bruyere). 3. The Too Prudent: Chrysothemis (Sophocles, ANTIGONE). 4. The Pusillanimous: Prusias (Corneille, NlCOMEDE), Drances (^ENEID), said to be a portrait of Cicero. Comic: Chrysale (FEMMES SAVANTES) ; Lepic (J. Renard, POIL DECAROTTE). No feminine examples. 5. The Craven: Calyphas (Marlowe, TAMERLANE). Very few good studies. 6. Comic Poltroons: One side of Falstaff and of the Greek Hermes, Dionysos (Aristophanes, THE FROGS), John Daw (Ben Jonson, EPICOENE). 7. Moral Cowardice: Monsieur Lupar (Lemonnier, MADAME LUPAR). No good feminine examples. 8. The Rustic and Simple: the comic Nurses (ROMEO, THE LITTLE FRENCH LAWYER), masseuses, etc. 9. The Vulgar-souled: Madame Lechat (Mirbeau, LES AFFAIRES. . . ), ARTISTS' WIVES (Daudet). Masculine examples are gayer: Baron le Cogne (Monjoyeux) corresponding rather to Ursule (CESAR BlROTTEAU), or to Mesdames Verson and Lupin, also from Balzac. 10. The Squalid and Dirty: Agatha Picquetard (HUMAN COMEDY), the Slave in THE CHAIN (Menander), Dulcinea del Toboso (DON QUIXOTE), the Marquis de Senantes (Hamilton, MEMOIRS OF THE CHEVALIER DE GRAMMONT), Gryllus (ODYSSEY). 11. The Stupid: Catoblepas (Flaubert, TEMPTATION OF ST. ANTHONY). Almost no good literary studies as yet. 12. Good Sense: Sarcey, Boileau, etc. 13. Vulgar Common Sense: Don Paolo (Bracco, THE TRIUMPH), BOUVARD (Flaubert). VULCAN I THE EARNEST AND SERIOUS 1. Narrow Professionals: Duchess d'Olivares (DON CARLOS) and other duennas (RUY BLAS, HERNANI etc.) ; the prefect Julien Brignac (Brieux, MATERNITY), J avert (LES MISERABLES), Fix (AROUND THE WORLD IN EIGHTY DAYS), our categorical "scientific minds," Bridoie (PANTAGRUEL>. 2. The Clumsy and Awkward: Vanidre (THE MAGIC SKIN); Clotilde de Grandlieu (SPLENDORS AND MISERIES OF COURTESANS). Comic: our old men on bicycles; the American woman in JE NE SAIS QUOI (Croisset and Waleffe), and our provincials aping Parisians. 3. The Resigned and Stoical : Zeno, Epictetus, Job, Aritchandra, Hector (Hiade), Curiace (HORACE), Oliver (CHANSON DE ROLAND), Jean (Zola, THE DOWNFALL), Eustache de St. Pierre (Belloy, BURGHERS OF CALAIS), the ascetics; St. Felicite, the mother of the Maccabees, Epicharis, Le6na, Veturia. No good literary examples in the feminine. 4. The Just and Upright: Vera (RESURRECTION), few other feminine examples; Bayard in GASTON AND BAYARD (Belloy), the ugly Don Juan (Alarcon, WALLS HAVE EARS), Godfrey de Bouillon (JERUSALEM DELIVERED), Lakchmana (RAMAYANA). 5. The Honest and Straightforward: Cornelia, mother of VlTTORIA COROMBONA (Webster); Abner (ATHALIE), the peasant SlE-JIN-KOUEI, a score of fine figures in THE HUMAN COMEDY, not long since taxed with immorality, Muller (Schiller, CABAL AND LOVE), Thomas Mowbray (Shakespeare, RICHARD II), BENOIT (AND BENOITE, Haraucourt). Comic: the Spartans of the Greek stage, our Alsatians. 6. The Inflexible: the honest and fierce Lise Macquart of the VENTRE DE PARIS (Zola), the elder Brutus, Timoleon (Massinger, THE SLAVE). See also the Just under Juno. 7. The Austere and Correct: Bronte (d'Annunzio, LA GLORIA), Casca (JULIUS CAESAR). Fewer and fewer feminine examples. 8. The Grave and Laborious: RUTH, Martha in the Gospels, Denise (Zola, L'OEUVRE), Giotto as drawn by Boccacio (DECAMERON VI, 5), Demosthenes. 9. The Pious and Honorable: Mesdames Vaillant and Mathurine in Balzac; his Jean-Jules Popinot, Washington, Louis XVI, Kruger. 10. Laborious Enthusiasts: Flaubert. 11. The Physically Strong, often Weak in Character: Hercules, INGOMAR THE BARBARIAN (Halm), Pierre (Tolstoi, WAR AND PEACE), Samson, Ursus (QUO VADIS?). No very good feminine examples. II THE DELUDED AND DISCOURAGED 1. The Weak: Pierre (Tolstoi, POWER OF DARKNESS), DRAYMAN HENSCHEL (Hauptmann). No goc^d feminine examples. 2. The Forgiving: Richard (Daudet, THE LITTLE PARISH), Maurice Darlay (Capus and Arene, THE ADVERSARY): comic: BOUBOUROCHE (Courteline). No notable feminine examples. 3. Victims of Perfidy: Alessandro Faro (Praga, ALLELUIA), Risler in FROMONT JUNIOR AND RISLER SENIOR (Daudet), Count de Restaud (Balzac, GOBSECK, OLD GORIOT), BISCLAVARET (Marie de France). 4. The Unloved: larbas (Marlowe, DIDO), De Granville (HUMAN COMEDY), MISS HARRIETT (Maupassant). 5. Ridiculous Young Wooers: the Bridegroom in PEER GYNT, De Leon (Madame du Deffand). 6. Ridiculous Old Wooers: Don Guritan (RUY BLAS), Des Soupirs and Cheurpied (Dancourt, COQUETTES' SUMMER), Ferdinand (Boursault, THE LIVING CORPSE). 7. The Deceived: Chaumette (Marcelle Tinayre, THE STORM BIRD), Theseus (PHAEDRA); Marie Leczinska. 8. Deceived and Unlucky; the Freethinker in THE TWO CONSCIENCES (Anthelme), the Governor (Benavente, LA GOBERNADORA). 9. Deceived but Repellant: Marie-Therse (Rolland, LA MONTESPAN). 10. Deceived Philosophers: Thoas, Laertes. 11. Cuckolds: Dandin, Charles Bovary, Menelaus (Shakespeare, TROILUS AND CRESSIDA), Amphitryon (Plautus, Moliere, Dryden), Marcus Aurelius. No good feminine types. 12. The Flouted and Derided: Strepsiades (Aristophanes, THE CLOUDS), the People (Aristophanes, THE KNIGHTS), Bruin in REYNARD, "initiates" into secret societies. 13. Hypochondriacs: THE IMAGINARY INVALID (Moliere), THE HYPOCHONDRIAC (J. B. Rousseau), Morose (Ben Jonson, EPICOENE), IRENE (La Bruyere). 14. The Ingenuous, more touching, will be classed with the Weak under Diana, with the exception of III THE UNSELFISH AND DEVOTED 1. The Ingenuously Unselfish: Marion Kolb (LOST ILLUSIONS) and other old servants. Comic : Mysis and Sophronia (Terence), Crocotia, Staphyla and Syra (Plautus), Smeraldine (Gozzi, THE GREEN BIRD), Pantalon (Gozzi, THE RAVEN, THE SERPENT WOMAN), Parmenon, Strasime, Trachalion, Stratilex, Tyndarus, Messenion, Grumon, Simon and Charion (Plautus), Geta (Terence, ADELPHI), Gilotin (Boileau, LUTRIN), Gervais (Mickiewicz, THADDEUS SOPLITZA). 2. purses and Foster-fathers: Masculine, comic: Pantalon; tragic: Christemo, Jonathas and Perez de Lagounia (Balzac, THE GIRL WITH GOLDEN EYES, THE MAGIC SKIN, THE MARANAS), Chao-Koung (841 A. C.) whose history is repeated in that of Matsuo in THE VILLAGE SCHOOL (by the Japanese Tokido Izuma). Feminine: Brangaene (TRISTAN AND ISEULT), Euryclea (ODYSSEY), Euriclea (Alfieri, MYRRHA), Gilissa (Aeschylus, CHOEPHORES). Lycoris of Tarsus (APOLLONIUS OF TYRE). And above all these, St. Joseph, veritable emblem of the paternity which is not physical, but an act of faith and love. 3. Unselfish Devotion: the Moujiks of Tolstoi, Gurnemanz and Kurwenal (Wagner, PARSIFAL, TRISTAN) ; Pauline (Shakespeare, WINTER'S TALE), Coriola (Webster, DUCHESS OF AMALFI), and, in the comic, Lisette (MARIVAUX, THE GAME OF LOVE AND CHANCE), Suzanne (Beaumarchais, THE GUILTY MOTHER). 4. Devotion to the Point of Sacrifice: the servant Keou-tching-yu (THE MYSTERIOUS BOX), Manon Godard (THE OTHER SIDE OF CONTEMPORARY HISTORY), Paolo (Anne Radcliffe, THE ITALIAN). 5. Devotion for Love of God: GENEVIEVE (Lamartine), many servants misunderstood by the masters who exploit and laugh at them, the Sisters of Charity, missionaries, etc. 6. Artful Devotion: Francoise Cochet, Mesdames Olivier and Gobain in THE HUMAN COMEDY; the servant of Kouo-hoa in THE PLEDGED SLIPPER. 