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The Chateau of Beaumanoir had, since the advent of the Intendant Bigot, been the scene of many a festive revelry that matched, in bacchanalian frenzy, the wild orgies of the Regency and the present debaucheries of Croisy and the petits appartements of Versailles.
In Les Précieuses Ridicules the gentlemanly characters are actually named La Grange and Du Croisy; the actors walked on and played themselves; it is as if Augustus Thomas had called the hero of his best play, not Jack Brookfield, but John Mason.
The Marquis de Croisy and his wife were married forty years; M. and Mme. de Maurepas lived together for fifty years, without being separated one day. Instances are many in which reconciliations were effected after years of unfaithfulness; these seldom occurred, however, until the end of life was near.
In fact, Molière's entire scheme of character-creation cannot be understood without direct reference to the histrionic capabilities of the various members of the Troupe de Monsieur. Molière's immediate and practical concern was not so much to create comic characters for all time as to make effective parts for La Grange and Du Croisy and Magdeleine Béjart, for his wife and for himself.
"The king never treated me more affectionately than he has since she had his ear," the poor princess would say. The dauphiness had just had a son. The joy at court was excessive. "The king let anybody who pleased embrace him," says the Abbe de Croisy; "he gave everybody his hand to kiss. Spinola, in the warmth of his zeal, bit his finger; the king began to exclaim.
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