Comedy in Three Acts
INTRODUCTORY NOTICE
The Bores is a character-comedy; but the peculiarities taken as the text of the play, instead of being confined to one or two of the leading personages, are exhibited in different forms by a succession of characters, introduced one after the other in rapid course, and disappearing after the brief performance of their rôles. We do not find an evolution of natural situations, proceeding from the harmonious conduct of two or three individuals, but rather a disjointed series of tableaux – little more than a collection of monologues strung together on a weak thread of explanatory comments, enunciated by an unwilling listener.
The method is less artistic, if not less natural; less productive of situations, if capable of greater variety of illustrations. The circumstances under which Molière undertook to compose the play explain his resort to the weaker manner of analysis. The Superintendent-General of finance, [Footnote: In Sir James Stephen's Lectures on the History of France, vol. ii. page 22, I find: "Still further to centralize the fiscal economy of France, Philippe le Bel created a new ministry. At the head of it he placed an officer of high rank, entitled the Superintendent-General of Finance, and, in subordination to him, he appointed other officers designated as Treasurers."] Nicolas Fouquet desiring to entertain the King, Queen, and court at his mansion of Vaux-le-Vicomte, asked for a comedy at the hands of the Palais-Royal company, who had discovered the secret of pleasing the Grand Monarque. Molière had but a fortnight's notice; and he was expected, moreover, to accommodate his muse to various prescribed styles of entertainment.
Fouquet wanted a cue for a dance by Beauchamp, for a picture by Lebrun, for stage devices by Torelli. Molière was equal to the emergency. Never, perhaps, was a literary work written to order so worthy of being preserved for future generations. Not only were the intermediate ballets made sufficiently elastic to give scope for the ingenuity of the poet's auxiliaries, but the written scenes themselves were admirably contrived to display all the varied talent of his troupe.
The success of the piece on its first representation, which took place on the 17th of August, 1661, was unequivocal; and the King summoned the author before him in order personally to express his satisfaction. It is related that, the Marquis de Soyecourt passing by at the time, the King said to Molière, "There is an original character which you have not yet copied." The suggestion was enough. The result was that, at the next representation, Dorante the hunter, a new bore, took his place in the comedy.
Louis XIV. thought he had discovered in Molière a convenient mouthpiece for his dislikes. The selfish king was no lover of the nobility, and was short-sighted enough not to perceive that the author's attacks on the nobles paved the way for doubts on the divine right of kings themselves. Hence he protected Molière, and entrusted to him the care of writing plays for his entertainments; the public did not, however, see The Bores until the 4th of November of the same year; and then it met with great success.
The bore is ubiquitous, on the stage as in everyday life. Horace painted him in his famous passage commencing Ibam forte via Sacrâ, and the French satirist, Regnier, has depicted him in his eighth satire.
Molière had no doubt seen the Italian farce, "Le Case svaliggiate ovvera gli Interrompimenti di Pantalone," which appears to have directly provided him with the thread of his comedy. This is the gist of it. A girl, courted by Pantaloon, gives him a rendezvous in order to escape from his importunities; whilst a cunning knave sends across his path a medley of persons to delay his approach, and cause him to break his appointment. This delay, however, is about the only point of resemblance between the Italian play and the French comedy.
There are some passages in Scarron's Epîtres chagrines addressed to the Marshal d'Albret and M. d'Elbène, from which our author must have derived a certain amount of inspiration; for in these epistles the writer reviews the whole tribe of bores, in coarse but vigorous language.
Molière dedicated The Bores to Louis XIV. in the following words:
SIRE,
I am adding one scene to the Comedy, and a man who dedicates a book is a species of Bore insupportable enough. Your Majesty is better acquainted with this than any person in the kingdom: and this is not the first time that you have been exposed to the fury of Epistles Dedicatory. But though I follow the example of others, and put myself in the rank of those I have ridiculed; I dare, however, assure Your Majesty, that what I have done in this case is not so much to present You a book, as to have the opportunity of returning You thanks for the success of this Comedy. I owe, Sire, that success, which exceeded my expectations, not only to the glorious approbation with which Your Majesty honoured this piece at first, and which attracted so powerfully that of all the world; but also to the order, which You gave me, to add a Bore, of which Yourself had the goodness to give me the idea, and which was proved by everyone to be the finest part of the work. [Footnote: See Prefatory Memoir, page xxviii. ?] I must confess, Sire, I never did any thing with such ease and readiness, as that part, where I had Your Majesty's commands to work.
The pleasure I had in obeying them, was to me more than Apollo and all the Muses; and by this I conceive what I should be able to execute in a complete Comedy, were I inspired by the same commands. Those who are born in an elevated rank, may propose to themselves the honour of serving Your Majesty in great Employments; but, for my part, all the glory I can aspire to, is to amuse You. [Footnote: In spite of all that has been said about Molière's passionate fondness for his profession, I imagine he must now and then have felt some slight, or suffered from some want of consideration. Hence perhaps the above sentence. Compare with this Shakespeare's hundred and eleventh sonnet:
"Oh! for my sake, do you with Fortune chide
The guilty goddess of my harmful deeds,
That did not better for my life provide
Than public means which public manners breeds.
Thence comes it that my name receives a brand;
And almost thence my nature is subdu'd
To what it works in, like the dyer's hand."]
The ambition of my wishes is confined to this; and I think that, to contribute any thing to the diversion of her King, is, in some respects, not to be useless to France. Should I not succeed in this, it shall never be through want of zeal, or study; but only through a hapless destiny, which often accompanies the best intentions, and which, to a certainty, would be a most sensible affliction to SIRE, Your MAJESTY'S most humble, most obedient, and most faithful Servant,
MOLIÈRE.
In the eighth volume of the "Select Comedies of M. de Molière, London, 1732," the play of The Bores is dedicated, under the name of The Impertinents, to the Right Honourable the Lord Carteret, [Footnote: John, Lord Carteret, born 22nd April, 1690, twice Lord-Lieutenant of Ireland, was Secretary of State and head of the Ministry from February, 1742, until November 23, 1744, became Earl Granville that same year, on the death of his mother; was president of the Council in 1751, and died in 1763.] in the following words:
MY LORD,
It is by Custom grown into a sort of Privilege for Writers, of whatsoever Class, to attack Persons of Rank and Merit by these kind of Addresses. We conceive a certain Charm in Great and Favourite Names, which sooths our Reader, and prepossesses him in our Favour: We deem ourselves of Consequence, according to the Distinction of our Patron; and come in for our Share in the Reputation he bears in the World. Hence it is, MY LORD, that Persons of the greatest Worth are most expos'd to these Insults.
For however usual and convenient this may be to a Writer, it must be confess'd, MY LORD, it may be some degree of Persecution to a Patron; Dedicators, as Molière observes, being a Species of Impertinents, troublesome enough. Yet the Translator of this