7. Important Guardians or Servitors : Heimdall standing on the rainbow, Argus, Cerberus, Charon, the Douvalapalaias ; Iris, Heve. 8. Devotion Freely Given: Kent (KING LEAR), Achates (^NEID), Pisanio (CYMBELINE), Barach called Hussan (Gozzi, TURANDOT), Aubrey (Beaumont and Fletcher, ROLLO). These border upon Friends (see Vesta); likewise upon the following: 9. Devotion because of an Unrealizable Love: Quasimodo, Butscha (MODESTE MlGNON), Grantaire (LES MlSERABLES); no feminine examples which equal these. i 10. Disciples (see also Vesta): the Friends of Socrates, Mile de Gournay, Heloise, etc. 11. Zealots: Seide (Voltaire, MAHOMET), Lelius (Lucan, PHARSALIA), Argillan (Tasso, JERUSALEM DELIVERED), Ujitomo in THE SHOGUN (Japanese), Ivan (De Maistre, PRISONERS OF THE CAUCASUS); the female adorers of Robespierre. Devotion here serves as a pretext for satisfying the instinct of cruelty. MARS I MURDERERS AND ASSASSINS 1. Hired Murderers: Ithamore (Marlowe, THE JEW OF MALTA), the Moor in FIESCO (Schiller), Gubetta (Hugo, LUCRECE BORGIA), Franchissini (Balzac, OLD GORIOT). 2. Bravos and Assassins: the Scythians in Athens, Cossacks, Baxter (VlCAR OF WAKEFIELD), etc. 3. Poisoners: the most notable cases are feminine: the wife of the poet Lucretius, Mesdames Lafarge and Syveton (in the opinions, perhaps erroneous, of their contemporaries), La Brinvilliers, Myrille (Prodrome, RHODANTHE AND DOSICLES). 4. Vindictive Murderers: Clytemnestra, the Danaides, Yanetta (Brieux, THE RED ROBE), the athlete Cleometes. 5. Slayers of Children: Medea, THYESTES (Euripides, Seneca, Crebillon, etc.) 6. Fratricides and Parricides: Cain (GENESIS, Byron, Gessner), Eteocles in a dozen famous tragedies, Balthasar (Verhaeren, THE CLOISTER), Albert (Pushkin, THE MISER BARON). No great feminine examples. 7. Unconscious Murderers: Etienne Lantier (Zola, LA BfiTE HUMAINE) ; the mythologic Scylla. 8. Cunning and Cynical Murderers: Joseph (Mirbeau, JOURNAL D'UNE FEMME DE CHAMBRE), Bernadille (Montfleury, LA FEMME JUGE ET PARTEE). No women. 9. Murderers through Desire of Wealth and Advancement: the young Tascheron (Balzac, A COUNTRY PARSON) ; no feminine examples. 10. Murderous but Ridiculous Brigands: Choppart, called the Amiable (THE COURIER OF LYONS), Jean Hiroux. No feminine examples. 11. Sinister Brigands: Dubosc (COURIER OF LYONS), Pilla Borsa (Marlowe, THE JEW OF MALTA), Taillefer (HUMAN COMEDY), Kirata (STORY OF THE TEN CHILDREN, by the Hindu Dandin), Cartouche, Mandrin; no feminine examples. 12. Furious Bandits: Those who subdued Hercules, Antiphates the cannibal (ODYSSEY), Bhakas (MAHABHARATA), Polyphemus. 13. Cold-blooded Murderers: M. Thiers, author of the greatest massacre in the history of civil wars, Sylla, Marius, etc. H THE VIOLENT AND REBELLIOUS 1. Rebels against the Law: THE ROBBERS (Schiller), Pisander called Marullo THE SLAVE (Massinger), Enrico (Tirso de Molina, DAMNED FOR LACK OF FAITH), the savage and edifying Eusebio (Calderon, DEVOTION TO THE CROSS), FRA DlAVOLO, Ferrante Palla (Stendhal, CHARTREUSE DE PARME). No good feminine examples of this nature. 2. The Brutal and Primitive: Nimrod (GENESIS), Matho (SALAMMB6), Zamolxis (Mazel, ARCHTAS DE METAPONTE); LA FILLE SAUVAGE (Curel). 3. The Quarrelsome: Don Fernand the bully, the only violent "character" in La Bruydre, Bianchi (Balzac, THE MARANAS). 4. "Mousquetaires:" THE THREE MUSKETEERS and similar heroes of cloak and sword. 5. Braggarts: Lamachus (Aristophanes, THE ACHARNIANS), the MILES GLORIOSUS of Plautus, Thrason (Terence, THE EUNUCH), Olibrius of the MYSTERIES, the Rodomont of Boiardo and Ariosto. No feminine examples. 6. Cruel Warriors: Han-yen-tcheo (THE PAGODA OF HEAVEN), Duhcasana (MAHABHARATA), Alarcon in JERUSALEM DELIVERED, Davout (Tolstoi, WAR AND PEACE), THE AMAZONS (Mazel). 7. Savage Hunters: Nimrod again, ST. JULIAN THE HOSPITALLER (Flaubert), the father in THE FOSSILS (Curel), ESAU (Jehan Behourt), Hippolyte. 8. The Abusive: Vallenod (Stendhal, LE ROUGE ET LE NOIR), our polemists who fancy themselves Juvenals; the Elder Sister of the fairy tale, from whose mouth came toads. 9. The Uncivil: THE PEASANT (Epicharmus) , L'OPINIONATRE (Brueys) ; Boileau's ''BRUSQUE IMPERTINENTE" in the SATIRE ON WOMEN. 10. The Shrewish or Surly : Marianne (Grimm, THE COLLIER OF CROYDON), Katherine (TAMING OF THE SHREW); Ajax (Shakespeare, TROILUS AND CRESSIDA), Cleomachus and Antemonides (Plautus, THE BACCHAE, THE CARTHAGINIAN), Squire Western (TOM JONES), Isegrim (Regard); MLLE FIFI (Maupassant). Tragic: AJAX (Sophocles, etc.), Cloten (Shakespeare, CYMBELINE), HORACE (Corneille), Romulus, Sigismond (Calderon, LIFE IS A DREAM), Philippe Brideau (HUMAN COMEDY), Caliban (THE TEMPEST). 11. The Irascible: Achilles (ILIAD), HAKON JARL (Oehlenschlager). 12. Ravishers: Besides the Violators (Venus), the Turk Asena, Agassamenes, Boreas, the Centaurs, those "picadors of antiquity." 13. The Impulsive: Mile Dumesnil; Varembaud (Bruyerre, IN PEACE). 14. Revolutionaries by Temperament: The Titans (Hesiod, THEOGONY), DANTON (Buchner, Rolland, etc.), our Communards, Souvorine (Zola, GERMINAL), our anarchists. 15. Tyrannicides: Harmodius, Aristogiton, Caserio; CHARLOTTE CORDAY (Ponsard, Silvestre, etc.). The Regicides might here be added. Ill THE BOLD AND FEARLESS s 1. Heroines of Sacred History: Jahel, Judith; no equivalent masculine examples. 2. Patriot Heroes: Jeanne Hachette, Clelie, the Amazons of Dahomey; NlCOMEDE, Gustav Conrad (Mickiewicz, FEAST OF THE DEAD). 3. Intrepid Warriors: SIEGFRIED, RHESUS (Euripides; ILIAD), Richard Coeur-de-lion, Hotspur (Shakespeare, HENRY IV), THE ClD, CHARLES XII, SlE-JIN-KOUEI (by the courtesan Tchangkoue- pin), and all the Mars of all the cults. 4. Calm and Noble Courage: Porus (Racine, ALEXANDRE-LE-GRAND), Xiphares (MITHRIDATE). 5. Moral Rebels: The Prophets, St. John the Baptist; HEDDA GABLER (Ibsen), RENEE MAUPERIN (Goncourt). 6. Enthusiasts: Nicolas Rostof (Tolstoi, WAR AND PEACE), Silvere (Zola, FORTUNE OF THE ROUGONS). 7. Ridiculous Enthusiasts: Bambaef (Tourgeneff, SMOKE). 8. The Generous and Honest: Neoptolemes (Sophocles, PHILOCTETES), Nemours (Delavigne, LOUIS XI), BRITANNICUS, Seleucus (Corneille, RODOGUNE), Hemon (Sophocles, ANTIGONE), Antoninus (Massinger and Dekker, THE VIRGIN MARTYR). 9. Comic Audacity: Cecile (Labiche, DEUX TlMIDES). No masculine examples. DIANA I THE TENDER AND SENTIMENTAL 1. The Indiscreetly Sentimental : Dona Leonor and Dona Mencia (Calderon), Dona Sol (HERNANI), Schiller's MARY STUART and the Queen in his DON CARLOS, Madame de Renal (Stendhal, LE ROUGE ET LE NOIR). No good masculine examples. 2. Easily Disposed to Follow the Beloved: Abigail (Marlowe, THE JEW OF MALTA), Sieglinde (Wagner, WALKtiRE), JULIET, THISBE; Fan in THE SACRIFICE OF FAN (Kong-ta-yong), Calyste du Guenic (Balzac). 3. The Tender: Jacqueline (Marivaux, SURPRISES OF LOVE), Leonie (Regnard, THE SERENADE) Glycere (Alciphron, EROTIC LETTERS), Charlotte de Kergarouet (Balzac, BEATRIX), Lieou-mei (Kiao-meng-fou, THE GAGE OF LOVE), Ingrid (Ibsen, PEER GYNT). 4. Amorous Adolescents and Children: PETITCOEUR (Jean Viollis), Georges (NANA), Justin (MADAME BOVARY); Jeannine (Bataille, THE ENCHANTMENT). 5. Passionate Friendships of Childhood and Adolescence: not well studied as yet. 6. Lover-friends: Pauline (THE MAGIC SKIN); no good masculine equivalents. 7. Pure Lovers: Jean-Paul Richter; Madame Rcamier. 8. Tender Visionaries: Elsa (LOHENGRIN); St. Francis of Assisi, Frederic in Picard's JERICHO. 9. The Silently Tender: Aude (CHANSON DE ROLAND). 10. Tender Self-sacrifice: BERENICE (Racine; Corneille), DUCHESS DE LA VALLIERE (Bulwer- Lytton, Dumas, Nota, etc.); Attale (NlCOMEDE). 11. Humble Lovers: GERTRUDE (Bouchinot), Cecile (Pharamond, MONSIEUR BONNET); no corresponding masculine examples. 12. The Seduced and Betrayed: Fantine in LES MlSERABLES, Annette (Brieux, MATERNITY), Gretchen (FAUST), Marie Beaumarchais (Goethe, CLAVIGO), Elvira (DON JUAN). Comic: Molidre's Charlotte and Mathurine. II THE WEAK 1. Tenderness to Terrible Rivals: lo (Aeschylus, PROMETHEUS BOUND), Atalide (BAJAZET), PRINCESS MALEINE (Maeterlinck), Romilde (Alfieri, ROSAMONDE), Madame Elvsted (HEDDA GABLER). No entirely symmetrical masculine examples. 