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"Monsieur, you forget yourself strangely," the Duchess retorted coolly, as she laid aside her role of man and mistress, and became not merely an angel again, but a duchess, and not only a duchess, but Moliere's Celimene. The Duchesse de Maufrigneuse made a stately bow to these four personages, and drew from the Chevalier his last tear of admiration at the service of le beau sexe.
Neraud, the friend of the Rogrons, was present. The report was unanimously signed. It is useless to give a text of it here. If Moliere's medical terms were barbarous, those of modern science have the advantage of being so clear that the explanation of Pierrette's malady, though natural and unfortunately common, horrified all ears.
You might as well try to subvert gravitation: "Je m'en suis aperçu étant par terre," is the only result, as in Molière's lesson of physics. Also, when you come to think of it, there is nothing showing a finer organisation in the incapacity for finding sugar sweet and vinegar sour.
The pages of the novel are full, the scenes of the drama are crowded with imaginary invalids. Not merely are they one of the most valuable stock properties for the humorist, but whole stories and comedies have been devoted to their exploitation, like Molière's classic "Le Malade Imaginaire," and "Le Médecin Malgré Lui."
These domestic squabbles will degrade you in the eyes of the people, who expect you to be wholly devoted to their interests; and you will be laughed at, like one of Moliere's husbands, if you are displeased with your wife's conduct you can call her to account when you have nothing better to do. Begin by raising up the state.
Though he knew de Batz to be an ardent Royalist, and even an active adherent of the monarchy, he was soon conscious of a vague sense of mistrust of this pompous, self-complacent individual, whose every utterance breathed selfish aims rather than devotion to a forlorn cause. Therefore, when the curtain rose at last on the first act of Moliere's witty comedy, St.
She was not very tall, but eminently graceful, with a small, oval face and slender, almost childlike figure, which appeared still more so above the wide hoops and draped panniers of the fashions of Moliere's time. Whether she was beautiful or not the young man hardly knew.
Every one knows the reply of the great Prince of Condé to Louis XIV when this monarch expressed his surprize at the clamour excited by Molière's Tartuffe, while a blasphemous farce called Scaramouche Hermite was performed without giving any scandal: "C'est parceque Scaramouche ne jouoit que le ciel et la religion, dont les dévots se soucioient beaucoup moins que d'eux-mêmes."
We see this in the French comedies of the eighteenth century, even in some of Molière's in his L'Avare and his Le Misanthrope, for example.
Continued prose in Comedy is nothing but the natural language, on which the poet has failed to employ his skill to refine and smoothe it down, while apparently he seems the more careful to give an accurate imitation of it: it is that prose which Moliere's Bourgeois Gentilhomme has been speaking his whole lifetime without suspecting it.
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