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diff --git a/old/7prtl10.txt b/old/7prtl10.txt new file mode 100644 index 0000000..c1020ef --- /dev/null +++ b/old/7prtl10.txt @@ -0,0 +1,2067 @@ +The Project Gutenberg EBook of The Pretentious Young Ladies, by Moliere +#10 in our series by Moliere + +Copyright laws are changing all over the world. Be sure to check the +copyright laws for your country before downloading or redistributing +this or any other Project Gutenberg eBook. + +This header should be the first thing seen when viewing this Project +Gutenberg file. Please do not remove it. Do not change or edit the +header without written permission. + +Please read the "legal small print," and other information about the +eBook and Project Gutenberg at the bottom of this file. Included is +important information about your specific rights and restrictions in +how the file may be used. You can also find out about how to make a +donation to Project Gutenberg, and how to get involved. + + +**Welcome To The World of Free Plain Vanilla Electronic Texts** + +**eBooks Readable By Both Humans and By Computers, Since 1971** + +*****These eBooks Were Prepared By Thousands of Volunteers!***** + + +Title: The Pretentious Young Ladies + +Author: Moliere + +Release Date: September, 2004 [EBook #6562] +[Yes, we are more than one year ahead of schedule] +[This file was first posted on December 28, 2002] + +Edition: 10 + +Language: English + +Character set encoding: ASCII + +*** START OF THE PROJECT GUTENBERG EBOOK THE PRETENTIOUS YOUNG LADIES *** + + + + +Produced by David Moynihan, D Garcia, Charles Franks +and the Online Distributed Proofreading Team. + + + + + +LES PRECIEUSES RIDICULES: + +COMEDIE EN UN ACTE. + +1659. + + * * * * * + +THE PRETENTIOUS YOUNG LADIES: + +A COMEDY IN ONE ACT. + +(_THE ORIGINAL IN PROSE_.) +1659. + + + + +INTRODUCTORY NOTICE. + +Moliere began in _The Pretentious Young Ladies_ to paint men and women +as they are; to make living characters and existing manners the +ground-work of his plays. From that time he abandoned all imitation of +Italian or Spanish imbroglios and intrigues. + +There is no doubt that aristocratic society attempted, about the latter +years of the reign of Louis XIII., to amend the coarse and licentious +expressions, which, during the civil wars had been introduced into +literature as well as into manners. It was praiseworthy of some +high-born ladies in Parisian society to endeavour to refine the language +and the mind. But there was a very great difference between the +influence these ladies exercised from 1620 until 1640, and what took +place in 1658, the year when Moliere returned to Paris. The Hotel de +Rambouillet, and the aristocratic drawing-rooms, had then done their +work, and done it well; but they were succeeded by a clique which cared +only for what was nicely said, or rather what was out of the common. +Instead of using an elegant and refined diction, they employed only a +pretentious and conceitedly affected style, which became highly +ridiculous; instead of improving the national idiom they completely +spoilt it. Where formerly D'Urfe, Malherbe, Racan, Balzac, and Voiture +reigned, Chapelain, Scudery, Menage, and the Abbe Cotin, "the father of +the French Riddle," ruled in their stead. Moreover, every lady in Paris, +as well as in the provinces, no matter what her education was, held her +drawing-room, where nothing was heard but a ridiculous, exaggerated, and +what was worse, a borrowed phraseology. The novels of Mdlle. de Scudery +became the text-book of the _precieux_ and the _precieuses_, for such +was the name given to these gentlemen and ladies who set up for wits, +and thought they displayed exquisite taste, refined ideas, fastidious +judgment, and consummate and critical discrimination, whilst they only +uttered vapid and blatant nonsense. What other language can be used when +we find that they called the sun _l'aimable eclairant le plus beau du +monde, l'epoux de la nature_, and that when speaking of an old gentleman +with grey hair, they said, not as a joke, but seriously, _il a des +quittances d'amour_. A few of their expressions, however, are employed +even at the present time, such as, _chatier son style_; to correct one's +style; _depenser une heure_, to spend an hour; _revetir ses pensees +d'expressions nobles_, to clothe one's thoughts in noble expressions, +etc. + +Though the _precieux and precieuses_ had been several times attacked +before, it remained for Moliere to give them their death blow, and after +the performance of his comedy the name became a term of ridicule and +contumely. What enhanced the bitterness of the attack was the difference +between Moliere's natural style and the affected tone of the would-be +elegants he brought upon the stage. + +This comedy, in prose, was first acted at Paris, at the Theatre du Petit +Bourbon, on the 18th of November, 1659, and met with great success. +Through the influence of some noble _precieux_ and _precieuses_ it was +forbidden until the 2d of December, when the concourse of spectators was +so great that it had to be performed twice a day, that the prices of +nearly all the places were raised (See Note 7, page xxv.), and that it +ran for four months together. We have referred in our prefatory memoir +of Moliere to some of the legendary anecdotes connected with this play. + +It has also been said that our author owed perhaps the first idea of +this play to a scarcely-known work, _le Cercle des Femmes, ou le Secret +du Lit Nuptial; entretiens comiques_, written by a long-forgotten +author, Samuel Chapuzeau, in which a servant, dressed in his master's +clothes, is well received by a certain lady who had rejected the master. +But as the witty dialogue is the principal merit in Moliere's play, it +is really of no great consequence who first suggested the primary idea. + +The piece, though played in 1659, was only printed on the 29th of +January, 1660, by Guillaume de Luyne, a bookseller in Paris, with a +preface by Moliere, which we give here below: + +A strange thing it is, that People should be put in print against their +Will. I know nothing so unjust, and should pardon any other Violence +much sooner than that. + +Not that I here intend to personate the bashful Author, and out of a +point of Honour undervalue my Comedy. I should very unseasonably +disoblige all the People of Paris, should I accuse them of having +applauded a foolish Thing: as the Public is absolute Judge of such sort +of Works, it would be Impertinence in me to contradict it; and even if I +should have had the worst Opinion in the World of my _Pretentious Young +Ladies_ before they appeared upon the Stage, I must now believe them of +some Value, since so many People agree to speak in their behalf. But as +great part of the Pleasure it gave depends upon the Action and Tone of +the Voice, it behooved me, not to let them be deprived of those +Ornaments; and that success they had in the representation, was, I +thought, sufficiently favorable for me to stop there. I was, I say, +determined, to let them only be seen by Candlelight, that I might give +no room for any one to use the Proverb; [Footnote: In Moliere's time it +was proverbially said of a woman, "_Elle est belle a la chandelle, mais +le grand jour gate tout_." She is beautiful by candle-light, but +day-light spoils everything.] nor was I willing they should leap from +the Theatre de Bourbon into the _Galerie du Palais_. [Footnote: The +_Galerie du Palais_ was the place where Moliere's publisher lived.] +Notwithstanding, I have been unable to avoid it, and am fallen under the +Misfortune of seeing a surreptitious Copy of my Play in the Hands of the +Booksellers, together with a Privilege, knavishly obtained, for printing +it. I cried out in vain, O Times! O Manners! They showed me that there +was a Necessity for me to be in print, or have a Law-suit; and the last +evil is even worse than the first. Fate therefore must be submitted to, +and I must consent to a Thing, which they would not fail to do without +me. + +Lord, the strange Perplexity of sending a book abroad! and what an +awkward Figure an Author makes the first time he appears in print! Had +they allowed me time, I should have thought it over better, and have +taken all those Precautions which the Gentlemen Authors, who are now my +Brethren, commonly make use of upon the like Occasions. Besides, some +noble Lord, whom I should have chosen, in spite of his Teeth, to be the +Patron of my Work, and whose Generosity I should have excited by an +Epistle Dedicatory very elegantly composed, I should have endeavoured to +make a fine and learned Preface; nor do I want books which would have +supplied me with all that can be said in a scholarly Manner upon Tragedy +and Comedy; the Etymology of them both, their Origin, their Definition, +and so forth. I should likewise have spoken to my friends, who to +recommend my Performance, would not have refused me Verses, either in +French or Latin. I have even some that would have praised me in Greek, +and Nobody is ignorant, that a Commendation in Greek is of a marvellous +efficacy at the Beginning of a Book. But I am sent Abroad without giving +me time to look about me; and I can't so much as obtain the Liberty of +speaking two words, to justify my Intention, as to the subject of this +Comedy. I would willingly have shewn that it is confined throughout +within the Bounds of allowable and decent Satire, that Things the most +excellent are liable to be mimicked by wretched Apes, who deserve to be +ridiculed; that these absurd Imitations of what is most perfect, have +been at all times the Subject of Comedy; and that, for the same Reason, +that the truly Learned and truly Brave never yet thought fit to be +offended at the Doctor or the Captain in a Comedy, no more than Judges, +Princes, and Kings at seeing Trivelin, [Footnote: The Doctor and the +Captain were traditional personages of the Italian stage; their parts +need no further explanation; Trivelin was a popular Italian actor, who +in a humorous and exaggerated way played the parts of Judges, Princes, +and Kings.] or any other upon the Stage, ridiculously act the Judge, the +Prince, or King; so the true _Precieuses_ would be in the wrong to be +angry, when the pretentious Ones are exposed, who imitate them +awkwardly. In a Word, as I said, I am not allowed breathing time; Mr. de +Luyne is going to bind me up this Instant: ... let it be so, since the +Fates so ordain it. + +In the third volume of the "Select Comedies of M. de Moliere," this +comedy is called "The Conceited Ladies." It is dedicated to Miss Le Bas +in the following words:--- + +MADAM, Addresses of this Nature are usually fill'd with Flattery: And it +is become so general and known a Practice for Authors of every kind to +bedeck with all Perfections Those to whom they present their Writings, +that Dedications are, by most People, at Present, interpreted like +Dreams, directly backwards. I dare not, therefore, attempt Your +Character, lest even Truth itself should be suspected--Thus far, +however, I'll venture to declare, that if sprightly blooming Youth, +endearing sweet Good-nature, flowing gentile Wit, and an easy unaffected +Conversation, maybe reckon'd Charms,--_Miss_ LE BAS is exquisitely +charming. + +The following COMEDY of _Monsieur_ MOLIERE, that celebrated Dramatick +Writer, was, by him, intended to reprove a vain, fantastical, conceited +and preposterous Humour, which about that time prevailed very much in +_France_. It had the desir'd good Effect, and conduced a great deal +towards rooting out a Taste so unreasonable and ridiculous.---As Pride, +Conceit, Vanity, and Affectation, are Foibles so often found amongst the +Fair Sex at present, I have attempted this Translation, in hopes of +doing service to my pretty Country-Women.--And, certainly, it must have +a double efficacy, under the Patronage of one who is so bright an +Example of the contrary fine Accomplishments, which a large Fortune +makes her not the less careful to improve. + +I am not so presumptuous to imagine that my _English_ can do sufficient +Justice to the sense of this admir'd AUTHOR; and, therefore, have caused +the ORIGINAL to be placed against it Page for Page, hoping that, both +together, may prove an agreeable and useful Entertainment.