2. Beloved by Formidable Men: Junia (BRITANNICUS), Palmire (MAHOMET), Esmeralda (NOTRE-DAME DE PARIS), Fleur-de-Marie (MYSTERIES OF PARIS). 3. Espoused by Imposing Men: Zenocrate (Marlowe, TAMERLANE), Calphurnia (Shakespeare, JULIUS CAESAR), Leonora (FIESCO). Parodies: Madame Vital (Balzac, COMEDIENS SANS LE SAVOIR), Gina (Ibsen, THE WILD DUCK). Masculine parodies would be highly amusing. 4. Victims of Husbands: Desdemona (OTHELLO) and, in another nuance, Jane Grey (Webster and Dekker, SIR THOMAS WYAT), MADAME DE CHAMBLAY (Dumas), the wife of the Brigand in MAROUSSIA (Stahl). No symmetric cases in the masculine. 5. Persecution by Rejected Suitors: CLARISSA HARLOWE, the chaste Suzanne. 6. Pure and Gentle Victims: Iphigenia in a dozen tragedies, Polyxena in as many more, the daughter of JEPHTHA (Boyer, Buchanan) ; Balder. 7. Helpless Children or Young Girls: TlNTAGILES, the LAMB of ^Esop and of Scripture, ASTYANAX in half a dozen tragedies, CHILDREN OF EDWARD (Delavigne), Arthur (Shakespeare, KJNG JOHN), ladjnadatta (RAMAYANA), Andromeda. 8. Youthful Victims: ATYS (Quinault), Adonis, Hyacinth, etc. 9. Victims of Social Corruption: MADAME BAPTISTE (Maupassant). 10. Moral Weakness : Lisa Bolkousky (Tolstoi, WAR AND PEACE), Madame Grandet (Balzac); Wenceslas Steinbock (COUSIN BETTE), Carlo (Praga, UNDINE), EDWARD II (Marlowe), RICHARD II (Shakespeare), Jonathan (A. Gide, SAUL). 11. Weak Parents: the Miller (Pushkin, ROUSSALKA), Juan Roxo (Lope de Vega, FONTOVEJUNE). 12. The Shy: Orlando (Shakespeare, As YOU LIKE IT), LES DEUX TIMIDES (Labiche). 13. The Hesitant: L'lRRESOLU (Destouches), L'lRRESOLU (Berr), L'lNDECIS (Fontainas). 14. Boobies: MONSIEUR MUSARD (Picard). 15. The Capricious: Emma Regoli (Torelli, THE HUSBANDS), Angelique in ROLAND FURIEUX; THE INCONSTANT (Collin d'Harleville), PROTEUS and THE SPOILED CHILD (Destouches). 16. The Null and Banal: Many sketches in THE HUMAN COMEDY. 17. Weak in Mind, but nevertheless superior: ALICE (Bulwer-Lytton) ; THE IDIOT (Dostoievsky). 18. Madness: Ophelia (HAMLET) and Gretchen (FAUST), the heroes of Poe; comic: Triboullet (PANTAGRUEL), Androgyne (Ben Jonson, VOLPONE). 19. Artless Simpletons: Dame Pliant (Ben Jonson, THE ALCHEMIST), the innumerable Jocrisses and Janots, the Pierrots, the Shakespearean Clowns, Wagner in Goethe's FAUST, the sceptic Trouillogan so well scouted by our good Father Rabelais, Voltaire's CANDIDE, Han in THE TRANSMIGRATION OF YO-CHEO, the two Poirets in Balzac, etc. We might here distinguish between (a) the ordinary Artless Simpleton, (b) the Amorous Simpleton, (c) the same married, before arriving among the "Deceived," (d) the Poltroon, (e) the Lofty Simpleton (bordering upon Jupiter), (f) the Duped Simpleton, who belongs rather to Vulcan. 20. The Heedless and Absent-minded: MENALQUE (La Bruyere), LE DISTRAIT (Regnard), the Monk with the Pot of Meal (PANCATANTRA) . No feminine examples. 21. The Ingenuously Sensible: the old Count Rostof in WAR AND PEACE, LE JONGLEUR DE NOTRE-DAME. Comic: the old Pantalon (Gozzi, THE GREEN BIRD). 22. The Humble and Pathetic: the Child in MOTHER AND CHILD (C. L. Philippe) ; CINDERELLA. Ill THE PURE s 1. Ingenues: Aminta (Tirso, THE SEDUCER OF SEVILLE), Aute (Lope, DISCOVERY OF THE NEW WORLD), Lelie (La Fontaine, THE ENCHANTED CUP. 2. Purity Despite Impure Environment: YVETTE (Maupassant), seminarists in barracks, a potential poet in a boarding-school, etc. 3. Purity of Soul Despite Physical Impurity: Sonia (Dostoievsky, CRIME AND PUNISHMENT). 4. Purity Sweetened by Tenderness: Virginia in PAUL AND VIRGINIA, Cymodocee in THE MARTYRS, Miranda in THE TEMPEST, La Bruyere's ARTEMIRE. 5. The Pure: ION (Euripides), Joas (ATHALIE), Blanche (Huysmans, L'OBLAT), Dom Marc (Verhaeren, THE CLOISTER). 6. The Simple: L'lNGENU (Voltaire), Friday (ROBINSON CRUSOE). 7. The Upright: Gennaro and Didier (Hugo, LUCRECE BORGIA, MARION DELORME), Rudenz (WILLIAM TELL), TELEMAQUE (Fenelon); Blanche of Castile, PIERRETTE (Balzac), Isabella (MEASURE FOR MEASURE). 8. The Chaste: HlPPOLYTE (Euripides), Joseph (PARSIFAL), St. Alexis, Daphne, Tarsia (APOLLONIUS OF TYRE) ; Sts. Catherine and Claire, and above all, of course, the Virgin Mother of Christ. Ill THE 369 UNPUBLISHED CHARACTERS AND THEIR 154,980 VARIETIES In the course of the preceding classification I have noted the absence of 369 species of characters in our literatures. 57 other species have been but little studied. Among these 426 categories, 309 belong to the feminine, of which 155 are comic and 154 tragic. 56 comic and 61 tragic characters form the masculine contingent. Of these 426 cases, if some are met with in fiction, they are wanting in drama, or vice versa. Now all, or nearly all, may be multiplied by the 5 principal ages: Infancy, Adolescence, Youth, Maturity, Old Age. It follows, in short, that avarice, courage, love, ambition, etc., create, as I have already said, types which differ widely according as these passions reign in a child, in an old man, in an old maid, in a young wife or in a middle-aged man. Let us take only the 369 cases entirely unused. The 1845 varieties obtained by means of this multiplication by 5 will be multiplied in turn by the different social positions, for the ambition of a CESAR BIROTTEAU, for example, shows necessarily an aspect quite distinct from those offered in MACBETH, or in a peasant anxious to extend the boundaries of his field. 4$ince we can reckon 7 principal social classes (Royalty, Aristocracy, Upper Middle-class, Lower Middle-class, Working Class, Peasantry and Proletariat) we have at the least 12,915 unpublished types, and this by confining our multiplication to the 369 cases entirely unused. Let us not forget that not only among the 57 cases lightly touched upon, but likewise among the cases already analyzed in literature, some of the 4 or 5 ages (especially Infancy, Adolescence and Old Age) and of the social ranks (notably the lowest) have been for the most part neglected. So, after a study of -these new lacunae, we can carry our figure of 12,915 to 20, 30 or 40,000. Let us keep for the present to our 12,915. In our Classification we contented ourselves with subdividing into 3 each of the 12 Divine Types, considering them in relation to the two sexes, and in both a tragic and a comic light. Each of these sub-types in itself tends likewise, in curious fashion, toward a new duodenary subdivision: the Pious offered us 11 categories, the Faithful 14, the Jealous 12, etc. And I have rather avoided than sought this perpetual grouping of the Dozen, for I wished to leave the greatest possible elasticity in the meshes of the net which I was endeavoring to draw about Humanity. "Very well," it may be said, "from your 369 unused types we see springing the 12,915 new characters which you tell us to multiply by 12, and thereby estimate 154,980 lacunae in our literature. But tell us now how to fill them these irritating lacunae! Tell us what to do, direct our hands, if you can, in the drawing of these 154,980 figures, or simply of these 12,915 characters, or even of the 369 unused types which you have just pointed out!" Nothing could please me better than such a request. In constituting each one of the characters which are wanting in our literatures, it is necessary first to establish its PROPORTIONS. After which, it remains only to study the art of presenting them, these proportions, by means of the laws of LITERARY PERSPECTIVE. These two studies the PROPORTIONS of the human soul and PERSPECTIVE in matters of psychology will form the objects of the two chapters through which I now invite the reader to follow me, before I bring this book to its conclusion.
