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 counts and marquises, who had so often smarted under the lash of the poet, construing this into an expression of royal disapprobation, were loud in their condemnation of him, and a certain duke boldly affirmed "that he was fast sinking into his second childhood, and that, unless some better writer soon appeared, French comedy would degenerate into mere Italian farce." The unfortunate poet, unable to catch a single ray of consolation, was greatly depressed during the interval of five days which preceded the second representation of his piece; on returning from which, the monarch assured him that "none of his productions had afforded him greater entertainment, and that, if he had delayed expressing his opinion on the preceding night, it was from the apprehension that his judgment might have been influenced by the excellence of the acting." Whatever we may think of this exhibition of royal caprice, we must admire the suppleness of the courtiers, one and all of whom straightway expressed their full conviction of the merits of the comedy, and the duke above mentioned added, in particular, that "there was a vis comica in all that Molière ever wrote, to which the ancients could furnish no parallel!" What exquisite studies for his pencil must Molière not have found in this precious assembly!

We have already remarked that the profession of a comedian was but lightly esteemed in France at this period. Molière experienced the inconveniences resulting from this circumstance even alter his splendid literary career had given him undoubted claims