Molière

“ Molière was beloved by his contemporaries: he was generous and warm-hearted—the friend of Condé, Boileau, and Racine. He is by far the first writer of Comedy in modern times. His place is close to the side of Shakspeare, for, like the English writer, he successfully addresses all countries and all ages, appealing to no limited, local, and accidental condition of the human mind, but striking home to the universal and unchangeable heart of man, as it everywhere throbs. Beyond the humorous faculty, he possessed earnestness of feeling, and a deep tone of passion. ”

“ Of all dramatists, ancient and modern, Molière is perhaps that one who has borne most constantly in mind the theory that the stage is a lay-pulpit and that its end is not merely amusement, but the reformation of manners by means of amusing spectacles. Occasionally, no doubt, he has pushed this purpose too far and has missed his mark. He has never given us, and perhaps could not have given us, such examples of dramatic poetry of the non-tragic sort as Shakespeare and Calderon have given. ”

“ As the comedy of Molière may tell us, the spectacle of a man standing at the foot of the social ladder and looking up wistfully at its higher region has something entertaining in it both for those on his actual level and for those on the level of his ambition. Later, when the wistful glance is followed by actual climbing, the unrehearsed performances may grow mirth-provoking even to the point of tearful mistiness. ”

“ Among us, nobody has carried ridicule in comedy farther than Molière. Our ancient comick writers brought no characters higher than servants to make sport upon the theatre; but we are diverted upon the theatre of Molière by marquises and people of quality. Others have exhibited, in comedy, no species of life above that of a citizen; but Molière shows us all Paris, and the court. He is the only man amongst us, who has laid open those features of nature by which he is exactly marked, and may be accurately known. ”

“ For the comedy of character, in its highest and purest form, we are told, and rightly told, to go to Molière. In his world, not only is the uproarious, dust-raising mirth of classic comedy silenced, but the fun of extravagant plot with its disguises and errors, though not absent, is kept within measure. It is the familiar domestic world, into which we can readily transport ourselves. It is peopled for the most part with the sober and sensible. Upon this orderly scene is brought one or more of the great typical representatives of human folly. ”

“ There is as much imagination—as much sympathy, even, perhaps—in the laughter of the great comic writers as in the tears of the sentimentalist. And Molière’s aim was laughter achieved through an exaggerated imitation of reality. He was the poet of good sense, and he felt that he had but to hold up the mirror of good sense in order that we might see how absurd is every form of egotism and pretentiousness. He took the side of the simple dignity of human nature against all the narrowing vices, the anti-social vices, whether of avarice, licentiousness, self-righteousness or preciosity. ”

“ At a later period of his life, Molière might have solved the question from bitter personal experience, for few ever suffered more from the pangs of jealousy, and assuredly no one has painted with such vigour—though the comic often prevails over the serious in his delineations—the effects of a passion any thing but comic to him. Strange power of genius, to make others laugh at incidents which had often tormented himself, and to be able to give humour to characters in various comedies, actuated by the feelings to which he had so frequently been a victim! ”

“ In all, gaiety and good sense interpenetrate each other. Kindly natured and generous, Molière, a great observer, who looked through the deeds of men, was often taciturn—le contemplateur of Boileau—and seemingly self-absorbed. Like many persons of artistic temperament, he loved splendour of life; but he was liberal in his largess to those who claimed his help. He brought comedy to nature, and made it a study of human life. His warfare was against all that is unreal and unnatural. He preached the worth of human happiness, good sense, moderation, humorous tolerance. ”

“ But the powers of Molière are directed with greater skill to their object; none of his energy is wasted; the spectator is not interrupted by the serious scenes of tragi-comedy, nor his attention drawn aside by poetical episodes. Of Shakspeare, we may justly say that he had the greater genius, but, perhaps, of Molière, that he has written the best comedies. We cannot, at least, put any later dramatist in competition with him. Fletcher and Jonson, Wycherley and Congreve, Farquhar and Sheridan, with great excellencies of their own, fall short of his merit as well as his fame. ”

“ That distinguishing good Sense, that nice Discernment, that refined Taste of Reading and Politeness for which Your LADYSHIP is so deservedly admir'd, must, I'm persuaded, make You esteem Molière; whose way of expression is easy and elegant, his Sentiments just and delicate, and his morals untainted: who constantly combats Vice and Folly with strong Reason and well turn'd Ridicule ”

“ Indeed, Molière seems to have possessed all the essential requisites for excelling in genteel comedy: a pure taste, an acute perception of the ridiculous, the tone of elegant dialogue, and a wit brilliant and untiring as Congreve's, but which, instead of wasting itself like his, in idle flashes of merriment, is uniformly directed with a moral or philosophical aim. This obvious didactic purpose, in truth, has been censured as inconsistent with the spirit of the drama, and as belonging rather to satire ”

“ Certainly the most famous, and perhaps the greatest, of the writers for whom Boileau acted as the apologist and the interpreter was MOLIÈRE. In the literature of France Molière occupies the same kind of position as Cervantes in that of Spain, Dante in that of Italy, and Shakespeare in that of England. His glory is more than national—it is universal. Gathering within the plenitude of his genius the widest and the profoundest characteristics of his race, he has risen above the boundaries of place and language and tradition into a large dominion over the hearts of all mankind. ”

“ French acting has always won and deserved admiration. There is no doubt that one cause of its permanently high repute is the absolute divorce in the French theatre of drama from spectacle.
Molière stands to French literature in much the same relation as Shakespeare stands to English literature. Molière's plays are constantly acted in French theatres with a scenic austerity which is unknown to the humblest of our theatres. A French audience would regard it as sacrilege to convert a comedy of Molière into a spectacle. ”