 * few women.
 * no feminine example.
 * feminine examples are wanting.

A Treatise on the Proportions of the Human Soul CHAPTER XI I THE COMPLETE SOUL In each of us, it has been affirmed above, there exists not simply one character, one individual, one Self, nor a group of two or three, nor a collectivist colony, as the more audacious psychologists claim, but the sum of ALL human souls, since the human soul is everywhere the same and in every one complete. But it has allowed itself not without struggles to be to some extent enslaved, ankylosed: 1st : By EDUCATION, mental, moral and physical. 2nd: By verbal EQUIVOQUE, the base upon which mythologists have raised their "etymological system," which recalls to our minds that Socrates likewise attributed all sins to misunderstanding, to imperfect definitions. 3rd: By EXAMPLE, that vast "euhemerism" which descends from the heights of legendary history to the familiar relations of daily life. Such are the three routes by which the Complete Soul within every man is led to accept, to adopt the special attitude to which his companions, likewise artificially moulded, wish to reduce it, in short, his "function." And by it the rest of his free activity is suppressed. He has consented to play a role, he has become an actor in the human comedy, a hypocrite among hypocrites. His soul, priestess of the PARTIAL HUMAN TYPE which has been assigned to it, abjures for the sake of this idol the totality which it rightly should be, the image of God, which is infinite and perfect. Henceforth, confused by the press of unacknowledged revolts rising from the sacrificed portions of its plenitude, it will deny, desperately and boldly, the existence of this totality, will endeavor "to conform its conduct to its principles," becoming thus a double or multiple being, contradictory at all points, instead of remaining single, complete and harmonious. So, into each of these fictions which constitute a Character, we must descend. And in seeking behind the PARTIAL HUMAN TYPE which has been adopted, for the eleven others forced back into shadow, we shall establish the "Proportions" of the deformed and martyrized soul. In even the noblest Olympians, these "proportions" are in some degree imperfect. Among those of Hellas, for example, no place is found for tender purity. We must turn toward the ancient India of the Aryans, or toward hyper borean snows to find the image of innocence; in Greece it is, so to speak, obliterated by the two neighboring deities Ares and Hestia. From them, in fact, Artemis-Hecate receives, on the one hand, her cruelty and taste for violent exercises, and on the other the shadow and parody of piety in the sorceries of Thrace, while her Phcebean gentleness, thus corrupted, does not shine in any myth with the chaste light which our sentimentalism vainly attributes to it. What a contrast dost thou show us, O sainted Virgin of Judea! Everywhere, in each religion, each nation, each individual whom we shall find denying or neglecting one of these twelve aspects and despising it as "foreign," we shall, persevering, obtain an acknowledgment of it. And it is the lacunae thus filled which will illumine for us, by completing it, the Individual, the Century, the People, etc., heretofore false or illusory by role or by custom, and for that reason superficially and ill understood. II FROM WITHOUT INWARD: POLITICS AND PSYCHOLOGY: THEOPHRASTUS. The Evolution of these divers aspects, these divers instincts, these divers types through History will explain for us their succession in the single human heart. Instead of proceeding, in short, from the latter, invisible and consequently unknown, to the social group, exterior, visible, tangible and known, as our age is accustomed to do, is it not more in accord with the scientific method of the age to take the opposite course? The idealist Plato, without doubt, powerfully illuminated Politics by connecting the passions with its diverse revolutions, showing in each of the latter the consequence of one of the former, and a Taine has in our own day made use, if not of the idea, at least of the image, in explaining the overthrow of the French social system. But if, taking up the profound idea of the Greek philosopher, we now examine it in an inverse sense, which is to say scientifically, proceeding from visible Politics to the mentality of the individual, what a clearly personified and OBJECTIVATED psychology will Politics incarnate for us ! This psychology history is daily broadening and consolidating; we have begun to grasp the rhythm of it through the ages (in the law of fourcentury periods and of twelve generations). In turn, epic or POETRY in general, if we may believe Aristotle gives us its most durable verities, as the DRAMA, with its action and mimicry, presents its most perfect and tangible image, according to the same author. We here catch a glimpse of what PANTOMIME, which connects these with the plastic arts, might become, were it one day resuscitated from the pitiful shroud of our Pierrots. The Roman alone perceived its possibilities of greatness when he applied it not only to the interpretation of Greek drama, but to the events of his own civil life, which he knew to be decisive in the history of the world. Thus we emerge from the psychological mists of philosophy to grasp at last concrete realities, discarding the abstract phantoms of vague ' 'faculties" to seize upon actions and forces. The irreconcilable (and hereditary) duality of our nature, the four elements or "temperaments" between which it continues to be torn, their six possible combinations, identified with the six directions in which our energy can move within the three dimensions of space, finally the twelve limits which are created when they meet with the first obstacle which forces them back, the twelve physiognomy-types which we have re-encountered in all groupings, all these we shall demand that every soul reveal and confess to, in our conviction that every soul is identical with the complete human soul, and that we cannot know or account for the bases of its dominant "character" without first having examined it successively from these dozen angles. We shall call to witness, in the first place, the THEORISTS, eldest and most original of whom is Theophrastus. A "character" in his collection is usually preceded by a definition, in conformity with the taste of his master Aristotle, and is frequently summed up in a final formula. Between these, it is sketched in traits whose number varies from 6 to 16. There is, indeed, but a single sketch in 6 traits, the TARDILY EDUCATED, so little developed that Molidre could draw from it only the first act of the BOURGEOIS GENTILHOMME, and we find, on the other hand, but two figures having 16 traits, the SHAMELESS FELLOW and the BOOR, necessarily a little heavy, while the sentences, purposely full of repetitions, reach but 15 for the LOQUACIOUS. If 8 strokes of the pencil were sufficient for the DISCONTENTED, as for the SUSPICIOUS and the IRRITATING MAN, 9 for the OSTENTATIOUS and 10 for the ZEALOUS, the PROUD and the RASCAL, it is easily seen that, with its repetitions suppressed, the DISSIMULATOR, and, with four of his secondary traits readily reduced to two, the SUPERSTITIOUS, both so admirable, will return to the dozen ARfiTES under which are thus presented to us twenty of these twenty-eight marvelous "tanagras." Besides the two preceding, five others consist of 11 traits each (the WHEEDLER, the ABSENT-MINDED, the BRUTAL, the VAIN GLORIOUS, the GRANDEE), three of 13 (the NEWSMONGER, the SLOVEN, the BORE) and all the rest of exactly 12 (the FLATTERER, the GARRULOUS, the BOLDLY GREEDY, the NIGGARD, the MISER, the SLANDERER and the COWARD. Now these traits, these ARfiTES of a figurine, may be themselves classed in 2 categories, which is to say in a half-dozen couples; these in turn can be re-divided, sometimes into two groups, sometimes into three. The COWARD, for example, is shown in 6 attitudes at sea and 6 in war. Or again, we find in the ABSENT-MINDED, 3 groups of 4 traits each, in themselves perfectly symmetric, the 1st, 2nd, 5th and 10th traits, the 4th, 6th, llth and 12th, the 3rd, 7th, 8th and 9th. Of these three groups, the first shows the personage IN THAT WHICH CONCERNS HIMSELF, characterized here by a perpetual absence of mind; the second tetrad describes him in the ORDINARY RELATIONS of life; the third represents him speaking and acting AS IF ON THE STAGE OF A THEATRE: he appears at first LYRIC, then EPIC, then DRAMATIC. And we need but study a little the six facets thus coupled by each of these three axes analogous to those which in Chapter VI opposed the objective and possessive, active and sensitive, intellectual and material to see appearing at the 12 aretes the 12 eternal figures of the gods. Doubtless we have here exceeded altogether the intention of the author (although a Greek), but we perhaps exceed less the ideal' which he instinctively pursued, just as it was unconsciously pursued by the makers of Legend, full of beautiful tales, naive and logical, whose episodes have none the less been gathered by the successors of Dupuis into a "solar myth" and the twelve signs of the Zodiac! Both Legend and Theophrastus were but obeying an AESTHETIC INSTINCT which consists in adaptation to the general rhythm of the universe; this rhythm proceeds from the three dimensions which oblige man, physical and moral, dynamic man to distribute his energies in six directions, until, forced back by conflicting energies, they turn obliquely and are quickly condensed into twelve laws, twelve "gods sprung from man." We know that the 28 studies of Theophrastus were drawn, as La Bruy&re says, "from the Ethics and Morals of Aristotle," and that "the foundation of the characters described therein comes from the same source." The stream from that source may be followed across the centuries, from the day of the author of the POETICS to the moment when, swollen by the tributaries which from every direction have brought to it Christianity with its amazing decrees, it became a vast theological river carrying the sum of all European moralities. In each of the component items accorded by St. Thomas Aquinas or his predecessors to a vice, in each of the definitions or conclusions of the Greek moralist and his successors we may grasp a link of the DIDACTIC chain whereby the monography of that vice is connected with the whole of the general classification adopted by the author; and each classification may be brought back, as we have observed, to our tableau of the Twelve Gods. This didactic element comes finally to complete the elements or tetrads, lyric, epic and dramatic, above pointed out in each "figurine" of character. In short, after having detached it from one of the articles of moral theology, we find that it exhibits, as we shall see, the 12 principal traits.

