INTRODUCTION MOLIÈRE Aimer Molière, en effet, j'entends l'aimer sincèrement et de tout son cœur, c'est, savez-vous? avoir une garantie en soi contre bien des défauts, bien des travers et des vices d'esprit. SAINTE-BEUVE. JEAN-BAPTISTE POQUELIN, afterwards called Molière, was born in Paris on January 15, 1622, as the eldest child of Marie Cressé and her husband Jean Poquelin. His mother died when he was but ten years old. His father was engaged in the service of the king as upholsterer with the title of tapissier valet de chambre du roi.* It appears that during Marie Cressé's life Molière was brought up amid the sturdy virtues of a well-ordered bourgeois family. The home, moreover, had a certain elegance, conducive to the development of the aesthetic sense. The father, though neither loving, large-minded nor generous, nevertheless deserves great credit for having given his son an education, such as, at that time, was enjoyed only by the sons of well-to-do parents. Young Poquelin was educated at the Jesuit Collège de Clermont (now lycée Louis-le-Grand) *The duties of these officers were as follows: 'Ils aident tous les jours aux valets de chambre à faire le lit du roi; ils ont en garde, aux lieux de séjour de la cour, les meubles de campagne du roi pendant leur quartier (a period of service comprising 3 months) et font les meubles de Sa Majesté? (Cf. Larroumet, La Comédie de Molière, p. 5.) in Paris (c. 1636-1641). He also received private instruction in philosophy from Gassendi, a follower of Epicurus. After Molière had finished his humanities, it is said that he went to Orléans in order to study law. It is difficult to say whether he carried his legal studies far enough to obtain a degree, and it is equally uncertain whether he practised law. That Molière possessed considerable legal knowledge, however, is sufficiently attested by three of his comedies: L'École des Femmes, Pourceaugnac and Le Malade imaginaire. Molière had early imbibed a love for the theatre. His grandfather on the mother's side had often taken him to witness the performances at the Hôtel de Bourgogne, and these early impressions were deep enough to last through life. After having finished his studies Molière felt more than ever drawn to the stage, and in 1643, he founded, together with Madeleine Béjart, a theatre bearing the title of L'Illustre Théâtre.* While a building was being fitted up for the Illustre Théâtre, the troop went to Rouen in Normandy (Corneille's home) in order to give a series of performances. They returned to Paris towards the end of the same year (1643) in order to get ready for their next year's work. It was then (1644) that Jean-Baptiste Poquelin first assumed the stage-name of 'de Molière'—probably in order to spare the feelings of his family, since actors were then held in very low esteem. But Paris proved disastrous to them. Two well-established theatres, the Hôtel de Bourgogne and the Marais enjoyed the favor of the public, and the Illustre Théâtre was unable to compete with them-all their attempts to win over the Parisian public were in vain. To crown their misfortunes Molière was thrown into prison for debt, from which he was * Cf. Zeitschrift für neufranzösische Sprache und Litteratur, vol. VIII, P. 43 f. From the union of Molière's company with those of the Marais and the Hôtel de Bourgogne dates the origin of the celebrated ComédieFrançaise in Paris (1680). finally released through friendly aid. It was but natural that such bitter disappointments should have completely disheartened Molière and his troop. They therefore concluded to try their fortunes elsewhere, and so we find them for twelve long years (1646, or 1647 to 1658) travelling through the provinces of France. A great portion of this period of Molière's life is shrouded in darkness, although a large part of his itinerary has been traced. Cf. Brunetière, Manuel de l'Histoire de la Littéra ture française, p. 172. Molière derived great advantages from travelling through the provinces which at that time exhibited a kaleidoscopic variety of French customs and manners. As a comedian the poet became acquainted with all sorts and conditions of life, and it is very likely that the prejudices and follies of the great as well as the hypocrisy of many who sheltered themselves under the cloak of religion made him afterwards write so vigorously against everything that is mere sham or title. It seems that Molière allowed nothing to escape him. Donneau de Visé wrote a satirical