220A. Jean de la Fontaine. Poet.
[By Auguste Dumont.]
221. Molière. Dramatist.
[Born in Paris, 1622. Died there, 1673. Aged 51.]
The real name of Molière was Jean Baptiste Poquelin. That which is associated with his renown was assumed when he became an actor, and “disgraced” his family, who cut Jean Baptiste away from the genealogical tree,—the father of Molière being valet de chambre to Louis XIII. Like our own Shakspeare, Molière was an actor as well as a writer of plays. He forsook the study of the law for the stage, and at the age of 24 was making his way in the provinces, where he produced comedies, in which he himself acted. In 1658, he returned to Paris, and by the favour of Louis XIV. opened the theatre of the Palais Royal. His new comedies produced there attracted crowds. His latest work was “The Imaginary Invalid,” brought out in 1673. He played the principal part himself, and during the fourth representation, was carried a dying man from the stage. The rites of Christian sepulture, denied, as a matter of course, to the player, were not conceded to the author who had satirized hypocrisy in his well-known comedy of “The Hypocrite.” Molière was beloved by his contemporaries: he was generous and warm-hearted—the friend of Condé, Boileau, and Racine. He is by far the first writer of Comedy in modern times. His place is close to the side of Shakspeare, for, like the English writer, he successfully addresses all countries and all ages, appealing to no limited, local, and accidental condition of the human mind, but striking home to the universal and unchangeable heart of man, as it everywhere throbs. Beyond the humorous faculty, he possessed earnestness of feeling, and a deep tone of passion. He was a man of tender heart; and of all French writers, he is the least French.
[From the marble in the Louvre.]
222. Thomas Corneille. Dramatist.
[Born at Rouen, 1625. Died at Andelys, 1709. Aged 84.]
Younger brother of the great Corneille, with whom he lived until his death in brotherly affection. Inspired by his brother’s success, he early devoted himself to dramatic composition, and, like his illustrious brother borrowed from Spain the materials for his earliest attempts. The labours of Thomas Corneille found even more approbation with contemporary audiences than those of Pierre; but the majority of the younger brother’s many comedies are now forgotten. The services rendered by Thomas to philology are perhaps more useful and lasting than his contributions to the drama. He published a supplementary Dictionary to that of the French Academy, and wrote other works. In his old age he lost his sight. He died honoured and beloved.
[By J. J. Caffieri, 1785. There is a copy of it at Versailles, in marble, by M. Chenillion, dated 1836. The original was taken from an authentic picture by Jouvenet, which belonged to the Countess of Bouville, daughter of Corneille, a copy of which picture was given to the Comédie Française by Caffieri.]