----But I have +detain'd you too long already, and shall only add, that I am, with much +respect, and every good Wish, MADAM, _Your most Obedient Humble +Servant_, THE TRANSLATOR. + + +The _Precieuses Ridicules_ have been partly imitated in "_The +Damoiselles a la Mode_, Compos'd and Written by Richard Flecknoe. +London: Printed for the Author, 1667. To their graces the Duke and +Duchess of Newcastle, the Author dedicates this his comedy more humbly +than by way of epistle." This gentleman, who was "so distinguished as a +wretched poet, that his name had almost become proverbial," and who gave +the title to Dryden's _Mac-Flecknoe_, is said to have been originally a +Jesuit. Langbaine states "that his acquaintance with the nobility was +more than with the Muses." In the preface our author says: "This Comedy +is taken out of several excellent pieces of _Moliere_. The main plot out +of his _Pretieusee's Ridiculee's_; the Counterplot of _Sganarelle_ out +of his _Escole des Femmes_, and out of the _Escole des Marys_, the two +_Naturals_; all which, like so many _Pretieuse_ stones, I have brought +out of _France_; and as a Lapidary set in one Jewel to adorn our English +stage." + +This motley play was never acted; at least the author says: "for the +Acting it, those who have the Governing of the Stage, have their +Humours, and wou'd be intreated; and I have mine and won't intreat them; +and were all Dramatick Writers of my mind, they shou'd wear their old +_Playes_ Thred-bare e're they shou'd have any _New_, till they better +understood their own Interest, and how to distinguish betwixt good and +bad." + +The "Prologue intended for the overture of the Theater 1666," opens +thus:-- + + "In these sad Times our Author has been long + Studying to give you some diversion; + And he has ta'en the way to do't, which he + Thought most diverting, mirth and Comedy; + And now he knows there are inough i' the Town + At name of mirth and Comedy will frown, + And sighing say, the times are bad; what then? + Will their being sad and heavy better them?" + + +[Footnote: In 1665 the plague broke out in London, and in the succeeding +year the great fire took place; only at Christmas 1666 theatrical +performances began again.] + +According to the list of "The Representers, as they were first +design'd." I see that Nell Gwyn should have played the part of +"_Lysette_, the _Damoiselle's_ waiting Woman." + +James Miller, a well-known dramatist, and joint-translator of Moliere, +with H. Baker, has also imitated part of "the _Pretentious Young +Ladies_," and with another part borrowed from Moliere's _School for +Husbands_, two characters taken from Moliere's _Learned Ladies_, and +some short speeches borrowed from the _Countess of Escarbagnas_, he +composed a comedy, which was played at Drury Lane, March 6th, 1735, +under the title of _The Man of Taste, or, The Guardians_. Mr. Miller +appears to have been a man of indomitable spirit and industry. Being a +clergyman, with a very small stipend, he wrote plays to improve his +circumstances, but offended both his bishop and the public. At last he +was presented to the very valuable living of Upcerne, in Dorsetshire, +and was also successful with a translation of _Mahomet_ of Voltaire, but +died within the year after his induction. _The Man of Taste_ was printed +for J. Watts, MDCCXXXV., and is dedicated to Lord Weymouth. We give part +of the dedication: + +"As to the Attempt here made to expose the several Vices and Follies +that at present flourish in Vogue, I hope your Lordship will think it +confined within the bounds of a modest and wholesome Chastisement. That +it is a very seasonable one, I believe, every Person will acknowledge. +When what is set up for the Standard of Taste, is but just the Reverse +of Truth and Common Sense; and that which is dignify'd with the Name of +Politeness, is deficient in nothing--but Decency and Good Manners: When +all Distinctions of Station and Fortune are broke in upon, so that a +_Peer_ and a _Mechanick_ are cloathed in the same Habits, and indulge in +the same Diversions and Luxuries: When Husbands are ruin'd, Children +robb'd, and Tradesmen starv'd, in order to give Estates to a _French_ +Harlequin, and _Italian_ Eunuch, for a Shrug or a Song; [Footnote: +Farinelli, an eminent Italian soprano, went to England in 1734, remained +there three years, sang chiefly at the Theatre of Lincoln's-Inn-Fields, +then under the direction of Porpora, his old Master, became a great +favorite, and made about, L5,000 a year. As _The Man of Taste_ was +performed at a rival house, Drury Lane, the bitterness of the allusion +may be easily understood. The French Comedians acted at the Haymarket +from November 22, 1734 to June 1735, hence the allusion to a French +Harlequin.] shall not fair and fearless Satire oppose this Outrage upon +all Reason and Discretion. Yes, My Lord, resentment can never better be +shown, nor Indignation more laudably exerted than on such an occasion." + +The Prologue, spoken by Mr. Cibber, is racy. We give the first half of +it:-- + + "Wit springs so slow in our bleak Northern Soil, + It scarce, at best, rewards the Planter's Toil. + But now, when all the Sun-shine, and the Rain, + Are turn'd to cultivate a Foreign grain; + When, what should cherish, preys upon the Tree, + What generous Fruit can you expect to see? + Our Bard, to strike the Humour of the Times, + Imports these Scenes from kindlier Southern Climes; + Secure his Pains will with Applause be crown'd, + If you're as fond of Foreign sense as ... sound: + And since their Follies have been bought so dear, + We hope their Wit a moderate Price may bear. + Terence, Great Master! who, with wond'rous Art, + Explor'd the deepest Secrets of the Heart; + That best Old Judge of Manners and of Men, + First grac'd this Tale with his immortal Pen. + Moliere, the Classick of the Gallick Stage, + First dar'd to modernize the Sacred Page; + Skilful, the one thing wanting to supply, + Humour, that Soul of Comic Poesy. + The Roman Fools were drawn so high ... the Pit + Might take 'em now for Modern Men of Wit. + But Moliere painted with a bolder Hand, + And mark'd his Oafs with the Fool's-Cap and Band: + To ev'ry Vice he tagged the just Reproach, + Shew'd Worth on Foot, and Rascals in a Coach." + + +[Footnote: The plot of _The Man of Taste_, as we have said before, was +partly borrowed from Moliere's _School for Husbands_, partly from the +_Pretentious Young Ladies_, and other of his plays. The first-mentioned +French comedy owes part of its plot to Terence's _Adelphi_, hence the +allusion to "his immortal Pen." in the above poem.] + +Mrs. Aphra Behn, a voluminous writer of plays, novels, poems, and +letters, all of a lively and amorous turn, was the widow of a Dutch +merchant, and partly occupied the time not engaged in literary pursuits +in political or gallant intrigues. Her comedies are her best works, and +although some of her scenes are often indecent, and not a few of her +expressions indelicate, yet her plots are always lively and well +sustained and her dialogues very witty. The date of her birth is +unknown, but she died on the 16th of April, 1689, and was buried in the +cloisters of Westminster Abbey. + +In 1682, was performed, at the Theatre, Dorset Garden, her play. _The +False Count, or a New Way to Play an Old Game_. The prologue attacks the +Whigs most furiously, and the epilogue, spoken by Mrs. Barry, is very +indecent. The plot of this play, or rather farce, is very improbable, +and the language is more than free. Julia, in love with Don Carlos, +afterwards Governor of Cadiz, was forced by her father to marry +Francisco, a rich old man, formerly a leather-seller; the latter going +with his family to sea on a party of pleasure, are taken prisoners by +Carlos and his servants, disguised as Turks. They are carried to a +country house, and made to believe they are in the Grand Turk's +seraglio. There is also an underplot, in which Isabella, Francisco's +proud and vain daughter, is courted by Guilion, a supposed Count, but in +reality a chimney-sweep, whose hand she accepts. In the end everything +is discovered, and Guilion comes to claim his wife in his sooty clothes. + +Thomas Shadwell, a dramatist, and the poet-laureate of William III., who +has been flagellated by Dryden in his _MacFlecknoe_ and in the second +part of _Absalom_ and _Achitophel_, and been mentioned with contempt by +Pope in his _Dunciad_, took from the _Precieuses Ridicules_ Mascarille +and Jodelet, and freely imitated and united them in the character of La +Roch, a sham Count, in his _Bury-Fair_, acted by His Majesty's servants +in 1689. This play, dedicated to Charles, Earl of Dorset and Middlesex, +was written "during eight months' painful sickness." In the Prologue +Shadwell states: + + That every Part is Fiction in his Play; + Particular Reflections there are none; + Our Poet knows not one in all your Town. + If any has so very little Wit, + To think a Fop's Dress can his Person fit, + E'en let him take it, and make much of it. + + +Whilst, in The _Pretentious Young Ladies_, Mascarille and Jodelet impose +upon two provincial girls, in _Bury-Fair_, La Roch, "a French +peruke-maker" succeeds in deceiving Mrs. Fantast and Mrs. Gertrude under +the name of Count de Cheveux. The Count is very amusing, and though a +coward to boot, pretends to be a great warrior. His description of war +is characteristic; he states that "de great Heros always burne and kille +de Man, Woman, and Shilde for deir Glory." + + + + +DRAMATIS PERSONAE. + + +LA GRANGE, \ + ) _repulsed Lovers_. +DU CROISY, / + +GORGIBUS, _a good citizen_. + +[Footnote: Gorgibus was the name of certain characters in old comedies. +The actor, L'Epy, who played this part, had a very loud voice; hence +Moliere gave him probably this name.] + +THE MARQUIS DE MASCARILLE, _valet to La Grange_. + +[Footnote: _Mascarille_ was played by Moliere, and has a personality +quite distinct from the servant of the same name in the _Blunderer_ and +the _Love-Tiff_. The dress in which he acted this part, has not been +mentioned in the inventory taken after his death, but in a pamphlet, +published in 1660, he is described as wearing an enormous wig, a very +small hat, a ruff like a morning gown, rolls in which children could +play hide-and-seek, tassels like cornucopise, ribbons that covered his +shoes, with heels half a foot in height.] + +THE VISCOUNT JODELET, _valet to Du Croisy_. + +ALMANZOR, _footman to the pretentious ladies_. + +TWO CHAIRMEN. + +MUSICIANS. + +MADELON, _daughter to Gorgibus_, \ + ) _The pretentious young ladies_. +CATHOS, _niece to Gorgibus_, / + +MAROTTE, _maid to the pretentious young ladies_. + +LUCILE. \ + ) _two female neighbours_. +CELIMENE. / + + +SCENE--GORGIBUS' HOUSE, PARIS. + + + + +THE PRETENTIOUS YOUNG LADIES. (LES PRECIEUSES RIDICULES.) + + + + +ACT I. + + + +SCENE I.--LA GRANGE, DU CROISY. + + +DU. CR. Mr. La Grange. + +LA. GR. What? + +DU. CR. Look at me for a moment without laughing. + +LA. GR. Well? + +DU. CR. What do you say of our visit? Are you quite pleased with it? + +LA. GR. Do you think either of us has any reason to be so? + +DU. CR. Not at all, to say the truth. + +LA. GR. As for me, I must acknowledge I was quite shocked at it. Pray +now, did ever anybody see a couple of country wenches giving themselves +more ridiculous airs, or two men treated with more contempt than we +were? They could hardly make up their mind to order chairs for us. I +never saw such whispering as there was between them; such yawning, such +rubbing of the eyes, and asking so often what o'clock it was. Did they +answer anything else but "yes," or "no," to what we said to them? In +short, do you not agree with me that if we had been the meanest persons +in the world, we could not have been treated worse? + +DU. CR. You seem to take it greatly to heart. + +LA. GR. No doubt I do; so much so, that I am resolved to be revenged on +them for their impertinence. I know well enough why they despise us. +Affectation has not alone infected Paris, but has also spread into the +country, and our ridiculous damsels have sucked in their share of it. In +a word, they are a strange medley of coquetry and affectation. I plainly +see what kind of persons will be well received by them; if you will take +my advice, we will play them such a trick as shall show them their +folly, and teach them to distinguish a little better the people they +have to deal with. + +DU. CR. How can you do this? + +LA. GR. I have a certain valet, named Mascarille, who, in the opinion of +many people, passes for a kind of wit; for nothing now-a-days is easier +than to acquire such a reputation. He is an extraordinary fellow, who +has taken it into his head to ape a person of quality. He usually prides +himself on his gallantry and his poetry, and despises so much the other +servants that he calls them brutes. + +DU. CR. Well, what do you mean to do with him? + +LA. GR. What do I mean to do with him? He must ... but first, let us be +gone. + + + + +SCENE II.--GORGIBUS, DU CROISY, LA GRANGE. + + +GORG. Well, gentlemen, you have seen my niece and my daughter. How are +matters going on? What is the result of your visit? + +LA. GR. They will tell you this better than we can. All we say is that +we thank you for the favour you have done us, and remain your most +humble servants. + +DU. CR. Your most humble servants. + +GORG. (_Alone_). Hoity-toity! Methinks they go away dissatisfied. What +can be the meaning of this? I must find it out. Within there! + + + + +SCENE III.--GORGIBUS, MAROTTE. + + +MAR. Did you call, sir? + +GORG. Where are your mistresses? + +MAR. In their room. + +GORG. What are they doing there? + +MAR. Making lip salve. + +GORG. There is no end of their salves. Bid them come down. (_Alone_). +These hussies with their salves have, I think, a mind to ruin me. +Everywhere in the house I see nothing but whites of eggs, lac virginal, +and a thousand other fooleries I am not acquainted with. Since we have +been here they have employed the lard of a dozen hogs at least, and four +servants might live every day on the sheep's trotters they use. + + + + +SCENE IV.