Ill ST. BERNARD, ST. BENOIT AND SENECA: THE VARIOUS LITERARY FORMS Let us take from St. Bernard, for example, the TREATISE ON THE DIFFERENT DEGREES OF HUMILITY AND PRIDE. We find distributed in 3 groups the 12 steps by which the scholar descends into Pride. He here retraces inversely precisely the path by which he climbed the 12 degrees of humility, according to the ride previously given by St. Benoit. From the height to which the great Patriarch led him with HUMILITY OF THE EYES, the last of the Fathers shows him beginning to descend by CURIOSITY OF MIND. LEVITY next soon causes him to lose his CALM AND GENTLE SPEECH. INAPPROPRIATE MIRTH will take from him the benefit of INFREQUENT LAUGHTER. BOASTFULNESS will destroy the work of SILENCE. Individual PECULIARITY will make him detest the COMMON RULE. ARROGANCE will replace the HABIT OF ESTEEMING HIMSELF INFERIOR TO OTHERS, a right and virtuous habit based upon a profound reason, as may be seen by what was said in Chapter II on THE IMITATION OF CHRIST. Foolish PRESUMPTION triumphs over a wholesome CONSCIOUSNESS OF HIS USELESSNESS. He UPHOLDS HIS FAULTS like a poor pagan, instead of CANDIDLY ACKNOWLEDGING EVEN HIS SINFUL THOUGHTS. PRETENDED CONFESSION destroys what edification he may have formerly given by ENDURANCE IN THE SPIRIT OF OBEDIENCE. REBELLION enters on the scene, in place of SUBMISSION TO SUPERIORS FOR THE LOVE OF GOD; then follows LIBERTY TO SIN, in place of SELF-DENIAL; finally, at the bottom step, the HABIT OF SIN uproots the CONSTANT FEAR OF GOD. We may go now, if we wish, to the heart of the details: the 12 types of Scholar, appearing on the 12 steps of this ladder, may each be outlined before the reader in a dozen traits, like the Characters of Theophrastus. Upon the step of ARROGANCE do we not see standing out conspicuously the VAIN, whose admirable portrait, by the same St. Bernard, may here be quoted: "The Vain Man is loud of voice or sulkily silent; he is dissolute in joy, angry in grief; inwardly dishonest and outwardly honest; he is stiff in his demeanor, sharp in his responses; always ready to attack, always weak in defense; he yields with bad grace; he is importunate to obtain his desires; he does not do those things which he can and should do, but he is quick to attempt what he cannot and should not do." (DE MOR. XXXIV, 16). And we could, without straining a point, reduce to the same "Proportions" the portraits which fill the writings of orators and moralists in all literatures. Constantly does the effort to perfect and condense one of these portraits lead toward these duodenary Proportions. Flaubert, that master of pure prose, observed likewise that the labor of the stylist involuntarily inclines the rhythm of a phrase toward the duodenary proportions of the alexandrine. So innately is this rhythm a part of us ! Need we recall the 12 visible signs of an angry man, according to Seneca (DE IRA) ? "His eyes flash and glitter; his face reddens; his heart beats rapidly; his lips tremble; his teeth grind; his hair bristles; he breathes hard and with a hiss; his joints crack as he clenches his hands; he growls or bellows; his hasty words interrupt each other; he beats his hands together; he stamps his foot," and, as the author summarizes him in a final 13th trait, "all his agitated being exhales menace." But why enlarge further upon the THEORISTS? It is the same with the HISTORIANS, although here the painter inscribes a famous name under his study. That of Seneca, above quoted, might be entitled NERO. We find simply that in reality the theoretical essays upon this or that passion, vice or virtue NEVER HAVE THE ABSTRACT CHARACTER they are assumed to have. Each of these essays represents a human being, duly constituted, a little anthropomorphic god (there are no others, since man, according to the Bible, is theomorphic), a demon or an angel, as the Middle Ages would have termed him, a personage necessarily equipped with all his organs. The Theatre of the subtile Middle Ages, with its Moralities especially, abounds in such little gods; despite their allegorical names they gambol about, and in their animation display more real life than has remained in their descendants of the drama of Character, of Manners or of Plot. FALSE-SEEMING here acts and speaks with another verisimilitude, another resemblance to what we see around us, than do the characters of Messieurs C., D., L. etc.; mediaeval VAIN-GLORY is far more a human being, walking, rejoicing, eating, sleeping, than the GLORIEUX of Destouches, adorned with twenty titles of nobility, yet is not the comedy of Character superior in this respect to that of Manners or of Plot? If, instead of vaguely designating Don Fernand as his AMBITIOUS, Destouches had transferred his characteristic signs to this or that favored celebrity, he would have written a so-called HISTORIC DRAMA. In the majority of the "Characters" of the moralist La Bruy&re, we can recognize the figures drawn in the various Memoirs of the period; Memoirs which, in restoring them to their civil state, make of them also historic studies. So purely imaginary is the distinction between the art of the MORALIST and that of the HISTORIAN! Still more do the EPIC POET and the NOVELIST, more generous in their types, mingle with the moralists. The LYRIC POET in turn whether he shows us one of the convulsions of his own soul, or the reflection therein of a light from this or that face of the external world does he not also give us the "document" of an attitude, of one of the ARfiTES of the Self everywhere identical, just as the epic poet, the novelist, the theologian, the historian and the moralist have already done?

