Page:Great Men and Famous Women Volume 7.djvu/84

 52 ARTISTS AND AUTHORS but Sir Martin Marplot is a fool. In the English drama, the author seems to have considered his hero as so thoroughly stupid, that he rewards the address of the intriguing domestic with the hand of the lady. The French author gave no occasion for this gross indecorum. "L'Etourdi" was followed by " Le Dpit Amoureux," an admirable entertainment ; although the French critics bestow some censure on both for a carelessness of style to which a foreigner may pro fess himself indifferent. Both these performances were received with the greatest applause by numerous audiences ; and as far as the approbation of provincial theatres could confer reputation, that of Moliere was now established. There was, however, a temptation which threatened to withdraw him from the worship of Thalia. This was an offer on the part of the Prince of Conti, who had been his condisciple at college, to create Moliere his secretary. He declined this, on account of his devoted attachment to his own profession, strengthened on this occasion, perhaps, by his knowledge how the place had become vacant. This, it seems, was by the death of Sarrasin (who had held the office), in consequence of un mauvais traitemetit de Monseigneur le Prince de Conti. In plain English, the prince had, with the fire-tongs, knocked down his secretary, who never recovered from the effects of the blow. It is probable that, notwithstanding the laurel chap- let worn by Moliere, he had little faith in the sic cvitabile falmcn. This was in 1654. He continued to perambulate the provinces with his com- pany for several years longer; in 1658 he returned to Paris, and at last, through the influence of his patron the Prince of Conti, was introduced to Monsieur, the king's brother, and by him presented to the king and queen. On October 24th, his company performed in presence of the royal family, and he obtained the royal license to open a theatre under the title of "Troupe de Monsieur," in opposition to ; or in emulation of, the comedians of the Hdtel de Bourgogne. The pieces which Moliere had already composed were received with great favor, but it was not until 1659, that he commenced the honorable satirical war upon folly and affectation which he waged for so many years. It was then that he produced "Les Prcieuses Ridicules." The piece was acted for the first time November 18, 1659, and received with unanimous applause. The public, like children admitted behind the scenes, saw, with wonder and mirth, the trumpery which they had admired as crowns, scep- tres, and royal robes, when beheld at a distance thus learning to estimate at their real value the affected airs of super-excellence and transcendental elegance assumed bv the frequenters of the Hotel de Rambouillet. On the other hand, the party which was consequently made the laughing-stock of the theatre were much hurt and offended, nor was the injury at all the lighter that some of them had sense enough to feel that the chastisement was deserved. They had no remedy, however, but to swallow their chagrin and call them- selves by their own names in future. Menage expressed his own recantation in the words of Clovis, when he became a convert to Christianity, and told his as- sembled Franks they must now burn the idols which they had hitherto adored. The affectation of the period, such as we have described At, received a blow no