---MADELON, CATHOS, GORGIBUS. + + +GORG. Truly there is great need to spend so much money to grease your +faces. Pray tell me, what have you done to those gentlemen, that I saw +them go away with so much coldness. Did I not order you to receive them +as persons whom I intended for your husbands? + +MAD. Dear father, what consideration do you wish us to entertain for the +irregular behaviour of these people? + +CAT. How can a woman of ever so little understanding, uncle, reconcile +herself to such individuals? + +GORG. What fault have you to find with them? + +MAD. Their's is fine gallantry, indeed. Would you believe it? they began +with proposing marriage to us. + +GORG. What would you have them begin with--with a proposal to keep you +as mistresses? Is not their proposal a compliment to both of you, as +well as to me? Can anything be more polite than this? And do they not +prove the honesty of their intentions by wishing to enter these holy +bonds? + +MAD. O, father! Nothing can be more vulgar than what you have just said. +I am ashamed to hear you talk in such a manner; you should take some +lessons in the elegant way of looking at things. + +GORG. I care neither for elegant ways nor songs. I tell you marriage is +a holy and sacred affair; to begin with that is to act like honest +people. + +[Footnote: The original has a play on words. Madelon says, in addressing +her father, _vous devriez un pen vous faire apprendre le bel air des +choses_, upon which he answers, _je n'ai que faire ni d'air ni de +chanson_. _Air_ means tune as well as look, appearance.] + +MAD. Good Heavens! If everybody was like you a love-story would soon be +over. What a fine thing it would have been if Cyrus had immediately +espoused Mandane, and if Aronce had been married all at once to Clelie. + +[Footnote: _Cyrus_ and _Mandane_ are the two principal characters of +Mademoiselle de Scudery's novel _Artamene, on the Grand Cyrus_; _Aronce_ +and _Clelie_ of the novel _Clelie_, by the same author.] + +GORG. What is she jabbering about? + +MAD. Here is my cousin, father, who will tell as well as I that +matrimony ought never to happen till after other adventures. A lover, to +be agreeable, must understand how to utter fine sentiments, to breathe +soft, tender, and passionate vows; his courtship must be according to +the rules. In the first place, he should behold the fair one of whom he +becomes enamoured either at a place of worship, [Footnote: See note 15, +page 33.] or when out walking, or at some public ceremony; or else he +should be introduced to her by a relative or a friend, as if by chance, +and when he leaves her he should appear in a pensive and melancholy +mood. For some time he should conceal his passion from the object of his +love, but pay her several visits, in every one of which he ought to +introduce some gallant subject to exercise the wits of all the company. +When the day comes to make his declarations--which generally should be +contrived in some shady garden-walk while the company is at a +distance--it should be quickly followed by anger, which is shown by our +blushing, and which, for a while, banishes the lover from our presence. +He finds afterwards means to pacify us, to accustom us gradually to hear +him depict his passion, and to draw from us that confession which causes +us so much pain. After that come the adventures, the rivals who thwart +mutual inclination, the persecutions of fathers, the jealousies arising +without any foundation, complaints, despair, running away with, and its +consequences. Thus things are carried on in fashionable life, and +veritable gallantry cannot dispense with these forms. But to come out +point-blank with a proposal of marriage,--to make no love but with a +marriage-contract, and begin a novel at the wrong end! Once more, +father, nothing can be more tradesmanlike, and the mere thought of it +makes me sick at heart. + +GORG. What deuced nonsense is all this? That is highflown language with +a vengeance! + +CAT. Indeed, uncle, my cousin hits the nail on the head. How can we +receive kindly those who are so awkward in gallantry. I could lay a +wager they have not even seen a map of the country of _Tenderness_, and +that _Love-letters_, _Trifling attentions_, _Polite epistles_, and +_Sprightly verses_, are regions to them unknown. + +[Footnote: The map of the country of Tenderness (_la carte de Tendre_) +is found in the first part of _Clelie_ (see note 2, page 146); +Love-letter (_Billetdoux_); Polite epistle (_Billet galant_); Trifling +attentions (_Petit Soins_); Sprightly verses (_Jolts vers_), are the +names of villages to be found in the map, which is a curiosity in its +way.] + +Do you not see that the whole person shews it, and that their external +appearance is not such as to give at first sight a good opinion of them. +To come and pay a visit to the object of their love with a leg without +any ornaments, a hat without any feathers, a head with its locks not +artistically arranged, and a coat that suffers from a paucity of +ribbons. Heavens! what lovers are these! what stinginess in dress! what +barrenness of conversation! It is not to be allowed; it is not to be +borne. I also observed that their ruffs + +[Footnote: The ruff (_rabat_) was at first only the shirt-collar pulled +out and worn outside the coat. Later ruffs were worn, which were not +fastened to the shirt, sometimes adorned with lace, and tied in front +with two strings with tassels. The _rabat_ was very fashionable during +the youthful years of Louis XIV.] + +were not made by the fashionable milliner, and that their breeches were +not big enough by more than half-a-foot. + +GORG. I think they are both mad, nor can I understand anything of this +gibberish. Cathos, and you Madelon... + +MAD. Pray, father, do not use those strange names, and call us by some +other. + +GORG. What do you mean by those strange names? Are they not the names +your godfathers and godmothers gave you? + +MAD. Good Heavens! how vulgar you are! I confess I wonder you could +possibly be the father of such an intelligent girl as I am. Did ever +anybody in genteel style talk of Cathos or of Madelon? And must you not +admit that either of these names would be sufficient to disgrace the +finest novel in the world? + +CAT. It is true, uncle, an ear rather delicate suffers extremely at +hearing these words pronounced, and the name of Polixena, which my +cousin has chosen, and that of Amintha, which I took, possesses a charm, +which you must needs acknowledge. + +[Footnote: The _precieuses_ often changed their names into more poetical +and romantic appellations. The Marquise de Rambouillet, whose real name +was Catherine, was known under the anagram of Arthenice.] + +GORG. Hearken; one word will suffice. I do not allow you to take any +other names than those that were given you by your godfathers and +godmothers; and as for those gentlemen we are speaking about, I know +their families and fortunes, and am determined they shall be your +husbands. I am tired of having you upon my hands. Looking after a couple +of girls is rather too weighty a charge for a man of my years. + +CAT. As for me, uncle, all I can say is, that I think marriage a very +shocking business. How can one endure the thought of lying by the side +of a man, who is really naked? + +MAD. Give us leave to take breath for a short time among the fashionable +world of Paris, where we are but just arrived. Allow us to prepare at +our leisure the groundwork of our novel, and do not hurry on the +conclusion too abruptly. + +GORG. (_Aside_). I cannot doubt it any longer; they are completely mad. +(_Aloud_). Once more, I tell you, I understand nothing of all this +gibberish; I will be master, and to cut short all kinds of arguments, +either you shall both be married shortly, or, upon my word, you shall be +nuns; that I swear. + +[Footnote: This scene is the mere outline of the well known quarrel +between Chrysale, Philaminte, and Belinda in the "_Femmes Savantes_" +(see vol. iii.) but a husband trembling before his wife, and only daring +to show his temper to his sister, is a much more tempting subject for a +dramatic writer than a man addressing in a firm tone his daughter and +niece.] + + + + +SCENE VI.--CATHOS, MADELON. + + +CAT. Good Heavens, my dear, how deeply is your father still immersed in +material things! how dense is his understanding, and what gloom +overcasts his soul! + +MAD. What can I do, my dear? I am ashamed of him. I can hardly persuade +myself I am indeed his daughter; I believe that an accident, some time +or other, will discover me to be of a more illustrious descent. + +CAT. I believe it; really, it is very likely; as for me, when I consider +myself... + + + + +SCENE VII.--CATHOS, MADELON, MAROTTE. + + +MAR. Here is a footman asks if you are at home, and says his master is +coming to see you. + +MAD. Learn, you dunce, to express yourself a little less vulgarly. Say, +here is a necessary evil inquiring if it is commodious for you to become +visible. + +[Footnote: All these and similar sentences were really employed by the +_precieuses_.] + +MAR. I do not understand Latin, and have not learned philosophy out of +Cyrus, as you have done. + +[Footnote: _Artamene, ou le Grand Cyrus_, (1649-1653) a novel in ten +volumes by Madle. de Scudery.] + +MAD. Impertinent creature! How can this be borne! And who is this +footman's master? + +MAR. He told me it was the Marquis de Mascarille. + +MAD. Ah, my dear! A marquis! a marquis! Well, go and tell him we are +visible. This is certainly some wit who has heard of us. + +CAT. Undoubtedly, my dear. + +MAD. We had better receive him here in this parlour than in our room. +Let us at least arrange our hair a little and maintain our reputation. +Come in quickly, and reach us the Counsellor of the Graces. + +MAR. Upon my word, I do not know what sort of a beast that is; you must +speak like a Christian if you would have me know your meaning. + +CAT. Bring us the looking-glass, you blockhead! and take care not to +contaminate its brightness by the communication of your image. + + + + +SCENE VIII.--MASCARILLE, TWO CHAIRMEN. + + +MASC. Stop, chairman, stop. Easy does it! Easy, easy! I think these +boobies intend to break me to pieces by bumping me against the walls and +the pavement. + +1 CHAIR. Ay, marry, because the gate is narrow and you would make us +bring you in here. + +MASC. To be sure, you rascals! Would you have me expose the fulness of +my plumes to the inclemency of the rainy season, and let the mud receive +the impression of my shoes? Begone; take away your chair. + +2 CHAIR. Then please to pay us, sir. + +MASC. What? + +2 CHAIR. Sir, please to give us our money, I say. + +MASC. (_Giving him a box on the ear_). What, scoundrel, to ask money +from a person of my rank! + +2 CHAIR. Is this the way poor people are to be paid? Will your rank get +us a dinner? + +MASC. Ha, ha! I shall teach you to keep your right place. Those low +fellows dare to make fun of me! + +1 CHAIR. (_Taking up one of the poles of his chair_). Come, pay us +quickly. + +MASC. What? + +1 CHAIR. I mean to have my money at once. + +MASC. That is a sensible fellow. + +1 CHAIR. Make haste, then. + +MASC. Ay, you speak properly, but the other is a scoundrel, who does not +know what he says. There, are you satisfied? + +1 CHAIR. No, I am not satisfied; you boxed my friend's ears, and ... +(_holding up his pole_). + +MASC. Gently; there is something for the box on the ear. People may get +anything from me when they go about it in the right way. Go now, but +come and fetch me by and by to carry me to the Louvre to the _petit +coucher_. + +[Footnote: Louis XIV. and several other Kings of France, received their +courtiers when rising or going to bed. This was called _lever_ and +_coucher_. The _lever_ as well as the _coucher_ was divided into _petit_ +and _grand_. All persons received at court had a right to come to the +_grand lever_ and _coucher_, but only certain noblemen of high rank and +the princes of the royal blood could remain at the _petit lever_ and +_coucher_, which was the time between the king putting on either a day +or night shirt, and the time he went to bed or was fully dressed. The +highest person of rank always claimed the right of handing to the king +his shirt.] + + + + +SCENE IX.--MAROTTE, MASCARILLE. + + +MAR. Sir, my mistresses will come immediately. + +MASC. Let them not hurry themselves; I am very comfortable here, and can +wait. + +MAR. Here they come. + + + + +SCENE X.