THE FARCE OF MASTER PATHELIN.
The farce of Master Pathelin, whose author was Pierre Blanchet, is certainly the richest jewel in the crown of the old French Theatre; it was what inspired Moliere in several of his works. Represented for the first time in 1480, this celebrated farce is one of the most precious literary monuments for the study of Middle Age morality. It is a chef d’œuvre of spirit, malice, comedy, and naivete, in which medicine is found in every scene, either in the simulation of disease, with consultations, with drugs, and, most amusing of all, the eternal ingratitude of the sick.
All the educated world knows the subject of Master Pathelin: A lawyer without a case or client; a man living on his wits and expedients, making dupes and yet retaining a certain degree of professional correctness in his language and his artifices. Guillemette, his wife, is his worthy accomplice. It is she who reproaches him with not having more clients and his reputation of earlier days; of starving her to death by famine. It is she who excites him by ironically saying:
“Maintenant chascun vous appelle
Partout; avocat dessoubz l’orme,
Nos robes sont plus qu’estamine
Reses.”
And Pathelin responds that he cannot get their clothing out of pawn without redeeming or stealing it—both things out of the question, as he has no money and will not commit a crime. It is then that the worthy couple hit on the credit system to renew their wardrobe. It is for this purpose he goes to a draper’s to purchase cloth to make new clothes. On entering the shop he uses the salutation of the period, “God be with you,” and politely inquires after the shopkeeper’s health, which to him is very dear. Then he asks after his father’s health, telling him he resembles his sire like an old picture. Finally, he takes sixteen yards of fine cloth, and, telling the draper to call at his house in the evening for his money and to eat, as Master Pathelin expresses it, “a Rouen goose roasted,” having invited the astonished tradesman to dine with him, the lawyer walks out with the cloth without paying. Arriving home he relates his adventure to the delighted Guillemette, who is overpowered with bewilderment, however, when she learns that the draper is invited to a roast goose supper. At first it is suggested that they borrow a tailor’s goose, but fear that the draper will not appreciate the joke and demand his money legally induces the worthy couple to adopt a strategem. It is very simple: Master Pathelin is to feign insanity, or rather that maniacal form of excitation so frequently employed even at the present day by those who seek to avoid the consequences of crimes—an excitation principally characterized by uncontrollable loquacity, mobility of ideas, incoherence, and pretended illusions.
These scenes of simulation are extremely curious and interesting. As soon as the draper enters the wife warns him not to make a noise in the house:
“He’s lying in bed. Don’t speak!