Perspective in Matters of Psychology CHAPTER XII I COMPARATIVE PERSPECTIVE Certainly it is interesting, after having contemplated the elements of a character at their crisis in the LYRIC, and after having studied its analysis by the THEORISTS of the soul, moralists, technicians, casuists, to follow, through history, epic, romance, in a word, through NARRATIVE, the fashion in which these elements evolve, in which they succeed one another, and to consider them from the point of view of unilinear time. Two characters arranged in parallel, according to the manner of Plutarch, whether characters of individuals or of peoples, even three, four, five or more, whose course we observe synchronically, may form not merely a historian's diversion, but may inaugurate a science as yet unstudied and fecund: that of Comparative Biography. Will it not be interesting to grasp them, these characters, in an epitome which permits us to perceive their reciprocal action in the group with which they are intertwined, and that of their constitutive elements upon each other, thanks to certain actions? It is this which is achieved, with rigorous economy, in Comedy. From Aristophanes the art springs complete. His Socrates in THE CLOUDS, inspired apparently by the Homeric MARGITES is shown us in 12 attitudes, farcical, odious or absurd, corresponding to exactly as many episodes. It is these episodes which, enriched by what we call a Prologue and by the songs of the Chorus, form the whole of the play. Now, of these 12 attitudes, 4 are of ACTION and FEELING, 4 of IDEALISM and REALISM, 4 of APPEAKANCE and POSSESSIVITY, which corresponds, as we perceive, to our distribution within the 3 dimensions of space of the 6 directions of our energy. The 4 scenes of ACTION-FEELING are: the impious teaching of the Philosopher (Socrates here being but the incarnation of all novel philosophy in the eyes of Aristophanes) ; his communication of Wrong Reasoning to the young man (who, it may be remembered, was brought by his father with a view to obtaining from the Master such sophisms as might permit them to evade their Debts and escape the irritating Duties which were knocking at the family door) ; the inevitable consequence, the son ill-treating the father; the avenging reaction postponed more or less, but inevitable, the father of the family finally enlightened and attacking the Philosopher. The 4 scenes of IDEALISM-REALISM, of grotesque contrasts, show us: the Philosopher suspended "between earth and heaven" in a basket (the same which we encounter again in the famous LAI DE VlRGILE); then singing of the Clouds, his cousins in metaphysics and the very worthy emblems of ephemeral systems; the meditative concentration. . . under the coverlet where the unfortunate Strepsiade feels himself being devoured by bugs; the scandalous triumph of Wrong. If these scenes describe the Master himself, those which remain will tell us of his RELATIONS WITH OTHERS, his teachings: the preposterous inventions of the School; the bizarre posture of the Disciples bent earthward; the lesson in Philology (remembered, like Theophrastus' description of the TARDILY EDUCATED, by MolieYe when writing his BOURGEOIS GENTILHOMME) ; and, above all, the principles of an "amoralism" and of a "struggle for life," eternally modern. Tartufe, more sinister, exhibits the hypocrisy of the "roundheads," his contemporaries. 4 attitudes present him to us IN PERSON: at church, multiplying his genuflections and signs of the cross ; then his theatrical and formal entrance into the action; then bashful and awkward before Dorine, and lastly avidly usurping the property of others. 4 scenes show the INFLUENCE of his deceptive words on OTHERS: the first recounting the amazing omnipotence of this mere layman; the second, the foolish infatuation of Orgon for a man possessed of no authority except through the blindness of his victim; in the third, that of the "Et Tartufe," we can put our finger on that colossal naivete, almost amorous; another scene reminds us of it sadly and ironically in the belated obstinacy of Madame Pernelle. 4 scenes show Tartufe occupied in PURE ACTION : his Declaration to Elmire; the Equivoque by which he afterward withdraws himself so easily from the affairs; the Confession which he makes in Act IV of his true nature; and the final COUP DE THEATRE when he expels from the house its legitimate proprietors. The impious DON JUAN is a very brother to him; as pictured originally by Tirso de Molina; a hypocrite and libertine, who likewise mocks at Heaven and invokes it brazenly. Despite the golden and rose-colored vestures which we have since bestowed upon him, he still retains his Satanic physiognomy. In Molidre's portrait Don Juan ventures his own Apology. His attitude toward the creditors further differentiates him; he is a rich man, or at least a man of credit, of reputation; he is a man of today, while Tartufe is but a man of tomorrow. The evil which Tartufe does to people of property Don Juan does to the poor; his filial disrespect lastly completes, with a 4th trait, his ORDINARY RELATIONS WITH OTHERS, of which the rupture with Elvire is also a part. The 4 ARfiTES which outline his PERSONAL PHYSIOGNOMY may be thus enumerated: his easy conquests of Act II and his scepticism so clearly proclaimed in Act III; then his libertinism in its two aspects; then his attitude toward the weeping Elvire, and his blasphemous parody of repentance. The 4 parts most essential to the ACTION-SENTIMENT seem to be: the warning felt by the poor woman; the invitation to the Commander; the fanfaronnade of the visit to him; the final and damnatory obstinacy at the moment of the avenging catastrophe. In reality this GRAND SEIGNEUR, whom it is as ridiculous for our comedians to represent in a sympathetic light as it is to show the MISANTHROPE pathetically this lofty personage gives forth, as it were, in the world of deceit, the highest note of a scale which is run by Goupil in the ROMANS DE RENARD; it descends by Tartufe and Socrates already cited, then by THE ALCHEMIST of Jonson to the hero of the FOURBERIES DE SCAPIN. Although this farce has but two acts, Scapin therein has time to make his Apology (Act II, scene 3) like Don Juan. The 4 scenes of his INTRIGUE are outlined by: the story of the pretended forced Marriage; the bargaining for the sum destined to break it off; the story of the Galley; and the old parade of the Sack and the blows of the Stick. Scapin is especially CHARACTERIZED by: the larcenies which he himself acknowledges; the boldness with which he begs through Leandre his indispensable support; his feigned reluctance to accept the money which Argante confides to him, and his ardor in vengeance. The 4 last and secondary traits are sketched: in the stratagem of Sylvestre, disguised by him as a bravo; in that which procures him his final pardon; in his malice, and in that repetition of the paternal return which, taken from Plautus, furnished Shakespeare with so good a theme for the Falstaff of his HENRY IV. In the latter drama Falstaff is likewise portrayed in 12 essential lines: a Portrait by others and an Apology by himself, corresponding t the definition and the conclusion which frame the figures of Theophrastus are added to the rest, as in Moliere: the Apology in the scene to which I have just referred, and the Portrait under the form, so original, of contumely. (Act I.) Here is the first tetrade of the 12 essential lines: the amusing heaviness of the hero flying from the ambuscade prepared for him by the princely joker; his adulation when he sees, later, his boastings belied; the gluttony of which the note found in his pocket gives evidence; and, on the field of battle, his superb tirade against honor. The second tetrad consists of: his cries which make his whole part in the ambuscade ; the notched sword and the false wounds he exhibits in support of his lying narrative; his brazen reproaches to the hostess, his creditor, and his rhodomontade belied by Prince Henry. Lastly, in the tetrad of ACTION-SENTIMENT, we have: the haste with which he recruits his calamitous regiment; his conduct on the field of battle; the fashion in which he there simulates death, and that in which he claims the corpse of the heroic Hotspur. We have come to the play of TWO chief characters, the dimensions of Shakespearean drama permitting, in effect, their development at the same time. Prince Henry is sketched in the Portrait-monologue of Act I, pendant to the character of Falstaff, almost as a Dionysos beside his father Silenus. Then we see him in turn: exhibiting his familiarity with the porters at the tavern; mirthfully mimicking the reproaches which he expects from his father; dignified before the sheriff, and finally rebuking his ex-companion Falstaff, thrust behind him with all his past youthful folly. Such are his RELATIONS WITH OTHERS. His INDIVIDUALITY shows itself from the beginning: a joker at the expense of Francis as of Falstaff; haunted, at bottom, by the image of Hotspur; later, superior to the vain-glory which he abandons to the Falstaffian "bluff;" and, beside this, full of fraternal delicacy. The ACTION finally projects him: suddenly great before his father; brave and happy on the field of battle; obstinately gay despite his wounds, and piously affected before Hotspur, slain by him. Moliere, on the contrary, in default of the same dimensions, could not similarly detail C6Hmdne beside the MISANTHROPE. The latter, however, reveals himself by: his reproaches to Philinte; his attitude toward the sonnet of Oronte; his attacks on worldly scandal, and his obstinacy at the time of the intervention of the marshals. Coming to words with the prudish Arsinoe, blundering and maladroit toward Eliante (IV, 2) ; he is rejected by the former, whom he has wounded (V, 6), and fails equally with the latter (V, 8); all secondary actions and intended to portray his ORDINARY RELATIONS WITH OTHERS. The PRINCIPAL ACTION consists of: his quarrels with Celimne (II, 1); his jealousy conflicting with her coquetry (IV, 3); putting her to the necessity of speaking out (V, 2), and exhibiting toward her all the failings of his character, too stiff and unyielding. But the Coquette, having been once described by him (II, 1), is but half-developed -in 6 scenes instead of 12: that of the Portraits (II, 4) and that in which she caricatures Arsinoe (III, 3); that in which she contends with the said Arsinoe (III, 5) and that in which she teases Alceste (IV, 3) ; that in which she tries to steal away (V, 2) and that in which, pardoned, she still remains the coquette she has always been and will always be (V, 7). We have one Sketch of her by others (I, 1) and her Apology by herself (III, 5). The