--MADELON, CATHOS, MASCARILLE, ALMANZOR. + + +MASC. (_After having bowed to them_). Ladies, no doubt you will be +surprised at the boldness of my visit, but your reputation has drawn +this disagreeable affair upon you; merit has for me such potent charms, +that I run everywhere after it. + +MAD. If you pursue merit you should not come to us. + +CAT. If you find merit amongst us, you must have brought it hither +yourself. + +MASC. Ah! I protest against these words. When fame mentioned your +deserts it spoke the truth, and you are going to make _pic_, _repic_, +and _capot_. all the gallants from Paris. + +[Footnote: Dryden, in his _Sir Martin Mar-all_ (Act i. sc. i), makes Sir +Martin say: "If I go to picquet...he will picque and repicque, and capot +me twenty times together" I believe that these terms in Moliere's and +Dryden's times had a different meaning from what they have now.] + +MAD. Your complaisance goes a little too far in the liberality of its +praises, and my cousin and I must take care not to give too much credit +to your sweet adulation. + +CAT. My dear, we should call for chairs. + +MAD. Almanzor! + +ALM. Madam. + +MAD. Convey to us hither, instantly, the conveniences of conversation. + +MASC. But am I safe here? (_Exit Almanzor_.) + +CAT. What is it you fear? + +MASC. Some larceny of my heart; some massacre of liberty. I behold here +a pair of eyes that seem to be very naughty boys, that insult liberty, +and use a heart most barbarously. Why the deuce do they put themselves +on their guard, in order to kill any one who comes near them? Upon my +word! I mistrust them; I shall either scamper away, or expect very good +security that they do me no mischief. + +MAD. My dear, what a charming facetiousness he has! + +CAT. I see, indeed, he is an Amilcar. + +[Footnote: Amilcar is one of the heroes of the novel _Clelie_, who +wishes to be thought sprightly.] + +MAD. Fear nothing, our eyes have no wicked designs, and your heart may +rest in peace, fully assured of their innocence. + +CAT. But, pray, Sir, be not inexorable to the easy chair, which, for +this last quarter of an hour, has held out its arms towards you; yield +to its desire of embracing you. + +MASC. (_After having combed himself, and, adjusted the rolls of his +stockings_). Well, ladies, and what do you think of Paris? + +[Footnote: It was at that time the custom for men of rank to comb their +hair or periwigs in public.] + +[Footnote: The rolls (_canons_) were large round pieces of linen, often +adorned with lace or ribbons, and which were fastened below the breeches, +just under the knee.] + +MAD. Alas! what can we think of it? It would be the very antipodes of +reason not to confess that Paris is the grand cabinet of marvels, the +centre of good taste, wit, and gallantry. + +MASC. As for me, I maintain that, out of Paris, there is no salvation +for the polite world. + +CAT. Most assuredly. + +MASC. Paris is somewhat muddy; but then we have sedan chairs. + +MAD. To be sure; a sedan chair is a wonderful protection against the +insults of mud and bad weather. + +MASC. I am sure you receive many visits. What great wit belongs to your +company? + +MAD. Alas! we are not yet known, but we are in the way of being so; for +a lady of our acquaintance has promised us to bring all the gentlemen +who have written for the Miscellanies of Select Poetry. + +[Footnote: Moliere probably alludes to a Miscellany of Select Poetry, +published in 1653, by de Sercy, under the title of _Poesies choisies de +M. M. Corneille Benserade, de Scudery, Boisrobert, Sarrazin, Desmarets, +Baraud, Saint-Laurent, Colletet. Lamesnardiere, Montreuil, Viguier, +Chevreau, Malleville, Tristan, Testu, Maucroy, de Prade, Girard et de +L'Age_. A great number of such miscellanies appeared in France, and in +England also, about that time.] + +CAT. And certain others, whom, we have been told, are likewise the +sovereign arbiters of all that is handsome. + +MASC. I can manage this for you better than any one; they all visit me; +and I may say that I never rise without having half-a-dozen wits at my +levee. + +MAD. Good Heavens! you will place us under the greatest obligation if +you will do us the kindness; for, in short, we must make the +acquaintance of all those gentlemen if we wish to belong to the fashion. +They are the persons who can make or unmake a reputation at Paris; you +know that there are some, whose visits alone are sufficient to start the +report that you are a _Connaisseuse_, though there should be no other +reason for it. As for me, what I value particularly is, that by means of +these ingenious visits, we learn a hundred things which we ought +necessarily to know, and which are the quintessence of wit. Through them +we hear the scandal of the day, or whatever niceties are going on in +prose or verse. We know, at the right time, that Mr. So-and-so has +written the finest piece in the world on such a subject; that Mrs. +So-and-so has adapted words to such a tune; that a certain gentleman has +written a madrigal upon a favour shown to him; another stanzas upon a +fair one who betrayed him; Mr. Such-a-one wrote a couplet of six lines +yesterday evening to Miss Such-a-one, to which she returned him an +answer this morning at eight o'clock; such an author is engaged on such +a subject; this writer is busy with the third volume of his novel; that +one is putting his works to press. Those things procure you +consideration in every society, and if people are ignorant of them, I +would not give one pinch of snuff for all the wit they may have. + +CAT. Indeed, I think it the height of ridicule for any one who possesses +the slightest claim to be called clever not to know even the smallest +couplet that is made every day; as for me, I should be very much ashamed +if any one should ask me my opinion about something new, and I had not +seen it. + +MASC. It is really a shame not to know from the very first all that is +going on; but do not give yourself any farther trouble, I will establish +an academy of wits at your house, and I give you my word that not a +single line of poetry shall be written in Paris, but what you shall be +able to say by heart before anybody else. As for me, such as you see me, +I amuse myself in that way when I am in the humour, and you may find +handed about in the fashionable assemblies + +[Footnote: In the original French the word is _ruelle_, which means +literally "a small street," "a lane," hence any narrow passage, hence +the narrow opening between the wall and the bed. The _Precieuses_ at +that time received their visitors lying dressed in a bed, which was +placed in an alcove and upon a raised platform. Their fashionable +friends (_alcovistes_) took their places between the bed and the wall, +and thus the name _ruelle_ came to be given to all fashionable +assemblies. In Dr. John Ash's New and Complete Dictionary of the English +Language, published in London 1755, I still find _ruelle_ defined: "a +little street, a circle, an assembly at a private house."] + +of Paris two hundred songs, as many sonnets, four hundred epigrams, and +more than a thousand madrigals all made by me, without counting riddles +and portraits. + +[Footnote: This kind of literature, in which one attempted to write a +portrait of one's self or of others, was then very much in fashion. La +Bruyere and de Saint-Simon in France, as well as Dryden and Pope in +England, have shown what a literary portrait may become in the hands of +men of talent.] + +MAD. I must acknowledge that I dote upon portraits; I think there is +nothing more gallant. + +MASC. Portraits are difficult, and call for great wit; you shall see +some of mine that will not displease you. + +CAT. As for me, I am awfully fond of riddles. + +MASC. They exercise the intelligence; I have already written four of +them this morning, which I will give you to guess. + +MAD. Madrigals are pretty enough when they are neatly turned. + +MASC. That is my special talent; I am at present engaged in turning the +whole Roman history into madrigals. + +[Footnote: Seventeen years after this play was performed, Benserade +published _les Metamorphoses d' Ovide mises en rondeaux_.] + +MAD. Goodness gracious! that will certainly be superlatively fine; I +should like to have one copy at least, if you think of publishing it. + +MASC. I promise you each a copy, bound in the handsomest manner. It does +not become a man of my rank to scribble, but I do it only to serve the +publishers, who are always bothering me. + +MAD. I fancy it must be a delightful thing to see one's self in print. + +MASC. Undoubtedly; but, by the by, I must repeat to you some extempore +verses I made yesterday at the house of a certain duchess, an +acquaintance of mine. I am deuced clever at extempore verses. + +CAT. Extempore verses are certainly the very touch-stone of genius. + +MASC. Listen then. + +MAD. We are all ears. + +MASC. + _Oh! oh! quite without heed was I, + As harmless you I chanced to spy, + Slily your eyes + My heart surprise, + Stop thief! stop thief! stop thief I cry!_ + + +CAT. Good Heavens! this is carried to the utmost pitch of gallantry. + +MASC. Everything I do shows it is done by a gentleman; there is nothing +of the pedant about my effusions. + +MAD. They are more than two thousand miles removed from that. + +MASC. Did you observe the beginning, _oh! oh?_ there is something +original in that _oh! oh!_ like a man who all of a sudden thinks about +something, _oh! oh!_ Taken by surprise as it were, _oh! oh!_ + +MAD. Yes, I think that _oh! oh!_ admirable. + +MASC. It seems a mere nothing. + +CAT. Good Heavens! How can you say so? It is one of these things that +are perfectly invaluable. + +MAD. No doubt on it; I would rather have written that _oh! oh!_ than an +epic poem. + +MASC. Egad, you have good taste. + +MAD. Tolerably; none of the worst, I believe. + +MASC. But do you not also admire _quite without heed was I? quite +without heed was I_, that is, I did not pay attention to anything; a +natural way of speaking, _quite without heed was I, of no harm +thinking_, that is, as I was going along, innocently, without malice, +like a poor sheep, _you I chanced to spy_, that is to say, I amused +myself with looking at you, with observing you, with contemplating you. +_Slily your eyes_. ... What do you think of that word _slily_--is it not +well chosen? + +CAT. Extremely so. + +MASC. _Slily_, stealthily; just like a cat watching a mouse--_slily_. + +MAD. Nothing can be better. + +MASC. My heart surprise, that is, carries it away from me, robs me of +it. _Stop thief! stop thief! stop thief!_ Would you not think a man were +shouting and running after a thief to catch him? _Stop thief! stop +thief! stop thief!_ + +[Footnote: The scene of Mascarille reading his extempore verses is +something like Trissotin in _Les Femmes savantes_ (see vol. III.) +reading his sonnet for the Princess Uranie. But Mascarille comments on +the beauties of his verses with the insolent vanity of a man who does +not pretend to have even one atom of modesty; Trissotin, a professional +wit, listens in silence, but with secret pride, to the ridiculous +exclamations of the admirers of his genius.] + +MAD. I must admit the turn is witty and sprightly. + +MASC. I will sing you the tune I made to it. + +CAT. Have you learned music? + +MASC. I? Not at all. + +CAT. How can you make a tune then? + +MASC. People of rank know everything without ever having learned +anything. + +MAD. His lordship is quite in the right, my dear. + +MASC. Listen if you like the tune: _hem, hem, la, la._ The inclemency of +the season has greatly injured the delicacy of my voice but no matter, +it is in a free and easy way. (_He sings_). _Oh! Oh! quite without heed +was I_, etc. + +CAT. What a passion there breathes in this music. It is enough to make +one die away with delight! + +MAD. There is something plaintive in it. + +MASC. Do you not think that the air perfectly well expresses the +sentiment, _stop thief, stop thief?_ And then as if some one cried out +very loud, _stop, stop, stop, stop, stop, stop thief!_ Then all at once +like a person out of breath, _Stop thief!_ + +MAD. This is to understand the perfection of things, the grand +perfection, the perfection of perfections. I declare it is altogether a +wonderful performance. I am quite enchanted with the air and the words. + +CAT. I never yet met with anything so excellent. + +MASC. All that I do comes naturally to me; it is without study. + +MAD. Nature has treated you like a very fond mother; you are her darling +child. + +MASC. How do you pass away the time, ladies? + +CAT. With nothing at all. + +MAD. Until now we have lived in a terrible dearth of amusements. + +MASC. I am at your service to attend you to the play, one of those days, +if you will permit me. Indeed, a new comedy is to be acted which I +should be very glad we might see together. + +MAD. There is no refusing you anything. + +MASC. But I beg of you to applaud it well, when we shall be there; for I +have promised to give a helping hand to the piece. The author called +upon me this very morning to beg me so to do. It is the custom for +authors to come and read their new plays to people of rank, that they +may induce us to approve of them and give them a reputation. I leave you +to imagine if, when we say anything, the pit dares contradict us. As for +me, I am very punctual in these things, and when I have made a promise +to a poet, I always cry out "Bravo" before the candles are lighted. + +MAD. Do not say another word; Paris is an admirable place. A hundred +things happen every day which people in the country, however clever they +may be, have no idea of. + +CAT. Since you have told us, we shall consider it our duty to cry up +lustily every word that is said. + +MASC. I do not know whether I am deceived, but you look as if you had +written some play yourself. + +MAD. Eh! there may be something in what you say. + +MASC. Ah! upon my word, we must see it. Between ourselves, I have +written one which I intend to have brought out. + +CAT. Ay! to what company do you mean to give it? + +MASC. That is a very nice question, indeed. To the actors of the hotel +de Bourgogne; they alone can bring things into good repute; the rest are +ignorant creatures who recite their parts just as people speak in +every-day life; they do not understand to mouth the verses, or to pause +at a beautiful passage; how can it be known where the fine lines are, if +an actor does not stop at them, and thereby tell you to applaud +heartily? + +[Footnote: The company of actors at the hotel de Bourgogne were rivals +to the troop of Moliere; it appears, however, from contemporary authors, +that the accusations brought by our author against them were +well-founded.] + +CAT. Indeed! that