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The farce enlarged the sphere of Molière's enemies, but as the poet suffered none of the faculty to prescribe for him, their resentment was of the less consequence. The "Misanthrope," accounted by the French critics the most correct of Molière's compositions, was the next vehicle of his satire against the follies of the age.
Louis the Fourteenth looked down on his brother King with an air not unlike that with which the Count in Molière's play regards Monsieur Jourdain, just fresh from the mummery of being made a gentleman. Austria exacted large sacrifices in return for her recognition, and at last gave it ungraciously.
Racine had composed at Uzes the Freres ennemis, which was played on his return to Paris in 1664, not without a certain success; Alexandre met with a great deal in 1665; the author had at first intrusted it to Moliere's company, but he was not satisfied and gave his piece to the comedians of the Hotel de Dourgogne.
The first man who at the right moment bled and purged a sufferer from an apoplectic fit; the first man who thought of plunging a knife into the bladder in order to extract a stone, and of closing the wound again; the first man who knew how to stop gangrene in a part of the body, were without a doubt almost divine persons, and did not resemble Molière's doctors.
We might multiply examples, for all we need do would be to call up Moliere's doctors, one after the other. However far, moreover, comic fancy may seem to go, reality at times undertakes to improve upon it. It was suggested to a contemporary philosopher, an out-and-out arguer, that his arguments, though irreproachable in their deductions, had experience against them.
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.
He certainly gave even a liberal interpretation to Moliere's rule of taking his own property wherever he found it, though he sometimes blundered awkwardly about what was properly his; but in literature, it should be remembered, a thing always becomes his at last who says it best, and thus makes it his own. Mr. Savage Landor once told me that he said to Wordsworth: "Mr.
I might likewise refer my Reader to Moliere's Thoughts on this Subject, as he has expressed them in the Character of the Misanthrope; but those only who are endowed with a true Greatness of Soul and Genius can divest themselves of the little Images of Ridicule, and admire Nature in her Simplicity and Nakedness. Among the jests was a burlesque criticism of Tom Thumb.
Blood tells, no doubt, and a masterpiece usually betrays some token of the place and hour of its birth. A knowledge of the condition of political parties in Athens in 416 B.C. adds immensely to the enjoyment of the readers of Aristophanes; the fun becomes funnier and the daring even more splendid than before. Molière's training as an actor does affect the dramaturgic quality of his comedies.
In the final scene of Sappho's suicide, the young composer surpassed himself, and struck a note of sensuous melancholy which was new to French opera. 'La Nonne Sanglante' , his next work, was a failure; but in 'Le Médecin malgré lui' , an operatic version of Molière's comedy, he scored a success.
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