narrowness of the Classic framework explains why the characters surrounding the Protagonist are so little amplified; the breadth of the Romantic frame, on the contrary, demands that the number of chief characters be increased, to avoid emptiness. For lack of an equal to his ALCHEMIST, Ben Jonson permits him to drift somewhat uncertainly, after the Portrait contumely of the beginning. Nevertheless the essential elements are re-encountered : The rogue beseeching his innocent victim, to dupe her; his role of go-between; his boldness in defying the Spaniard in English and his feigned divination of the name of Dame Pliant complete the first drawing of our Cunning character. After which, rival of his accomplice (the disguised domestic Face) with the poor lady, he attempts, having been unable to obtain her himself, to make her sully herself; he flouts the candid "godchild of the fairy" and exploits him, or designs to make use of the prostitute Dol, his instrument. Thus are presented the 4 outlines of the occultist in his CONDUCT TOWARD HIS DUPES AND HIS "BROTHERS." The ACTION may be summarized in a quaternary not less traditional : imposing, for the promised success of the great work, a condition which the neophyte cannot fulfill (drolly enough, it is chastity which is here in question); bringing the property with a view to "transmuting" it; selling to the solemn Anabaptist rascals, more scrupulous in words than in conscience, the said property, and finally preparing the general pillage, in which his professional vices cause him to be taken. The relative lack of consistency with which the rest of the characters may be charged (Dol Common, Face, Lovewit, etc.), and which we re-encounter today upon the modern stage, where, likewise, attempts are made to disguise it by frenzied action (romanticism), or, with less success, by the idle talk and "MOTS" of modernism, this lack might easily be found even in the Protagonist, in default of a study sufficiently disclosing to the author his various principal aspects. Thus LE GLORIEUX, by Destouches, repeats, even to satiety, the same effects, almost all too weak. His Portrait drags through three successive scenes (Act I, sc. 2, 3, 4) independently of his sensational entrance (II, 10), a reminiscence of TARTUFE. The letter which exasperates his crisis of vanity (II, 12); the pompous enumeration of his properties aind distinctions (IV, 1) ; his shame of his father (IV, 8) and the nomenclature of his titles in the contract PORTRAY him well enough. But his imprudent contempt for Lisette; her advice (a weak feature) ; the disdain which Philinte inspires in him, and the public denial of his father merely add heaviness to the piece, and we seem to feel the glacial breath of the THESIS-DRAMA. As to the PURE ACTION, it is too long; the pretensions of the GLORIEUX to Isabelle, repeated three times (II, 11 and 13; III, 1); his haughty bearing toward her, his blundering with his partisan, his renewed blundering with Lisinon; the final maladroitness by which he alienates Isabelle, and especially his conversation, false in tone and, to tell the truth, "theatrical." Is there need to cite other proofs of duodenary Perspective? Shall we enumerate the 12 fiTOURDERIES of L'ETOURDI? These consist of: 1st, breaking off the apologue of Mascarille in presence of Truffaldin; restitution of Anselme's purse; his amnesia when disguised as an Armenian, and his amorous abstraction even at the table of Truffaldin. 2nd, preventing Anselme's buying of Celie; the defense of her reputation, very MAL A PROPOS, against the suspicions of his rival Leandre, which Mascarille had already almost turned aside; denying that the latter had quit his service, and delivering Andrds, opportunely arrested. 3rd, the inopportune invention of a pretended father of Celie, directing Truffaldin to guard her, just when Leandre, abused by the ingenious Mascarille, had imprudently confided to him the purchase; the denouncing of the project for the abduction by the said Leandre, preventing that prepared by Mascarille; the confiding of the latter's ruse to Andre's in avowing his love for Celie; persistence in making Mascarille abandon the jargon which he affects to speak. And need we count the 12 falsehoods of LE MENTEUR? Need we cite, from various epochs and genres, THE MISER, THE BRAGGART SOLDIER, LE JOUEUR, LE BOURGEOIS GENTILHOMME, THE CONSTANT PRINCE, THE TAMING OF THE SHREW, Bartholo in THE BARBER OF SEVILLE, Arnolphe in THE SCHOOL FOR WIVES? Not to weary the reader, I content myself with figuring their analyses in the accompanying table. We may here establish, for every well-marked character: A a, his Portrait by the persons who gravitate about him, and A b, the Apologies which he makes in person (both portraits and apologies being divisible in turn into a dozen features); B a, 4 scenes in which he REVEALS HIMSELF in his "idiosyncrasy," to speak in the philosophical argot; B b, 4 scenes in which his RELATIONS WITH OTHERS especially appear; B c, 4 scenes, lastly, in which his nature forms the principal spring of the ACTION. Note, in addition, that in each of these two last groups, 2 of the 4 scenes almost always counterbalance the 2 others: if the hero is at the bottom in the first couple, he is at the top in the second.

II THE CHARACTERS OF MOLI*IRE SHAKESPEARE, PLAUTUS, BALZAC Of TARTUFE, of DON JUAN, of THE MISER, THE MISANTHROPE, etc., the epitomes offered us differ, but not the point of view from which the author makes us contemplate them. The "Molieresque method" being once precisely stated, it will be interesting to dispose his elements under the angle, for example, at which the Shakespearean characters appear to us, and so on for other authors. This work will give us PERSPECTIVE AS EACH MASTER HAS CONCEIVED IT. I fear, as I have said, to weary the reader; otherwise I would show how such a study, proceeding from one literature, one school, one writer successively to all the others, would create for the first time a veritable philosophic and scientific LITERARY HISTORY. From a general character like the Greek Apollo, we see separating and evolving the pure Artist and the unfortunate Lover: these are reunited in Orpheus. There is also the character of the Unfortunate pure and simple. These three branches produced, in the Homeric epoch, the Unfortunate Artist (Demodocus), the Inspired and Fatal Prophetess (Cassandra), the Lover ill-fated and unknowingly criminal (CEDIPUS) and the Parricide almost equally innocent (Orestes), all overshadowed by the same god. To Parody he has given Marsyas, then MARGITES, ancestor of all pedants; elevated to a serious plane, these furnish the Fantastic types of artists, intellectuals, Utopians or their caricatures. The latitudes and developments of races and the personalities of authors being here mingled, we obtain progressively, from the various branches of this "genealogical tree:" Winckelmann, Ruy- Blas, Abbe Mouret, the Misanthrope, Timon of Athens, the cook Vatel, Philaminte, Trissotin, Tribulat Bonhommet, Fourier, Balthazar Claes, the heroes of Hoffman, Cousin Pons, etc. As for the SPECIAL PERSPECTIVE of a single work, we may ascertain, in the said work: In what manner the twelve elements of a character fit into those of surrounding characters; how this relationship changes in a second work by the same author; how it changes when we pass to a new author treating the same subject, or a different subject; then when we pass to a new school, literature or epoch; how far these diverse works permit of sharply drawn characters, and so on But especially will it be interesting to study, in the works of a single writer, the ENTIRE SCOPE of the characters which he offers the public. Every one of these incarnates one of the souls of the "poet of a thousand souls." They distribute themselves according to the inevitable division of the main enclosing lines, and each of these groups, showing us one side of the poet, tells us on what number of points and at what level will emerge the complete being, which he felt in his heart and which he wished, by means of these creations, to bring from out the shadow wherein Society endeavors to compress the greater part of our nature. MolieYe's company of actors were, so to speak, his organs ; his comedians represented and were but the "lines of ARfiTE" of his great soul. Of his women, by a curious illusion, he wished to make VESTA types: Henriette, Elise, Elmire, Psyche, Alcmene; and only little by little, in spite of himself, it is said, did he consent to let them slip toward the false and coquettish: Celimene, Angelique, and Beline. La Grange long impersonated his Lelies, his Valeres, his Horaces, his Cleantes, his Erastes, his Leandres, his Clitandre, his Cleonte and, above all, his Don Juan. Baron came later to double the roles dedicated to the eternal comic VENUS: Myrtil, I'Amour and Octave in the FOURBERIES. The insufficiency of Bej art (Don Louis, Madame Pernelle) obliged the Master to assume besides the MERCURIES, his ordinary roles (Mascarille, Miron, Sosie, Scapin, etc.) the jealous, tyrannical and grumbling, the dotards, the derided and the deceived (JUPITER, VULCAN, NEPTUNE): the Sganarelles, Arnolphe, Georges Dandin, Don Pedro, Orgon, Harpagon, Alceste, Chrysale, Argan. He had even to substitute, in the foolishly majestic, for Thorilliere, to whom fell the JUPITERS, and who incarnated Geronimo, Arbate, Philinte, Hali, Jupiter in AMPHITRYON, Dorante in the BOURGEOIS GENTILHOMME, and the King in PSYCHE. Another Jupiter, that of PSYCHE, fell to Croisy, but that actor was better suited, by his sombre visage, to ill-tempered and pedantic types, odious or ridiculous (APOLLOVULCAN): Metaphraste, Vadius, Lysidas, Marphurius the Master of Philosophy, Oronte of the sonnet, Dimanche, Harpin, Sotenville. The MARS of the company was De Brie: La Rapidre, the Commissioners, the Guards, the Master of Arms, etc. The joyous CERES blossomed in Madeleine Bejart: Marinette, Marotte, Lisette, Frosine, Dorine; the DIANAS belonged to Mile de Brie: Celie, Lucile, Madelon, Climdne, Agnes, Eliante, Daphne, Claudine and Mathurine.