is one way of making an audience feel the beauties of +any work; things are only prized when they are well set off. + +MASC. What do you think of my top-knot, sword-knot, and rosettes? Do you +find them harmonize with my coat? + +[Footnote: In the original _petite oie_; this was first, the name given +to the giblets of a goose, _oie_; next it came to mean all the +accessories of dress, ribbons, laces, feathers, and other small +ornaments. In one of the old translations of Moliere _petite oie_ is +rendered by "muff," and _Perdrigeon_ (see next note), I suppose, with a +faint idea of _perdrix_, a partridge, by "bird of paradise feathers!!"] + +CAT. Perfectly. + +MASC. Do you think the ribbon well chosen? + +MAD. Furiously well. It is real Perdrigeon. + +[Footnote: Perdrigeon was the name of a fashionable linen-draper in +Paris at that time.] + +MASC. What do you say of my rolls? + +[Footnote: According to Ash's Dictionary, 1775, _canons_, are "cannions, +a kind of boot hose, an ancient dress for the legs."] + +MAD. They look very fashionable. + +MASC, I may at least boast that they are a quarter of a yard wider than +any that have been made. + +MAD. I must own I never saw the elegance of dress carried farther. + +MASC. Please to fasten the reflection of your smelling faculty upon +these gloves. + +MAD. They smell awfully fine. + +CAT. I never inhaled a more delicious perfume. + +MASC. And this? (_He gives them his powdered wig to smell_). + +MAD. It has the true quality odour; it titillates the nerves of the +upper region most deliciously. + +MASC. You say nothing of my feathers. How do you like them? + +CAT. They are frightfully beautiful. + +MASC. Do you know that every single one of them cost me a Louis-d'or? +But it is my hobby to have generally everything of the very best. + +MAD. I assure you that you and I sympathize. I am furiously particular +in everything I wear; I cannot endure even stockings, unless they are +bought at a fashionable shop. + +[Footnote: Without going into details about the phraseology of the +_precieuses_, of which the ridiculousness has appeared sufficiently in +this scene, it will be observed that they used adverbs, as "furiously, +terribly, awfully, extraordinarily, horribly, greatly," and many more, +in such a way that they often appear absurd, as, "I love you horribly," +or, "he was greatly small." Such a way of speaking is not unknown even +at the present time in England; we sometimes hear, "I like it awfully," +"it is awfully jolly."] + +MASC. (_Crying out suddenly_). O! O! O! gently. Damme, ladies, you use +me very ill; I have reason to complain of your behaviour; it is not +fair. + +[Footnote: I employ here the words "to have reason," because that verb, +in the sense of "to have a right, to be right," seems to have been a +courtly expression in Dryden's time. Old Moody answers to Sir Martin +Marall (Act iii., Scene 3), "You have reason, sir. There he is again, +too; the town phrase; a great compliment I wise! _you have reason_, sir; +that is, you are no beast, sir." ] + +CAT. What is the matter with you? + +MASC. What! two at once against my heart! to attack me thus right and +left! Ha! This is contrary to the law of nations, the combat is too +unequal, and I must cry out, "Murder!" + +CAT. Well, he does say things in a peculiar way. + +MAD. He is a consummate wit. + +CAT. You are more afraid than hurt, and your heart cries out before it +is even wounded. + +MASC. The devil it does! it is wounded all over from head to foot. + + + + +SCENE XI.--CATHOS, MADELON, MASCARILLE, MAROTTE. + + +MAR. Madam, somebody asks to see you. + +MAD. Who! + +MAR. The Viscount de Jodelet. + +MASC. The Viscount de Jodelet? + +MAR. Yes, sir. + +CAT. Do you know him? + +MASC. He is my most intimate friend. + +MAD. Shew him in immediately. + +MASC. We have not seen each other for some time; I am delighted to meet +him. + +CAT. Here he comes. + + + + +SCENE XII.--CATHOS, MADELON, JODELET, MASCARILLE, MAROTTE, ALMANZOR. + + +MASC. Ah, Viscount! + +JOD. Ah, Marquis! (_Embracing each other_). + +MASC. How glad I am to meet you! + +JOD. How happy I am to see you here. + +MASC. Embrace me once more, I pray you. + +[Footnote: It was then the fashion for young courtiers to embrace each +other repeatedly with exaggerated gestures, uttering all the while loud +exclamations. The Viscount de Jodelet is the caricature of a courtier of +a former reign; he is very old, very pale, dressed in sombre colours, +speaks slowly and through the nose. Geoffrin, the actor, who played this +part, was at least seventy years old.] + +MAD. (_To Cathos_). My dearest, we begin to be known; people of fashion +find the way to our house. + +MASC. Ladies, allow me to introduce this gentleman to you. Upon my word, +he deserves the honour of your acquaintance. + +JOD. It is but just we should come and pay you what we owe; your charms +demand their lordly rights from all sorts of people. + +MAD. You carry your civilities to the utmost confines of flattery. + +CAT. This day ought to be marked in our diary as a red-letter day. + +MAD. (_To Almanser_). Come, boy, must you always be told things over and +over again? Do you not observe there must be an additional chair? + +MASC. You must not be astonished to see the Viscount thus; he has but +just recovered from an illness, which, as you perceive, has made him so +pale. + +[Footnote: Moliere here alludes to the complexion of the actor +Geoffrin.] + +JOD. The consequence of continual attendance at court and the fatigues +of war. + +MASC. Do you know, ladies, that in the Viscount you behold one of the +heroes of the age. He is a very valiant man. + +[Footnote: In the original _un brave a trois poils_, literally, "a brave +man with three hairs." This is an allusion to the moustache and pointed +beard on the chin, then called _royale_. We have seen the fashion +revived in our days by the late emperor of the French, Napoleon III. and +his courtiers; of course, the _royale_ was then called _imperiale_.] + +JOB. Marquis, you are not inferior to me; we also know what you can do. + +MASC. It is true we have seen one another at work when there was need +for it. + +JOD. And in places where it was hot. + +MASC. (_Looking at Cathos and Madelon_). Ay, but not so hot as here. Ha, +ha, ha! + +JOD. We became acquainted in the army; the first time we saw each other +he commanded a regiment of horse aboard the galleys of Malta. + +MASC. True, but for all that you were in the service before me; I +remember that I was but a young officer when you commanded two thousand +horse. + +JOD. War is a fine thing; but, upon my word, the court does not properly +reward men of merit like us. + +MASC. That is the reason I intend to hang up my sword. + +CAT. As for me, I have a tremendous liking for gentlemen of the army. + +[Footnote: Cathos, who only repeats what her cousin says, and has +observed that Mascarille admires Madelon, is resolved to worship more +particularly the Viscount de Jodelet.] + +MAD. I love them, too; but I like bravery seasoned with wit. + +MASC. Do you remember, Viscount, our taking that half-moon from the +enemy at the siege of Arras? + +[Footnote: Turenne compelled the Prince de Conde and the Spanish army to +raise the siege of Arras in 1654.] + +JOD. What do you mean by a half-moon? It was a complete full moon. + +MASC. I believe you are right. + +JOD. Upon my word, I ought to remember it very well. I was wounded in +the leg by a hand-grenade, of which I still carry the marks. Pray, feel +it, you can perceive what sort of a wound it was. + +CAT. (_Putting her hand to the place_). The scar is really large. + +MASC. Give me your hand for a moment, and feel this; there, just at the +back of my head. Do you feel it? + +MAD. Ay, I feel something. + +MASC. A musket shot which I received the last campaign I served in. + +JOD. (_Unbuttoning his breast_). Here is a wound which went quite +through me at the attack of Gravelines. + +[Footnote: In 1658, the Marshal de la Ferte took this town from the +Spaniards.] + +MASC. (_Putting his hand upon the button of his breeches_). I am going +to show you a tremendous wound. + +MAD. There is no occasion for it, we believe it without seeing it. + +MASC They are honour's marks, that show what a man is made of. + +CAT. We have not the least doubt of the valour of you both. + +MASC. Viscount, is your coach in waiting? + +JOD. Why? + +MASC. We shall give these ladies an airing, and offer them a collation. + +MAD. We cannot go out to-day. + +MASC. Let us send for musicians then, and have a dance. + +JOD. Upon my word, that is a happy thought. + +MAD. With all our hearts, but we must have some additional company. + +MASC. So ho! Champagne, Picard, Bourguignon, Cascaret, Basque, La +Verdure, Lorrain, Provencal, La Violette. I wish the deuce took all +these footmen! I do not think there is a gentleman in France worse +served than I am! These rascals are always out of the way. + +[Footnote: These names, with the exception of Cascaret, La Verdure and +La Violette are those of natives of different provinces, and were often +given to footmen, according to the place where they were born. +_Cascaret_ is of Spanish origin, and not seldom used as a name for +servants; _La Verdure_ means, verdure; _La Violette_, violet.] + +MAD. Almanzor, tell the servants of my lord marquis to go and fetch the +musicians, and ask some of the gentlemen and ladies hereabouts to come +and people the solitude of our ball. (_Exit Almanzor_). + +MASC. Viscount, what do you say of those eyes? + +JOD. Why, Marquess, what do you think of them yourself? + +MASC. I? I say that our liberty will have much difficulty to get away +from here scot free. At least mine has suffered most violent attacks; my +heart hangs by a single thread. + +MAD. How natural is all he says! he gives to things a most agreeable +turn. + +CAT. He must really spend a tremendous deal of wit. + +MASC. To show you that I am in earnest, I shall make some extempore +verses upon my passion. (_Seems to think_). + +CAT. O! I beseech you by all that I hold sacred, let us hear something +made upon us. + +JOD. I should be glad to do so too, but the quantity of blood that has +been taken from me lately, has greatly exhausted my poetic vein. + +MASC. Deuce take it! I always make the first verse well, but I find the +others more difficult. Upon my word, this is too short a time; but I +will make you some extempore verses at my leisure, which you shall think +the finest in the world. + +JOD. He is devilish witty. + +MAD. He--his wit is so gallant and well expressed. + +MASC. Viscount, tell me, when did you see the Countess last? + +JOD. I have not paid her a visit these three weeks. + +MASC. Do you know that the duke came to see me this morning; he would +fain have taken me into the country to hunt a stag with him? + +MAD. Here come our friends. + + + + +SCENE XIII.--LUCILE, CELIMENE, CATHOS, MADELON, MASCARILLE, JODELET, +MAROTTE, ALMANZOR, AND MUSICIANS. + + +MAD. Lawk! my dears, we beg your pardon. These gentlemen had a fancy to +put life into our heels; we sent for you to fill up the void of our +assembly. + +LUC. We are certainly much obliged to you for doing so. + +MASC. This is a kind of extempore ball, ladies, but one of these days we +shall give you one in form. Have the musicians come? + +ALM. Yes, sir, they are here. + +CAT. Come then, my dears, take your places. + +MASC. (_Dancing by himself and singing_). La, la, la, la, la, la, la, +la. + +MAD. What a very elegant shape he has. + +CAT. He looks as if he were a first-rate dancer. + +MASC. (_Taking out Madelon to dance_). My freedom will dance a Couranto +as well as my feet. Play in time, musicians, in time. O what ignorant +wretches! There is no dancing with them. The devil take you all, can you +not play in time? La, la, la, la, la, la, la, la? Steady, you +country-scrapers! + +[Footnote: A Couranto was a very grave, Spanish dance, or rather march, +but in which the feet did not rise from the ground.] + +JOD. (_Dancing also_). Hold, do not play so fast. I have but just +recovered from an illness. + + + + +SCENE XIV.--Du CROISY, LA GRANGE, CATHOS, MADELON, LUCILE, CELIMENE, +JODELET; MASCARILLE, MAROTTE, AND MUSICIANS. + + +LA GR. (_With a stick in his hand_). Ah! ah! scoundrels, what are you +doing here? We have been looking for you these three hours. (_He beats +Mascarille_). + +MASC. Oh! oh! oh! you did not tell me that blows should be dealt about. + +JOD. (_Who is also beaten_). Oh! oh! oh! + +LA GR. It becomes you well, you rascal, to pretend to be a man of rank. + +DU CR. This will teach you to know yourself. + + + + +SCENE XV.--CATHOS, MADELON, LUCILE, CELIMENE, MASCARILLE, JODELET, +MAROTTE, AND MUSICIANS. + + +MAD. What is the meaning of this? + +JOD. It is a wager. + +CAT. What, allow yourselves to be beaten thus? + +MASC. Good Heavens! I did not wish to appear to take any notice of it; +because I am naturally very violent, and should have flown into a +passion. + +MAD. To suffer an insult like this in our presence! + +MASC. It is nothing. Let us not leave off. We have known one another for +a long time, and among friends one ought not to be so quickly offended +for such a trifle. + + + + +SCENE XVI.