Page:Great Men and Famous Women Volume 7.djvu/88

 56 ARTISTS AND AUTHORS tach to its representation the lively farce of " Le Mddecin malgre" lui." In a short time the merit of the " Misanthrope " became acknowledged by the public, and even many of those critics who had hitherto been hostile, united in its praise. Yet scandal was not silent ; for Moliere was loudly censured, as having, in the person of Alceste, ridiculed the Duke de Montausier, a man of honor and virtue, but of blunt, uncourteous manners. The duke, informed that he had been brought on the stage by Moliere, threatened vengeance ; but being persuaded to see the play, he sought out the author instantly, embraced him repeatedly, and assured him that if he had really thought of him when composing the " Misan- thrope," he regarded it as an honor which he could never forget. But not even the praises paid to the " Misanthrope," though a piece of a mood much higher than " Le M^decin malgre" lui," satisfied Moliere. " Vous ver* rez bien autre chose" said he to Boileau, when the latter congratulated him on the success of the chef-d'oeuvre which we have just named. He anticipated the success of the most remarkable of his performances, the celebrated " Tartuffe," in which he has unmasked and. branded vice, as in his lighter pieces he has chas- tised folly. This piece had been acted before Louis, before his queen, and his mother, and at the palace of the great Prince of Conde" ; but the scruples infused into the king long induced him to hesitate ere he removed the interdict which prohibited its representation. Neither were these scruples yet removed. Per- mission was, indeed, given to represent the piece, but under the title of the " Im- postor," and calling the principal person Panulphe, for it seems the name of Tartuffe was particularly offensive. The king, having left Paris for the army, the president of the parliament of Paris prohibited any further representation of the obnoxious piece, thus disguised, although licensed by his majesty. Louis did not resent this interference, and two compositions of Moliere were interposed betwixt the date of the suspension which we have noticed, and the final permis- sion to bring " Tartuffe " on the stage. These were, " Melicerte," a species of heroic pastoral, in which Moliere certainly did not excel, and " Le Sicilien, ou L' Amour Peintre," a few lively scenes linked together, so as to form a pleasing introduction to several of those dances in costume, or ballets, as they were called, in which Louis himself often assumed a character. At length, in August, 1667, " Le Tartuffe," so long suppressed, appeared on the stage, and in the depth and power of its composition left all authors of com. edy far behind. The art with which the " Impostor " is made to develop his real character, without any of the usual soliloquies or addresses to a confidant, for the benefit of the audience, has been always admired as inimitable. The heart of a man who had least desired, and could worst bear close investigation, is discov- ered and ascertained, as navigators trace the lines and bearings of an unknown coast. The persons among whom this illustrious hypocrite performs the princi- pal character, are traced with equal distinctness. The silly old mother, obstinate from age as well as bigotry ; the modest and sensible Cldante ; his brother-in-law, Orgon, prepared to be a dupe by prepossession and self-opinion ; Damis, impetu- ous and unreflecting ; Mariane, gentle and patient ; with the hasty and petulant