1637.
Ætat.
14.
The youth grew discontented as he grew older. The drama enlightened him as to the necessity of acquiring knowledge, and to the beauty of intellectual refinement: he became melancholy, and, questioned by his father, admitted his distaste for trade, and his earnest desire to receive a liberal education. Poquelin thought that his son's ruin must inevitably ensue: the grandfather was again the boy's ally; he gained his point, and was sent as an out-student to the college of Clermont, afterwards of Louis-le-Grand, which was under the direction of the jesuits, and one of the best in Paris. Amand de Bourbon, prince of Conti, brother of the grand Condé, was going through the classes at the same time. After passing through the ordinary routine at this school, the young Poquelin enjoyed a greater advantage than that of being a schoolfellow of a prince of the blood. L'Huilier, a man of large fortune, had a natural son, named Chapelle, whom he brought up with great care. Earnest for his welfare and good education, he engaged the celebrated Gassendi to be Iris private tutor, and placed another boy of promise, named Bernier, whose parents were poor, to study with him. There is something more helpful, more truly friendly and liberal, often in French men of letters than in ours; and it is one of the best traits in our neighbours' character. Gassendi perceived Poquelin's superior talents, and associated him in the lessons he gave to Chapelle and Bernier. He taught them the philosophy of Epicurus; he enlightened their minds by lessons of morals; and Molière derived from him those just and honourable principles from which he never deviated in after life.
Another pupil almost, as it were, forced himself into this little circle of students. Cyrano de Bergerac was a youth of great talents, but of a wild and turbulent disposition, and had been dismissed from the college of Beauvais for putting the master into a farce. He was a Gascon—lively, insinuating, and ambitious. Gassendi could not resist his efforts to get admitted as his pupil; and his quickness and excellent memory rendered him an apt scholar. Chapelle himself, the friend afterwards of Boileau and of all the literati of Paris, a writer of songs, full of grace, sprightliness, and ease, displayed talent, but at the same time gave tokens of that heedless, gay, and unstable character that followed him through life, and occasioned his father, instead of making him his heir as he intended, to leave him merely a slight annuity, over which he had no control. Bernier became afterwards a great eastern traveller.
1641.
Ætat.
19.
Immediately on leaving college Poquelin entered on his service of royal valet de chambre. Louis XIII. made a journey to Narbonne; and he attended instead of his father.[[33] This journey is only remarkable from the public events that were then taking place. Louis XIII. and cardinal de Richelieu had marched into Rousillon to complete the conquest of that province from the house of Austria—both monarch and minister were dying. The latter discovered the conspiracy of Cinq-Mars, the unfortunate favourite of the king, and had seized on him and his innocent friend De Thou—they were condemned to death; and conveyed from Tarrascon to Lyons in a boat, which was towed by the cardinal's barge in advance. Terror at the name of the cardinal, contempt for the king, and anxiety to watch the wasting illnesses of both, occupied the court: the passions of men were excited to their height; and the young and ardent youth, fresh from the schools of philosophy, witnessed a living drama, more highly wrought than any that a mimic stage could represent.
The cardinal had a magnificent spirit; he revived the arts, or rather nursed their birth in France. It has been mentioned in the life of Corneille, that he patronised the theatre; and even wrote pieces for it. The tragedy of the "Cid," while it electrified France, by what might be deemed a revelation of genius, gave dignity as well as a new impulse to the drama. Acting became a fashion, a rage; private theatricals were the general amusement, and knots of young men formed themselves into companies of actors.1643.
Ætat.
21. Poquelin, having renounced his father's trade, and having received a liberal education, entered, it is believed, on the study of the law; having been sent to Orleans for that purpose. 1645.
Ætat.
23. He returned to Paris, to commence his career of advocate; here he was led to associate with a few friends of the same rank, in getting up plays: by degrees he became wedded to the theatre; and when the private company resolved to become a public one, and to derive profit from their representations, he continued belong to it; and, according to the fashion of actors in those days assumed a new name—that of Molière. His father was displeased, and took every means to dissuade him from his new course; but the enthusiasm of Molière overcame all opposition. There is a story told, that one respectable friend, who was sent by his father to argue against the theatre, was seduced by the youth's arguments to adopt a taste for it, and led to turn comedian himself. His relations did not the less continue their opposition; they exiled him as it were from among them; and erased the most illustrious name in France for their genealogical tree. What would their tree be worth now did it not bear the name of Molière as its chief bloom, which more rare than the flower of the aloe, which blossoms once in a hundred years, has never had its match.
There were many admirable actors in Molière's time, chiefly however in comedy. There were the three, known in farce under the names of Gauthier Garguille, Turlupin, and Gros Guillaume, who in the end died tragically, through the effects of fear. Arlechino (Harlequin) and Scaramouche, both Italians, were however the favourites: the latter is said to have been Molière's master in the art of acting; and he never missed a representation at the Italian theatre when he could help it. The native comedy of the Italians gave him a taste for the true humour of comic situation and dialogue; and we owe to his well-founded predilection what we and the German cities (in contradistinction to the French, who judge always by rule and measure, and not by the amusement they receive, nor the genius displayed) prefer to his five act pieces. Nor was this the only source whence he derived instruction. The bustle and intrigue of the Spanish comedies had been introduced by Corneille in his translation of Lope de Vega's "Verdad Sospechosa." Corneille, however, made the character of the Liar, who is the hero, more prominent. Molière is said to have declared, that he owed his initiation into the true spirit of comedy from this play. He took the better part; rejecting the intrigue, disguises, and trap-doors, and discerning the great effect to be produced by a character happily and truly conceived, and then thrown into apposite situations.
There is much obscurity thrown over the earlier portion of Molière's life. We know the names of some of his company. There was Gros René, and his beautiful wife; there were the two Bejarts, brothers, whose excellent characters attached Molière to them, and Madeleine Bejart, their sister, a beautiful girl, the mistress of a gentleman of Modena—to whom Molière was also attached. Molière himself succeeded in the more farcical comic characters.
The disorders of the capital during the regency at the beginning of Louis XIV.'s reign, and the war of the Fronde, replunged France in barbarism; and torn by faction, the citizens of Paris had no leisure for the theatre.1646.
Ætat.
24. Molière and his troop quitted the city for the provinces, and among other places visited Bordeaux, where he was powerfully protected by the duc d'Epernon, governor of Guienne. It is said, that Molière wrote and brought out a tragedy, called "The Thebaid," in this town, which succeeded so ill, that he gave up the idea of composing tragic dramas, though his chief ambition was to succeed in that higher walk of his art. When we consider the impassioned and reflective disposition of Molière, we are not surprised at his desire to succeed in impersonating the nobler passions; we wonder rather how it was that he should have wholly failed in delineating such, while his greatest power resided in the talent for seizing and portraying the ridiculous.