--DU CROISY, LA GRANGE, MADELON, CATHOS, LUCILE, CELIMENE, +MASCARILLE, JODELET, MAROTTE, AND MUSICIANS. + + +LA GR. Upon my word, rascals, you shall not laugh at us, I promise you. +Come in, you there. (_Three or four men enter_). + +MAD. What means this impudence to come and disturb us in our own house? + +DU CR. What, ladies, shall we allow our footmen to be received better +than ourselves? Shall they come to make love to you at our expense, and +even give a ball in your honour? + +MAD. Your footmen? + +LA GR. Yes, our footmen; and you must give me leave to say that it is +not acting either handsome or honest to spoil them for us, as you do. + +MAD. O Heaven! what insolence! + +LA GR. But they shall not have the advantage of our clothes to dazzle +your eyes. Upon my word, if you are resolved to like them, it shall be +for their handsome looks only. Quick, let them be stripped immediately. + +JOD. Farewell, a long farewell to all our fine clothes. + +[Footnote: The original has _braverle_; brave, and bravery, had formerly +also the meaning of showy, gaudy, rich, in English. Fuller in _The Holy +State_, bk. ii., c. 18, says: "If he (the good yeoman) chance to appear +in clothes above his rank, it is to grace some great man with his +service, and then he blusheth at his own bravery."] + +MASC. The marquisate and viscountship are at an end. + +DU. CR. Ah! ah! you knaves, you have the impudence to become our rivals. +I assure you, you must go somewhere else to borrow finery to make +yourselves agreeable to your mistresses. + +LA GR. It is too much to supplant us, and that with our own clothes. + +MASC. O fortune, how fickle you are! + +DU CR. Quick, pull off everything from them. + +LA GR. Make haste and take away all these clothes. Now, ladies, in their +present condition you may continue your amours with them as long as you +please; we leave you perfectly free; this gentleman and I declare +solemnly that we shall not be in the least degree jealous. + + + + +SCENE XVII.--MADELON, CATHOS, JODELET, MASCARILLE, AND MUSICIANS. + + +CAT. What a confusion! + +MAD. I am nearly bursting with vexation. + +1 MUS. (_To Mascarille_). What is the meaning of this? Who is to pay us? + +MASC. Ask my lord the viscount. + +1 MUS. (_To Jodelet_). Who is to give us our money? + +JOD. Ask my lord the marquis. + + + + +SCENE XVIII.--GORGIBUS, MADELON, CATHOS, JODELET, MASCARILLE, AND +MUSICIANS. + + +GORG. Ah! you hussies, you have put us in a nice pickle, by what I can +see; I have heard about your fine goings on from those two gentlemen who +just left. + +MAD. Ah, father! they have played us a cruel trick. + +GORG. Yes, it is a cruel trick, but you may thank your own impertinence +for it, you jades. They have revenged themselves for the way you treated +them; and yet, unhappy man that I am, I must put up with the affront. + +MAD. Ah! I swear we will be revenged, or I shall die in the attempt. And +you, rascals, dare you remain here after your insolence? + +MASC. Do you treat a marquis in this manner? This is the way of the +world; the least misfortune causes us to be slighted by those who before +caressed us. Come along, brother, let us go and seek our fortune +somewhere else; I perceive they love nothing here but outward show, and +have no regard for worth unadorned. (_They both leave_). + + + + +SCENE XIX.--GORGIBUS, MADELON, CATHOS, AND MUSICIANS. + + +1 MUS. Sir, as they have not paid us, we expect you to do so, for it was +in this house we played. + +GORG. (_Beating them_). Yes, yes, I shall satisfy you; this is the coin +I will pay you in. As for you, you sluts, I do not know why I should not +serve you in the same way; we shall become the common talk and +laughing-stock of everybody; this is what you have brought upon +yourselves by your fooleries. Out of my sight and hide yourselves, you +jades; go and hide yourselves forever. {_Alone_). And you, that are the +cause of their folly, you stupid trash, mischievous amusements for idle +minds, you novels, verses, songs, sonnets, and sonatas, the devil take +you all. + + + + + + + + + +End of the Project Gutenberg EBook of The Pretentious Young Ladies, by Moliere + +*** END OF THE PROJECT GUTENBERG EBOOK THE PRETENTIOUS YOUNG LADIES *** + +This file should be named 7prtl10.txt or 7prtl10.zip +Corrected EDITIONS of our eBooks get a new NUMBER, 7prtl11.txt +VERSIONS based on separate sources get new LETTER, 7prtl10a.txt + +Produced by David Moynihan, D Garcia, Charles Franks +and the Online Distributed Proofreading Team. + +Project Gutenberg eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the US +unless a copyright notice is included. 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You can also find out about how to make a +donation to Project Gutenberg, and how to get involved. + + +**Welcome To The World of Free Plain Vanilla Electronic Texts** + +**eBooks Readable By Both Humans and By Computers, Since 1971** + +*****These eBooks Were Prepared By Thousands of Volunteers!***** + + +Title: The Pretentious Young Ladies + +Author: Moliere + +Release Date: September, 2004 [EBook #6562] +[Yes, we are more than one year ahead of schedule] +[This file was first posted on December 28, 2002] + +Edition: 10 + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THE PROJECT GUTENBERG EBOOK THE PRETENTIOUS YOUNG LADIES *** + + + + +Produced by David Moynihan, D Garcia, Charles Franks +and the Online Distributed Proofreading Team. + + + + + +LES PRÉCIEUSES RIDICULES: + +COMÉDIE EN UN ACTE. + +1659. + + * * * * * + +THE PRETENTIOUS YOUNG LADIES: + +A COMEDY IN ONE ACT. + +(_THE ORIGINAL IN PROSE_.) +1659. + + + + +INTRODUCTORY NOTICE. + +Molière began in _The Pretentious Young Ladies_ to paint men and women +as they are; to make living characters and existing manners the +ground-work of his plays. From that time he abandoned all imitation of +Italian or Spanish imbroglios and intrigues. + +There is no doubt that aristocratic society attempted, about the latter +years of the reign of Louis XIII., to amend the coarse and licentious +expressions, which, during the civil wars had been introduced into +literature as well as into manners. It was praiseworthy of some +high-born ladies in Parisian society to endeavour to refine the language +and the mind. But there was a very great difference between the +influence these ladies exercised from 1620 until 1640, and what took +place in 1658, the year when Molière returned to Paris. The Hôtel de +Rambouillet, and the aristocratic drawing-rooms, had then done their +work, and done it well; but they were succeeded by a clique which cared +only for what was nicely said, or rather what was out of the common. +Instead of using an elegant and refined diction, they employed only a +pretentious and conceitedly affected style, which became highly +ridiculous; instead of improving the national idiom they completely +spoilt it. Where formerly D'Urfe, Malherbe, Racan, Balzac, and Voiture +reigned, Chapelain, Scudéry, Ménage, and the Abbé Cotin, "the father of +the French Riddle," ruled in their stead. Moreover, every lady in Paris, +as well as in the provinces, no matter what her education was, held her +drawing-room, where nothing was heard but a ridiculous, exaggerated, and +what was worse, a borrowed phraseology. The novels of Mdlle. de Scudéry +became the text-book of the _précieux_ and the _précieuses_, for such +was the name given to these gentlemen and ladies who set up for wits, +and thought they displayed exquisite taste, refined ideas, fastidious +judgment, and consummate and critical discrimination, whilst they only +uttered vapid and blatant nonsense. What other language can be used when +we find that they called the sun _l'aimable éclairant le plus beau du +monde, l'epoux de la nature_, and that when speaking of an old gentleman +with grey hair, they said, not as a joke, but seriously, _il a des +quittances d'amour_. A few of their expressions, however, are employed +even at the present time, such as, _châtier son style_; to correct one's +style; _dépenser une heure_, to spend an hour; _revètir ses pensées +d'expressions nobles_, to clothe one's thoughts in noble expressions, +etc. + +Though the _précieux and précieuses_ had been several times attacked +before, it remained for Molière to give them their death blow, and after +the performance of his comedy the name became a term of ridicule and +contumely. What enhanced the bitterness of the attack was the difference +between Molière's natural style and the affected tone of the would-be +elegants he brought upon the stage. + +This comedy, in prose, was first acted at Paris, at the Théâtre du Petit +Bourbon, on the 18th of November, 1659, and met with great success. +Through the influence of some noble _précieux_ and _précieuses_ it was +forbidden until the 2d of December, when the concourse of spectators was +so great that it had to be performed twice a day, that the prices of +nearly all the places were raised (See Note 7, page xxv.), and that it +ran for four months together. We have referred in our prefatory memoir +of Molière to some of the legendary anecdotes connected with this play. + +It has also been said that our author owed perhaps the first idea of +this play to a scarcely-known work, _le Cercle des Femmes, ou le Secret +du Lit Nuptial; entretiens comiques_, written by a long-forgotten +author, Samuel Chapuzeau, in which a servant, dressed in his master's +clothes, is well received by a certain lady who had rejected the master. +But as the witty dialogue is the principal merit in Molière's play, it +is really of no great consequence who first suggested the primary idea. + +The piece, though played in 1659, was only printed on the 29th of +January, 1660, by Guillaume de Luyne, a bookseller in Paris, with a +preface by Molière, which we give here below: + +A strange thing it is, that People should be put in print against their +Will. I know nothing so unjust, and should pardon any other Violence +much sooner than that. + +Not that I here intend to personate the bashful Author, and out of a +point of Honour undervalue my Comedy. I should very unseasonably +disoblige all the People of Paris, should I accuse them of having +applauded a foolish Thing: as the Public is absolute Judge of such sort +of Works, it would be Impertinence in me to contradict it; and even if I +should have had the worst Opinion in the World of my _Pretentious Young +Ladies_ before they appeared upon the Stage, I must now believe them of +some Value, since so many People agree to speak in their behalf. But as +great part of the Pleasure it gave depends upon the Action and Tone of +the Voice, it behooved me, not to let them be deprived of those +Ornaments; and that success they had in the representation, was, I +thought, sufficiently favorable for me to stop there. I was, I say, +determined, to let them only be seen by Candlelight, that I might give +no room for any one to use the Proverb; [Footnote: In Molière's time it +was proverbially said of a woman, "_Elle est belle a la chandelle, mais +le grand jour gate tout_." She is beautiful by candle-light, but +day-light spoils everything.] nor was I willing they should leap from +the Theatre de Bourbon into the _Galerie du Palais_. [Footnote: The +_Galerie du Palais_ was the place where Molière's publisher lived.] +Notwithstanding, I have been unable to avoid it, and am fallen under the +Misfortune of seeing a surreptitious Copy of my Play in the Hands of the +Booksellers, together with a Privilege, knavishly obtained, for printing +it. I cried out in vain, O Times! O Manners! They showed me that there +was a Necessity for me to be in print, or have a Law-suit; and the last +evil is even worse than the first. Fate therefore must be submitted to, +and I must consent to a Thing, which they would not fail to do without +me. + +Lord, the strange Perplexity of sending a book abroad! and what an +awkward Figure an Author makes the first time he appears in print! Had +they allowed me time, I should have thought it over better, and have +taken all those Precautions which the Gentlemen Authors, who are now my +Brethren, commonly make use of upon the like Occasions. Besides, some +noble Lord, whom I should have chosen, in spite of his Teeth, to be the +Patron of my Work, and whose Generosity I should have excited by an +Epistle Dedicatory very elegantly composed, I should have endeavoured to +make a fine and learned Preface; nor do I want books which would have +supplied me with all that can be said in a scholarly Manner upon Tragedy +and Comedy; the Etymology of them both, their Origin, their Definition, +and so forth. I should likewise have spoken to my friends, who to +recommend my Performance, would not have refused me Verses, either in +French or Latin. I have even some that would have praised me in Greek, +and Nobody is ignorant, that a Commendation in Greek is of a marvellous +efficacy at the Beginning of a Book. But I am sent Abroad without giving +me time to look about me; and I can't so much as obtain the Liberty of +speaking two words, to justify my Intention, as to the subject of this +Comedy. I would willingly have shewn that it is confined throughout +within the Bounds of allowable and decent Satire, that Things the most +excellent are liable to be mimicked by wretched Apes, who deserve to be +ridiculed; that these absurd Imitations of what is most perfect, have +been at all times the Subject of Comedy; and that, for the same Reason, +that the truly Learned and truly Brave never yet thought fit to be +offended at the Doctor or the Captain in a Comedy, no more than Judges, +Princes, and Kings at seeing Trivelin, [Footnote: The Doctor and the +Captain were traditional personages of the Italian stage; their parts +need no further explanation; Trivelin was a popular Italian actor, who +in a humorous and exaggerated way played the parts of Judges, Princes, +and Kings.] or any other upon the Stage, ridiculously act the Judge, the +Prince, or King; so the true _Précieuses_ would be in the wrong to be +angry, when the pretentious Ones are exposed, who imitate them +awkwardly. In a Word, as I said, I am not allowed breathing time; Mr. de +Luyne is going to bind me up this Instant: ... let it be so, since the +Fates so ordain it. + +In the third volume of the "Select Comedies of M. de Molière," this +comedy is called "The Conceited Ladies." It is dedicated to Miss Le Bas +in the following words:--- + +MADAM, Addresses of this Nature are usually fill'd with Flattery: And it +is become so general and known a Practice for Authors of every kind to +bedeck with all Perfections Those to whom they present their Writings, +that Dedications are, by most People, at Present, interpreted like +Dreams, directly backwards. I dare not, therefore, attempt Your +Character, lest even Truth itself should be suspected--Thus far, +however, I'll venture to declare, that if sprightly blooming Youth, +endearing sweet Good-nature, flowing gentile Wit, and an easy unaffected +Conversation, maybe reckon'd Charms,--_Miss_ LE BAS is exquisitely +charming. + +The following COMEDY of _Monsieur_ MOLIERE, that celebrated Dramatick +Writer, was, by him, intended to reprove a vain, fantastical, conceited +and preposterous Humour, which about that time prevailed very much in +_France_. It had the desir'd good Effect, and conduced a great deal +towards rooting out a Taste so unreasonable and ridiculous.