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After the death of Ibsen, Brieux confronted Europe as the most important dramatist west of Russia. In that kind of comedy which is so true to life that we have to call it tragi-comedy, and which is not only an entertainment but a history and a criticism of contemporary morals, he is incomparably the greatest writer France has produced since Molière. The French critics who take it for granted that no contemporary of theirs could possibly be greater than Beaumarchais are really too modest. They have never read Beaumarchais, and therefore do not know how very little of him there is to read, and how, out of the two variations he wrote on his once famous theme, the second is only a petition in artistic and intellectual bankruptcy. Had the French theatre been capable of offering a field to Balzac, my proposition might have to be modified. But as it was no more able to do that than the English theatre was to enlist the genius of Dickens, I may say confidently that in that great comedy which Balzac called ‘the comedy of humanity,’ to be played for the amusement of the gods rather than for that of the French public, there is no summit in the barren plain that stretches from Mount Molière to our own times until we reach Brieux.