a young prince, a confidant, a high-priest, a captain of the guards, seized by some passion, habit or inclination, such as love, ambition, fidelity or perfidy, a despotic or a yielding temper, some species of wickedness or of native goodness.  As to the circumstances of time and place, which, amongst others, exercise a most powerful influence in shaping and diversifying man, it hardly notes them, even setting them aside.  In a tragedy the scene is set everywhere and any time, the contrary, that the action takes place nowhere in no specific epoch, is equally valid.  It may take place in any palace or in any temple,[29] in which, to get rid of all historic or personal impressions, habits and costumes are introduced conventionally, being neither French nor foreign, nor ancient, nor modern.  In this abstract world the address is always “you"(as opposed to the familiar thou),[30] “Seigneur” and “Madame,” the noble style always clothing the most different characters in the same dress.  When Corneille and Racine, through the stateliness and elegance of their verse, afford us a glimpse of contemporary figures they do it unconsciously, imagining that they are portraying man in himself; and, if we of the present time recognize in their pieces either the gentleman, the duelists, the bullies, the politicians or the heroines of the Fronde, or the courtiers, princes and bishops, the ladies and gentlemen in waiting of the regular monarchy, it is because they have inadvertently dipped their brush in their own experience, some of its color having fallen accidentally on the bare ideal outline which they wished to trace.  We have simply a contour, a general sketch, filled up with the harmonious gray tone of correct diction. — Even in comedy, necessarily employing current habits, even with Molière, so frank and so bold, the model is unfinished, all individual peculiarities being suppressed, the face becoming for a moment a theatrical mask, and the personage, especially when talking in verse, sometimes losing its animation in becoming the mouth-piece for a monologue or a dissertation.[31] The stamp of rank, condition or fortune, whether gentleman or bourgeois, provincial or Parisian, is frequently overlooked.[32] We are rarely made to appreciate physical externals, as in Shakespeare, the temperament, the state of the nervous system, the bluff or drawling tone, the impulsive or restrained action, the emaciation or obesity of a character.[33] Frequently no trouble is taken to find a suitable name, this being either Chrysale, Orgon, Damis, Dorante, or Valère.  The name designates only a simple quality, that of a father, a youth, a valet, a grumbler, a gallant, and, like an ordinary cloak, fitting indifferently all forms alike, as it passes from the wardrobe of Molière to that of Regnard, Destouche, Lesage or Marivaux.[34] The character lacks the personal badge, the unique, authentic appellation serving as the primary stamp of an individual.  All these details and circumstances, all these aids