---As Pride, +Conceit, Vanity, and Affectation, are Foibles so often found amongst the +Fair Sex at present, I have attempted this Translation, in hopes of +doing service to my pretty Country-Women.--And, certainly, it must have +a double efficacy, under the Patronage of one who is so bright an +Example of the contrary fine Accomplishments, which a large Fortune +makes her not the less careful to improve. + +I am not so presumptuous to imagine that my _English_ can do sufficient +Justice to the sense of this admir'd AUTHOR; and, therefore, have caused +the ORIGINAL to be placed against it Page for Page, hoping that, both +together, may prove an agreeable and useful Entertainment.----But I have +detain'd you too long already, and shall only add, that I am, with much +respect, and every good Wish, MADAM, _Your most Obedient Humble +Servant_, THE TRANSLATOR. + + +The _Précieuses Ridicules_ have been partly imitated in "_The +Damoiselles à la Mode_, Compos'd and Written by Richard Flecknoe. +London: Printed for the Author, 1667. To their graces the Duke and +Duchess of Newcastle, the Author dedicates this his comedy more humbly +than by way of epistle." This gentleman, who was "so distinguished as a +wretched poet, that his name had almost become proverbial," and who gave +the title to Dryden's _Mac-Flecknoe_, is said to have been originally a +Jesuit. Langbaine states "that his acquaintance with the nobility was +more than with the Muses." In the preface our author says: "This Comedy +is taken out of several excellent pieces of _Molière_. The main plot out +of his _Pretieusee's Ridiculee's_; the Counterplot of _Sganarelle_ out +of his _Escole des Femmes_, and out of the _Escole des Marys_, the two +_Naturals_; all which, like so many _Pretieuse_ stones, I have brought +out of _France_; and as a Lapidary set in one Jewel to adorn our English +stage." + +This motley play was never acted; at least the author says: "for the +Acting it, those who have the Governing of the Stage, have their +Humours, and wou'd be intreated; and I have mine and won't intreat them; +and were all Dramatick Writers of my mind, they shou'd wear their old +_Playes_ Thred-bare e're they shou'd have any _New_, till they better +understood their own Interest, and how to distinguish betwixt good and +bad." + +The "Prologue intended for the overture of the Theater 1666," opens +thus:-- + + "In these sad Times our Author has been long + Studying to give you some diversion; + And he has ta'en the way to do't, which he + Thought most diverting, mirth and Comedy; + And now he knows there are inough i' the Town + At name of mirth and Comedy will frown, + And sighing say, the times are bad; what then? + Will their being sad and heavy better them?" + + +[Footnote: In 1665 the plague broke out in London, and in the succeeding +year the great fire took place; only at Christmas 1666 theatrical +performances began again.] + +According to the list of "The Representers, as they were first +design'd." I see that Nell Gwyn should have played the part of +"_Lysette_, the _Damoiselle's_ waiting Woman." + +James Miller, a well-known dramatist, and joint-translator of Molière, +with H. Baker, has also imitated part of "the _Pretentious Young +Ladies_," and with another part borrowed from Molière's _School for +Husbands_, two characters taken from Molière's _Learned Ladies_, and +some short speeches borrowed from the _Countess of Escarbagnas_, he +composed a comedy, which was played at Drury Lane, March 6th, 1735, +under the title of _The Man of Taste, or, The Guardians_. Mr. Miller +appears to have been a man of indomitable spirit and industry. Being a +clergyman, with a very small stipend, he wrote plays to improve his +circumstances, but offended both his bishop and the public. At last he +was presented to the very valuable living of Upcerne, in Dorsetshire, +and was also successful with a translation of _Mahomet_ of Voltaire, but +died within the year after his induction. _The Man of Taste_ was printed +for J. Watts, MDCCXXXV., and is dedicated to Lord Weymouth. We give part +of the dedication: + +"As to the Attempt here made to expose the several Vices and Follies +that at present flourish in Vogue, I hope your Lordship will think it +confined within the bounds of a modest and wholesome Chastisement. That +it is a very seasonable one, I believe, every Person will acknowledge. +When what is set up for the Standard of Taste, is but just the Reverse +of Truth and Common Sense; and that which is dignify'd with the Name of +Politeness, is deficient in nothing--but Decency and Good Manners: When +all Distinctions of Station and Fortune are broke in upon, so that a +_Peer_ and a _Mechanick_ are cloathed in the same Habits, and indulge in +the same Diversions and Luxuries: When Husbands are ruin'd, Children +robb'd, and Tradesmen starv'd, in order to give Estates to a _French_ +Harlequin, and _Italian_ Eunuch, for a Shrug or a Song; [Footnote: +Farinelli, an eminent Italian soprano, went to England in 1734, remained +there three years, sang chiefly at the Theatre of Lincoln's-Inn-Fields, +then under the direction of Porpora, his old Master, became a great +favorite, and made about, £5,000 a year. As _The Man of Taste_ was +performed at a rival house, Drury Lane, the bitterness of the allusion +may be easily understood. The French Comedians acted at the Haymarket +from November 22, 1734 to June 1735, hence the allusion to a French +Harlequin.] shall not fair and fearless Satire oppose this Outrage upon +all Reason and Discretion. Yes, My Lord, resentment can never better be +shown, nor Indignation more laudably exerted than on such an occasion." + +The Prologue, spoken by Mr. Cibber, is racy. We give the first half of +it:-- + + "Wit springs so slow in our bleak Northern Soil, + It scarce, at best, rewards the Planter's Toil. + But now, when all the Sun-shine, and the Rain, + Are turn'd to cultivate a Foreign grain; + When, what should cherish, preys upon the Tree, + What generous Fruit can you expect to see? + Our Bard, to strike the Humour of the Times, + Imports these Scenes from kindlier Southern Climes; + Secure his Pains will with Applause be crown'd, + If you're as fond of Foreign sense as ... sound: + And since their Follies have been bought so dear, + We hope their Wit a moderate Price may bear. + Terence, Great Master! who, with wond'rous Art, + Explor'd the deepest Secrets of the Heart; + That best Old Judge of Manners and of Men, + First grac'd this Tale with his immortal Pen. + Molière, the Classick of the Gallick Stage, + First dar'd to modernize the Sacred Page; + Skilful, the one thing wanting to supply, + Humour, that Soul of Comic Poesy. + The Roman Fools were drawn so high ... the Pit + Might take 'em now for Modern Men of Wit. + But Molière painted with a bolder Hand, + And mark'd his Oafs with the Fool's-Cap and Band: + To ev'ry Vice he tagged the just Reproach, + Shew'd Worth on Foot, and Rascals in a Coach." + + +[Footnote: The plot of _The Man of Taste_, as we have said before, was +partly borrowed from Molière's _School for Husbands_, partly from the +_Pretentious Young Ladies_, and other of his plays. The first-mentioned +French comedy owes part of its plot to Terence's _Adelphi_, hence the +allusion to "his immortal Pen." in the above poem.] + +Mrs. Aphra Behn, a voluminous writer of plays, novels, poems, and +letters, all of a lively and amorous turn, was the widow of a Dutch +merchant, and partly occupied the time not engaged in literary pursuits +in political or gallant intrigues. Her comedies are her best works, and +although some of her scenes are often indecent, and not a few of her +expressions indelicate, yet her plots are always lively and well +sustained and her dialogues very witty. The date of her birth is +unknown, but she died on the 16th of April, 1689, and was buried in the +cloisters of Westminster Abbey. + +In 1682, was performed, at the Theatre, Dorset Garden, her play. _The +False Count, or a New Way to Play an Old Game_. The prologue attacks the +Whigs most furiously, and the epilogue, spoken by Mrs. Barry, is very +indecent. The plot of this play, or rather farce, is very improbable, +and the language is more than free. Julia, in love with Don Carlos, +afterwards Governor of Cadiz, was forced by her father to marry +Francisco, a rich old man, formerly a leather-seller; the latter going +with his family to sea on a party of pleasure, are taken prisoners by +Carlos and his servants, disguised as Turks. They are carried to a +country house, and made to believe they are in the Grand Turk's +seraglio. There is also an underplot, in which Isabella, Francisco's +proud and vain daughter, is courted by Guilion, a supposed Count, but in +reality a chimney-sweep, whose hand she accepts. In the end everything +is discovered, and Guilion comes to claim his wife in his sooty clothes. + +Thomas Shadwell, a dramatist, and the poet-laureate of William III., who +has been flagellated by Dryden in his _MacFlecknoe_ and in the second +part of _Absalom_ and _Achitophel_, and been mentioned with contempt by +Pope in his _Dunciad_, took from the _Précieuses Ridicules_ Mascarille +and Jodelet, and freely imitated and united them in the character of La +Roch, a sham Count, in his _Bury-Fair_, acted by His Majesty's servants +in 1689. This play, dedicated to Charles, Earl of Dorset and Middlesex, +was written "during eight months' painful sickness." In the Prologue +Shadwell states: + + That every Part is Fiction in his Play; + Particular Reflections there are none; + Our Poet knows not one in all your Town. + If any has so very little Wit, + To think a Fop's Dress can his Person fit, + E'en let him take it, and make much of it. + + +Whilst, in The _Pretentious Young Ladies_, Mascarille and Jodelet impose +upon two provincial girls, in _Bury-Fair_, La Roch, "a French +peruke-maker" succeeds in deceiving Mrs. Fantast and Mrs. Gertrude under +the name of Count de Cheveux. The Count is very amusing, and though a +coward to boot, pretends to be a great warrior. His description of war +is characteristic; he states that "de great Heros always burne and kille +de Man, Woman, and Shilde for deir Glory." + + + + +DRAMATIS PERSONAE. + + +LA GRANGE, \ + ) _repulsed Lovers_. +DU CROISY, / + +GORGIBUS, _a good citizen_. + +[Footnote: Gorgibus was the name of certain characters in old comedies. +The actor, L'Epy, who played this part, had a very loud voice; hence +Molière gave him probably this name.] + +THE MARQUIS DE MASCARILLE, _valet to La Grange_. + +[Footnote: _Mascarille_ was played by Molière, and has a personality +quite distinct from the servant of the same name in the _Blunderer_ and +the _Love-Tiff_. The dress in which he acted this part, has not been +mentioned in the inventory taken after his death, but in a pamphlet, +published in 1660, he is described as wearing an enormous wig, a very +small hat, a ruff like a morning gown, rolls in which children could +play hide-and-seek, tassels like cornucopise, ribbons that covered his +shoes, with heels half a foot in height.] + +THE VISCOUNT JODELET, _valet to Du Croisy_. + +ALMANZOR, _footman to the pretentious ladies_. + +TWO CHAIRMEN. + +MUSICIANS. + +MADELON, _daughter to Gorgibus_, \ + ) _The pretentious young ladies_. +CATHOS, _niece to Gorgibus_, / + +MAROTTE, _maid to the pretentious young ladies_. + +LUCILE. \ + ) _two female neighbours_. +CÉLIMÈNE. / + + +SCENE--GORGIBUS' HOUSE, PARIS. + + + + +THE PRETENTIOUS YOUNG LADIES. (LES PRÈCIEUSES RIDICULES.) + + + + +ACT I. + + + +SCENE I.