[28] Études sur la vie et les œuvres de Molière.
[29] La Comédie de Molière, p. 158.
[30] Molière's troupe only played three times a week, on Sundays, Tuesdays, and Fridays; on the other days, the theatre was occupied by the Italian comedians. Friday was the favourite day for the production of new plays. The playhouses were also frequently closed: during Holy Week and the week following Easter, during the illness of a member of the Royal Family, on public fête days, and also, occasionally, when any particularly notorious criminal was to be executed in the Place de Grève. Thus, there were no performances on July 17, 1676, the day on which Madame de Brinvilliers, the poisoner, paid the penalty of her crimes. The play began at four o'clock and was always over before seven. Early in the century, the curtain, in winter, seems to have risen at two o'clock, in order to allow of the audience reaching their homes before the footpads were abroad.
[31] Grimarest places Molière's income as high as 30,000 livres, a sum, according to M. Larroumet's computation, equal to 150,000 francs to-day.
[32] Cited by M. Gaston Maugras, Les Comédiens hors la loi, p. 122.
[33] Under the term actor, the early Fathers seem to have included not only actors in the modern acceptation of the word, but mimes, jugglers, acrobats, gladiators, chariot-drivers, and, in fact, almost all public performers.
[34] M. Gaston Maugras, Les Comédiens hors la loi, passim.
[35] M. Gaston Maugras, Les Comédiens hors la loi, p. 124.
[36] "It is true that the loss of Molière is irreparable," writes the Comte de Limoges to Bussy-Rabutin on March 3, 1673. "I believe that no one will be less affected than his wife; she acted in comedy yesterday." And Bussy answers: "So far as I can see, her mourning will not cost her much."
[37] It was the "orator's" duty to come before the curtain to make announcements or crave the indulgence of the audience in a neat little speech, flowered with compliments and sparkling with witty allusions. It was a very important post and was always filled by an actor of distinction. Thus Bellerose and Floridor were the orators of the Hôtel de Bourgogne, Mondory of the Marais, while Molière was for some years his own bellman. La Grange, however, appears to have excelled them all. "Although," says Chappuzeau, "he is but of middle height, his presence is good, and his air easy and elegant. You are charmed before he opens his lips. As he has a great deal of fire and of the decent boldness an orator should have, it is a pleasure to listen to him when he comes on to speak the compliment. That one with which he regaled his audience at the opening of the theatre of the Troupe du Roi (Hôtel Guénégaud) was in the best imaginable taste. What he had excellently contrived he spoke with marvellous grace."