comedy entitled Zélinde (1663), in which the poet is described as follows (Elomire being an anagram of Molière): "Elomire n'a pas dit une parole. Je l'ai trouvé appuyé sur une boutique, dans la posture d'un homme qui rêve. Il tenait les yeux collés sur trois ou quatre personnes de qualité qui marchandaient des dentelles; il paraissait si attentif à leurs discours, qu'il semblait par le mouvement de ses yeux qu'il regardait jusqu'au fond de leurs âmes pour y voir ce qu'elles ne disaient pas." At Pézenas, moreover, there was preserved for a long time an arm-chair in which Molière used to sit in order to listen to the conversation of the customers of a certain Gély, who was a barber by trade. Such silent reflection on everything that was going on around him forms a characteristic trait of the poet, and during his long wanderings in the * Cf. Petit de Julleville. Histoire de la Langue et de la Littérature française, vol. V, p. 23 f. provinces he found ample opportunity to develop it to the highest degree. Boileau called him the Contemplateur. This tendency towards calm observation and reflection increased as he grew older and his experience of life became enlarged. All in all, it may be said that in his triple occupation of theatrical director, actor and author, Molière could not have passed through a better school than was furnished him by his varied experiences in the provinces. He became acquainted with the reality of life, the hardships he had to undergo made him more serious, and finally he rid himself of all illusions regarding the profession of a comic poet. The tour in the provinces witnessed the first manifestation of Molière's genius. Two comedies, L'Étourdi and Le Dépit amoureux, were performed, the former probably in 1655 at Lyon and the latter towards the end of 1656 at Béziers. In 1658 Molière's troop returned to Paris. On the 24th of October of that year he performed at the Louvre in the presence of Louis XIV and the court Nicomède by Corneille and his own Docteur amoureux. In 1659 he brought out Les Précieuses ridicules, a comedy which may justly be considered the starting point of Molière's great career as a comic poet. This play marks a new era in French comedy. Instead of imitating others Molière took French society as his subject. He attacked at the same time the absurd manners of the Précieuses and the false literary taste which then prevailed. With Les Précieuses ridicules the poet gained a firm footing in Paris and maintained it to the end in spite of much jealousy and ill-will on the part of his rivals and those who felt that they had been satirized in his comedies. From 1659-1673 Molière wrote that splendid series of farces and comedies* which raised him to the rank of France's greatest poet, and whose fame extends to the furthermost limits of the civilized world. His uninterrupted activity * Molière wrote no less than 33 farces and comedies. Of these Tartuffe, Le Misanthrope and Les Femmes savantes are his masterpieces. during those years must have proved a great drain on his vital powers, especially when it is remembered that, like Shakespeare, he performed at the same time the duties of director, actor and playwright. In 1673, while performing the part of Argan in Le Malade Imaginaire, Molière, by a strange irony of fate, became suddenly ill and died shortly afterwards. With the appreciation of a true poet La Fontaine wrote Molière's epitaph (1673): Sous ce tombeau gisent Plaute et Térence, Et cependant le seul Molière y gît. The principal traits of Molière's character are his good sense, his kindness and generosity. That he was capable of deep and lasting friendship may be gathered from the testimony of those who entertained friendly relations with him. The poet's seriousness is dwelt upon in all contemporary descriptions of his character. Molière was not without faults. While travelling in the company of a troop of comedians he contracted some habits which were not conducive to a completely healthy moral life. But after due allowance has been made for his shortcomings, there still remains for our admiration a tender, generous and kind-hearted soul that lived and worked for humanity and made it richer by its experiences. SOURCES AND HISTORY OF THE PLAY There are a number of circumstances by which Molière's attention was naturally directed towards the subject of avarice. The first of these is that avarice was much discussed in those times, as may be seen in writers like La Bruyère, Boileau, |