“ You insult the memory of Molière, the greatest ornament of our stage, one of the greatest ornaments of our nation, when you suggest that there is vileness in doing that which he never hesitated to do, which no great author yet has hesitated to do. You cannot suppose that Molière ever troubled himself to be original in the matter of ideas. ”

“ The narrowed and selective nature of Molière's treatment of character presents an illuminating contrast when compared with the elaborately detailed method of such a master of the romantic style as Shakespeare. The English dramatist shows his persons to us in the round; innumerable facets flash out quality after quality; the subtlest and most elusive shades of temperament are indicated; until at last the whole being takes shape before us, endowed with what seems to be the very complexity and mystery of life itself. Entirely different is the great Frenchman's way. ”

“ If we leave purely poetic merit out of the question and restrict the definition of comedy to the dramatic presentment of the characters and incidents of actual life, in such a manner as at once to hold the mirror up to nature and to convey lessons of morality and conduct, we must allow Molière the rank of the greatest comic writer of all the world. ”

“ Our critic, who cannot perceive that which perhaps only a native can really taste, is indignant at the enthusiastic critic who has decided that Molière only gave “a prosaic copy of human nature, and is merely a faithful or a servile imitator.” I suppose this critic is Schlegel, a prejudiced critic on system. I beg leave to add, that it is not necessary to decry the French Shakespeare to elevate our own. Molière is as truly an original genius as any dramatist of any age. ”

“ Molière is their poet.
Of this class in England, a large body, neither Puritan nor Bacchanalian, have a sentimental objection to face the study of the actual world. They take up disdain of it, when its truths appear humiliating: when the facts are not immediately forced on them, they take up the pride of incredulity. They live in a hazy atmosphere that they suppose an ideal one. Humorous writing they will endure, perhaps approve, if it mingles with pathos to shake and elevate the feelings. ”

“ Thus, if Molière had lived in the present day, he would not have drawn his Avare, his Tartuffe and his Misanthrope with those strong touches and violent contrasts which he has done, but with those delicate traits which are common to human nature in general, that is, his Miser without avarice, his Hypocrite without design, and his Misanthrope without disgust at the vices of mankind. ”

“ In the ensuing year Molière exhibited his celebrated farce of Les Précieuses Ridicules; a piece in only one act, but which, by its inimitable satire, effected such a revolution in the literary taste of his countrymen as has been accomplished by few works of a more imposing form, and which may be considered as the basis of the dramatic glory of Molière, and the dawn of good comedy in France. This epoch was the commencement of that brilliant period in French literature which is so well known as the age of Louis the Fourteenth ”

“ This piece, perhaps the masterpiece of Molière, was more successful with the critics, with the court, and with posterity than with the public. The rival comedians called it “a new style of comedy,” and so it was. The eternal passions and sentiments of human nature, modified by the influence of the utmost refinement of civilization, were the matter of the piece. ”

“ The charm of his conversation is attested by the names of his friends, who were all the wits of the age, and the greater their genius the greater their love of Molière. As an actor, friends and enemies agreed in recognizing him as most successful in comedy. ”

“ Molière's method—the simple and only true one, and, consequently, the one which incontestably establishes the original talent of its employer—is this: At the beginning of a play, he introduces his principal personages: sets them talking; suffers them to betray their characters, as men and women do in every-day life,—expecting from his hearers that same discernment which he has himself displayed in detecting their peculiarities: imports the germ of a plot in some slight misunderstanding or equivocal act ”

“ He does not indulge in heroics, and yet there is heroism in his courageous outlook upon things. The disciple of Molière cannot idealise the world into a scene of fairyland; he will conceive man as far from perfect, perhaps as far from perfectible; but the world is our habitation; let us make it a cheerful one with the aid of a sane temper and an energetic will. As a writer, Molière is not free from faults; but his defects of style are like the accidents that happen within the bounds of a wide empire. ”

“ He had a delicacy of feeling that went beyond Boileau—that of shrinking from insulting his fellow actors by seceding from among them, and of choosing to show to the world that he thought it no dishonour to exercise his talent for its amusement. In his heart, indeed, he knew the annoyances attached to his calling; when a young man came to ask him to facilitate his going on the stage, and Molière, inquiring who he was, learnt that his father was an advocate in good practice, on which he represented forcibly the evils that attend the life of an actor. ”

“ Molière has only one female slanderer, Célimène; the other characters serve only to give her a cue; there is quite enough of such a jeering woman; she rails on within certain bounds, without hurry, like a true queen of the drawing-room, who has time to converse, who knows that she is listened to, who listens to herself: she is a woman of society, who preserves the tone of refined conversation; and in order to smooth down the harshness, her slanders are interrupted by the calm reason and sensible discourse of the amiable Éliante. Molière represents the malice of the world without exaggeration ”

“ But as the witty dialogue is the principal merit in Molière's play, it is really of no great consequence who first suggested the primary idea.
The piece, though played in 1659, was only printed on the 29th of January, 1660, by Guillaume de Luyne, a bookseller in Paris, with a preface by Molière, which we give here below:
A strange thing it is, that People should be put in print against their Will. I know nothing so unjust, and should pardon any other Violence much sooner than that.
Not that I here intend to personate the bashful Author, and out of a point of Honour undervalue my Comedy. ”

“ An admirable actress, one of the best of her time, according to Tallemant des Réaux, ready to undertake almost any rôle in either tragedy or comedy, she excelled in depicting smartly-attired maids, who ridicule the follies of their employers with equal wit, impudence, and good sense, and, but for her, Molière might never have created his inimitable soubrettes. ”