*" Mile du Pare was for long the MINERVA: Cathos, Climdne, the formal Marquises, the prudes like Arsino6; sh< did not live to play the FEMMES SAVANTES. It would not be impossible for some Cuvier of the mimic art to reconstitute, by means of the characters of Shakespeare or Plautus, the physiognomies, the roles and abilities of their actors, who likewise were but the organs, but the members of the magnified person of the poet. In Shakespeare, VESTA appears, in religion, as Sister Isabella, and in the home as Helena, Hermione, Catherine of Aragon; by a change of sex we have Friar Laurence, Horatio, etc. JUNO animates Apemantus, Jacques, Ligarius, Margaret of Anjou, Queen Constance, and Leontes, Posthumus and Othello. The Satanic Neptune is expressed in King John, Hamlet's uncle, Wolsey, Macbeth, Lady Macbeth, Shylock, Pandarus and Polonius. MINERVA directs Imogen and Rosalind, inspires Beatrice and Portia, Antony in JULIUS CAESAR, Mercutio and even Autolycus. VENUS appears in Cleopatra and Cressida; APOLLO reigns over Hamlet as over the antique Orestes, over Lear as over (EDIPUS AT COLONUS, and even Timon; in the comedies he excites the passions of Holofernes and of the young Ferdinand. Do we not recognize MERCURY in Maria and in Puck; then, degraded by a mingling with Juno, in Thersites and lago? Of JUPITERS Shakespeare presents few save in the far-away Julius Caesar, Timon (in the beginning) or Oberon; I willingly conclude that he lacked interpreters rather than models. It is not thus with CERES; his actor represented these when female characters (such as the MERRY WIVES, Juliet's nurse, the hostesses, etc.) as when males: Falstaff, Sir Toby and the buffoons like Falconbridge or the Fool in LEAR. It is curious that the comic VULCAN everywhere most numerous appears on the Shakespearean stage only in Menelaus in^ TROILUS, while the "devoted" type is present in Pauline, Gloster and Pisanio. His MARS actors could play the women (Katherine THE SHREW) as well as the savage hired murderers of KING JOHN, MACBETH, etc., or the boasters like Parole or Ajax. But the DIANA of the troupe must have been indeed poetic to incarnate Juliet, Desdemona and Ophelia! In Plautus, likewise actor as well as author, VESTA bears the names of Eunomia, Myrrhine and Peristrate, and, in the masculine, Eutycus and Sagaristion; JUNO only that of Antiphon; NEPTUNE that of Euclion on the one hand, and, in the darker roles, the names of Cappadox, Dordale, Lycus, Ballion or Labrax. MINERVA furnishes little but Simia and the little Pegnion; VENUS, the Bacchis, Gymnasia, Erotia, Pasicompsa, Philocomasia, Philematia, Delphium, Lemniselene, Adelphasia, Thais, etc. APOLLO brings the passionate lovers: Agorastocles, Calidore, Lysiteles, Pleusidippides, Diabolus, Argyrippes, Stratippocles and Charinus; he gives, too, beside the pedants, his famous Cooks of THE MERCHANT, CASINA, PSEUDOLUS and the AULARIA. MERCURY is incarnated in the traitor Stalagme and in Geta, Sophoclidiscus, Chrysale, Chalinus, Lampadion, Toxile, Milphion and all the cunning slaves. An actor of JUPITERS seems to have been lacking in the company, for the good-nature of Hegion, of Lysimachus, of Periplectomenes relates them rather to some CERES actor already charged with Calliphon, Micion, Philton, Callicles, and various joyous roles in the Masques. His VULCAN interpreted the slaves, simple and limited, such as Syra, Crocotia, or Gripus, Parmenion, Trachalion, Stratilax, Tyndarus, Messenion, Grumion, Simon, Demones, Charmide and Chorion, even the Dotards derived from the imbecile Etruscan Papus: Theuropides, Periphanes, etc. His MARS played Cleomachus, Antemonides and THE BRAGGART SOLDIER. He must have had two DIANAS among his interpreters, to present Philenia, the daughter of Saturion, Thelestis, Silenia, the unfortunate Philippa, and Panegyris, conjointly with Pinacis and Ptolemocratia or the timid Phedrome. Again we have the 12 gods, under their quadruple hypostasis masculine and feminine, tragic and laughable in the novels of Balzac, for example. His Crevel, a conceited ninny, mayor of a Parisian ARONDISSEMENT, his notary Lupin, his Phileas Beauvisage; the haughty Delphine de Nucingen, the elder Madame de Portenduere, the respectable Marquis d'Esgrignon, the first Madame Matifat, the beneficent and venerable Madame de la Chanterie; his numerous Maecenases (Anselme Popinot, the Marquis di Negro, the Due de Verneuil, etc.) do they not proceed from the lofty and protecting Jupiter? His prodigal and vicious Marquis de Salleneuve, the Marquis de Rouvre, Savinien de Portendudre, Georges Marest, Diard the gamester, Plissoud the toper, the gay Mesdames Vermut and Fontanien, Palferine (on one side at least), the careless Merle, Oscar Husson and Vatel, his drunkards (Chardin senior, Vermichel, the lazy Cantinet), the glutton Bargeton, the more delicate Montriveau and Montpersan or the abbe Gondrand, the egoist Vicomte de Beauseant, even the gross Agathe Picquetard or the vulgar Ursule in CESAR BlROTTEAU, do not all these recall our CERES type? I need not continue. But the HUMAN COMEDY furnishes a world in itself. It has supplied examples for almost all the important subdivisions of our Classification, and it leaves nothing to be desired but the perfecting of some few among these examples. The richness of this work is truly unique. Beside Balzac, how many illustrious authors show an astonishing poverty in their creations! When one of the 12 principal ARfiTES is found to be altogether missing, the case becomes serious. The antique Olympus perished, as I have intimated, through failure to achieve a chastely sentimental Diana, for the new faith succeeded in entering through that breach. The same lacuna, symmetrically, must have existed at heart in each of the great gods, whence their increasing corruption and insensibility, in the name of which the men from the East attacked them upon their altars and in the hearts of their followers, whom they recalled to the complete and primitive Ideal. Everywhere this law asserts itself: to the absence or inferior development of a charactertype, of a "god," of a line important to the equilibrium of the human total, there corresponds a similar absence or inferior development of something answering to that "line of ARfiTB" in all other characters, since, at a certain depth, there should be found in each the conception of the complete man. Thus the absence of the JUPITER type in Plautus, of the CERES type in Corneille, of the MINERVA type in Zola explains why, in each of their creations, some one spot gives forth a hollow sound and shows a puffed and exaggerated aspect, the mask, in reality, of a vacancy. Ill VACANCIES TO BE FILLED How should the author have proceeded to fill these? We have already seen. He would have had only to complete his series of characters; he would thus have studied man complete, not forgetting one of his essential organs, one of his possible general "attitudes," which is to say one of the characters called individual because this attitude is therein habitually accentuated, and shows always this ARfiTE. The shrouding of this or that ARfiTE in shadow should never be a complete suppression. The writer, if he wishes to make his work harmonious and true, a chorus of the divine types, should no more mutilate his study of life, of man complete, or that of a "special character" when he detaches it, than the great artist forgets the existence of aspects painted by his predecessors, although the style of his own work may be novel and revolutionary. The total subsists, although the parts emphasized may not be the same. It is the imitators, the mediocrities, the sectarians who, in literature as in art and elsewhere fail to distinguish, in the shadows where they lurk, the parts not clearly in evidence, who forget or deny these, who despise or pretend to abolish them. Thus the work they produce is but that of a school, a party, a fashion or a sect. They present, instead of a profile in relief, a mere flat silhouette; instead of a face, a mask; instead of a human being, divinely supple, but a puppet of limited and mechanical gestures. The style of the Masters, I repeat once more, has nothing in common with these caricatures and partial characters. They suppress nothing, even in their boldest condensations of the eternal Proportions of the soul. They know that the soul in this respect differing from the body, and armed, we might say, for infinite life has but one form, and that form complete, a veritable image of the Divine. These sublime Proportions the Masters put, with all the art whose principal secrets I have just revealed, in a new "Perspective," new because the point of view of these Masters is new, and because the attitude given by them to their models is also new. Far from diminishing or mutilating individuality, they each time unveil and bring into light, supported by the organism in its entirety, some hitherto unknown side. Of these mysteries, nevertheless, 369 remain to be revealed.

Conclusion The 369 unused types which we have discovered in the course of this classification represent unexplored regions in the soul of each one of us. Open, ing these regions in the individual as in Humanity, we complete the geography of the Soul. We maintain nevertheless, like parallels of latitude and longitude, its Duodenary Proportions. These we have found in all life, in everything which, like ourselves, is Rhythm. We see them everywhere in art and in poetry: epic (Song of Izdhubal, Homeric Poems, ^Eneid, etc.) or tragic (in China, Rome, France, etc.) of all ages, in the cadences of all known verse-forms, as well as in the movements of history (comparative heredity, law of four-century periods) and in theogonies. We have just re-encountered them enclosed by the indispensable lines with which a La Bruydre, a St. Bernard, a Seneca or a Theophrastus encircle their figurines; we have found them as unmistakably in the silhouettes of dramatic or literary heroes ; we have followed the pencils of the Masters putting them into Perspective. An entire volume would be necessary to follow the application of this Perspective by each one of them. But I have fulfilled the triple promise made at the beginning of this book: 1st, to reduce each Character to elements whose combinations suffice (the systems heretofore contradictory being reconciled) to reconstitute the most complex personality; 2nd, to classify methodically all the figures of history, legend and poetry, taken from the most widely separated countries and centuries, in groups less and less dense, which is to say more and more closely approaching individuality; 3rd, to count and measure exactly the lacunae in our literary creations or psychological observations, and to fill them with an equal number of characters, whose proportions, according to promise, I have likewise sketched. And while we have seen issuing from this patient labor several future structures already well begun, those of Comparative Heredity, the Rhythms of History, the mathematical laws of narrative and dramatic Composition, a theory of Comparative Literature, Comparative Biography, modernized Rhetoric, Universal Versification, we have had the certainty of building, for the first time, a veritable "New Science," whose rules are not sentimental but definite and exact: the SCIENCE OF THE HUMAN HEART.