--LA GRANGE, DU CROISY. + + +DU. CR. Mr. La Grange. + +LA. GR. What? + +DU. CR. Look at me for a moment without laughing. + +LA. GR. Well? + +DU. CR. What do you say of our visit? Are you quite pleased with it? + +LA. GR. Do you think either of us has any reason to be so? + +DU. CR. Not at all, to say the truth. + +LA. GR. As for me, I must acknowledge I was quite shocked at it. Pray +now, did ever anybody see a couple of country wenches giving themselves +more ridiculous airs, or two men treated with more contempt than we +were? They could hardly make up their mind to order chairs for us. I +never saw such whispering as there was between them; such yawning, such +rubbing of the eyes, and asking so often what o'clock it was. Did they +answer anything else but "yes," or "no," to what we said to them? In +short, do you not agree with me that if we had been the meanest persons +in the world, we could not have been treated worse? + +DU. CR. You seem to take it greatly to heart. + +LA. GR. No doubt I do; so much so, that I am resolved to be revenged on +them for their impertinence. I know well enough why they despise us. +Affectation has not alone infected Paris, but has also spread into the +country, and our ridiculous damsels have sucked in their share of it. In +a word, they are a strange medley of coquetry and affectation. I plainly +see what kind of persons will be well received by them; if you will take +my advice, we will play them such a trick as shall show them their +folly, and teach them to distinguish a little better the people they +have to deal with. + +DU. CR. How can you do this? + +LA. GR. I have a certain valet, named Mascarille, who, in the opinion of +many people, passes for a kind of wit; for nothing now-a-days is easier +than to acquire such a reputation. He is an extraordinary fellow, who +has taken it into his head to ape a person of quality. He usually prides +himself on his gallantry and his poetry, and despises so much the other +servants that he calls them brutes. + +DU. CR. Well, what do you mean to do with him? + +LA. GR. What do I mean to do with him? He must ... but first, let us be +gone. + + + + +SCENE II.--GORGIBUS, DU CROISY, LA GRANGE. + + +GORG. Well, gentlemen, you have seen my niece and my daughter. How are +matters going on? What is the result of your visit? + +LA. GR. They will tell you this better than we can. All we say is that +we thank you for the favour you have done us, and remain your most +humble servants. + +DU. CR. Your most humble servants. + +GORG. (_Alone_). Hoity-toity! Methinks they go away dissatisfied. What +can be the meaning of this? I must find it out. Within there! + + + + +SCENE III.--GORGIBUS, MAROTTE. + + +MAR. Did you call, sir? + +GORG. Where are your mistresses? + +MAR. In their room. + +GORG. What are they doing there? + +MAR. Making lip salve. + +GORG. There is no end of their salves. Bid them come down. (_Alone_). +These hussies with their salves have, I think, a mind to ruin me. +Everywhere in the house I see nothing but whites of eggs, lac virginal, +and a thousand other fooleries I am not acquainted with. Since we have +been here they have employed the lard of a dozen hogs at least, and four +servants might live every day on the sheep's trotters they use. + + + + +SCENE IV.---MADELON, CATHOS, GORGIBUS. + + +GORG. Truly there is great need to spend so much money to grease your +faces. Pray tell me, what have you done to those gentlemen, that I saw +them go away with so much coldness. Did I not order you to receive them +as persons whom I intended for your husbands? + +MAD. Dear father, what consideration do you wish us to entertain for the +irregular behaviour of these people? + +CAT. How can a woman of ever so little understanding, uncle, reconcile +herself to such individuals? + +GORG. What fault have you to find with them? + +MAD. Their's is fine gallantry, indeed. Would you believe it? they began +with proposing marriage to us. + +GORG. What would you have them begin with--with a proposal to keep you +as mistresses? Is not their proposal a compliment to both of you, as +well as to me? Can anything be more polite than this? And do they not +prove the honesty of their intentions by wishing to enter these holy +bonds? + +MAD. O, father! Nothing can be more vulgar than what you have just said. +I am ashamed to hear you talk in such a manner; you should take some +lessons in the elegant way of looking at things. + +GORG. I care neither for elegant ways nor songs. I tell you marriage is +a holy and sacred affair; to begin with that is to act like honest +people. + +[Footnote: The original has a play on words. Madelon says, in addressing +her father, _vous devriez un pen vous faire apprendre le bel air des +choses_, upon which he answers, _je n'ai que faire ni d'air ni de +chanson_. _Air_ means tune as well as look, appearance.] + +MAD. Good Heavens! If everybody was like you a love-story would soon be +over. What a fine thing it would have been if Cyrus had immediately +espoused Mandane, and if Aronce had been married all at once to Clélie. + +[Footnote: _Cyrus_ and _Mandane_ are the two principal characters of +Mademoiselle de Scudéry's novel _Artamene, on the Grand Cyrus_; _Aronce_ +and _Clélie_ of the novel _Clélie_, by the same author.] + +GORG. What is she jabbering about? + +MAD. Here is my cousin, father, who will tell as well as I that +matrimony ought never to happen till after other adventures. A lover, to +be agreeable, must understand how to utter fine sentiments, to breathe +soft, tender, and passionate vows; his courtship must be according to +the rules. In the first place, he should behold the fair one of whom he +becomes enamoured either at a place of worship, [Footnote: See note 15, +page 33.] or when out walking, or at some public ceremony; or else he +should be introduced to her by a relative or a friend, as if by chance, +and when he leaves her he should appear in a pensive and melancholy +mood. For some time he should conceal his passion from the object of his +love, but pay her several visits, in every one of which he ought to +introduce some gallant subject to exercise the wits of all the company. +When the day comes to make his declarations--which generally should be +contrived in some shady garden-walk while the company is at a +distance--it should be quickly followed by anger, which is shown by our +blushing, and which, for a while, banishes the lover from our presence. +He finds afterwards means to pacify us, to accustom us gradually to hear +him depict his passion, and to draw from us that confession which causes +us so much pain. After that come the adventures, the rivals who thwart +mutual inclination, the persecutions of fathers, the jealousies arising +without any foundation, complaints, despair, running away with, and its +consequences. Thus things are carried on in fashionable life, and +veritable gallantry cannot dispense with these forms. But to come out +point-blank with a proposal of marriage,--to make no love but with a +marriage-contract, and begin a novel at the wrong end! Once more, +father, nothing can be more tradesmanlike, and the mere thought of it +makes me sick at heart. + +GORG. What deuced nonsense is all this? That is highflown language with +a vengeance! + +CAT. Indeed, uncle, my cousin hits the nail on the head. How can we +receive kindly those who are so awkward in gallantry. I could lay a +wager they have not even seen a map of the country of _Tenderness_, and +that _Love-letters_, _Trifling attentions_, _Polite epistles_, and +_Sprightly verses_, are regions to them unknown. + +[Footnote: The map of the country of Tenderness (_la carte de Tendre_) +is found in the first part of _Clélie_ (see note 2, page 146); +Love-letter (_Billetdoux_); Polite epistle (_Billet galant_); Trifling +attentions (_Petit Soins_); Sprightly verses (_Jolts vers_), are the +names of villages to be found in the map, which is a curiosity in its +way.] + +Do you not see that the whole person shews it, and that their external +appearance is not such as to give at first sight a good opinion of them. +To come and pay a visit to the object of their love with a leg without +any ornaments, a hat without any feathers, a head with its locks not +artistically arranged, and a coat that suffers from a paucity of +ribbons. Heavens! what lovers are these! what stinginess in dress! what +barrenness of conversation! It is not to be allowed; it is not to be +borne. I also observed that their ruffs + +[Footnote: The ruff (_rabat_) was at first only the shirt-collar pulled +out and worn outside the coat. Later ruffs were worn, which were not +fastened to the shirt, sometimes adorned with lace, and tied in front +with two strings with tassels. The _rabat_ was very fashionable during +the youthful years of Louis XIV.] + +were not made by the fashionable milliner, and that their breeches were +not big enough by more than half-a-foot. + +GORG. I think they are both mad, nor can I understand anything of this +gibberish. Cathos, and you Madelon... + +MAD. Pray, father, do not use those strange names, and call us by some +other. + +GORG. What do you mean by those strange names? Are they not the names +your godfathers and godmothers gave you? + +MAD. Good Heavens! how vulgar you are! I confess I wonder you could +possibly be the father of such an intelligent girl as I am. Did ever +anybody in genteel style talk of Cathos or of Madelon? And must you not +admit that either of these names would be sufficient to disgrace the +finest novel in the world? + +CAT. It is true, uncle, an ear rather delicate suffers extremely at +hearing these words pronounced, and the name of Polixena, which my +cousin has chosen, and that of Amintha, which I took, possesses a charm, +which you must needs acknowledge. + +[Footnote: The _precieuses_ often changed their names into more poetical +and romantic appellations. The Marquise de Rambouillet, whose real name +was Catherine, was known under the anagram of Arthenice.] + +GORG. Hearken; one word will suffice. I do not allow you to take any +other names than those that were given you by your godfathers and +godmothers; and as for those gentlemen we are speaking about, I know +their families and fortunes, and am determined they shall be your +husbands. I am tired of having you upon my hands. Looking after a couple +of girls is rather too weighty a charge for a man of my years. + +CAT. As for me, uncle, all I can say is, that I think marriage a very +shocking business. How can one endure the thought of lying by the side +of a man, who is really naked? + +MAD. Give us leave to take breath for a short time among the fashionable +world of Paris, where we are but just arrived. Allow us to prepare at +our leisure the groundwork of our novel, and do not hurry on the +conclusion too abruptly. + +GORG. (_Aside_). I cannot doubt it any longer; they are completely mad. +(_Aloud_). Once more, I tell you, I understand nothing of all this +gibberish; I will be master, and to cut short all kinds of arguments, +either you shall both be married shortly, or, upon my word, you shall be +nuns; that I swear. + +[Footnote: This scene is the mere outline of the well known quarrel +between Chrysale, Philaminte, and Belinda in the "_Femmes Savantes_" +(see vol. iii.) but a husband trembling before his wife, and only daring +to show his temper to his sister, is a much more tempting subject for a +dramatic writer than a man addressing in a firm tone his daughter and +niece.] + + + + +SCENE VI.--CATHOS, MADELON. + + +CAT. Good Heavens, my dear, how deeply is your father still immersed in +material things! how dense is his understanding, and what gloom +overcasts his soul! + +MAD. What can I do, my dear? I am ashamed of him. I can hardly persuade +myself I am indeed his daughter; I believe that an accident, some time +or other, will discover me to be of a more illustrious descent. + +CAT. I believe it; really, it is very likely; as for me, when I consider +myself... + + + + +SCENE VII.--CATHOS, MADELON, MAROTTE. + + +MAR. Here is a footman asks if you are at home, and says his master is +coming to see you. + +MAD. Learn, you dunce, to express yourself a little less vulgarly. Say, +here is a necessary evil inquiring if it is commodious for you to become +visible. + +[Footnote: All these and similar sentences were really employed by the +_precieuses_.] + +MAR. I do not understand Latin, and have not learned philosophy out of +Cyrus, as you have done. + +[Footnote: _Artamene, ou le Grand Cyrus_, (1649-1653) a novel in ten +volumes by Madle. de Scudery.] + +MAD. Impertinent creature! How can this be borne! And who is this +footman's master? + +MAR. He told me it was the Marquis de Mascarille. + +MAD. Ah, my dear! A marquis! a marquis! Well, go and tell him we are +visible. This is certainly some wit who has heard of us. + +CAT. Undoubtedly, my dear. + +MAD. We had better receive him here in this parlour than in our room. +Let us at least arrange our hair a little and maintain our reputation. +Come in quickly, and reach us the Counsellor of the Graces. + +MAR. Upon my word, I do not know what sort of a beast that is; you must +speak like a Christian if you would have me know your meaning. + +CAT. Bring us the looking-glass, you blockhead! and take care not to +contaminate its brightness by the communication of your image. + + + + +SCENE VIII.--MASCARILLE, TWO CHAIRMEN. + + +MASC. Stop, chairman, stop. Easy does it! Easy, easy! I think these +boobies intend to break me to pieces by bumping me against the walls and +the pavement. + +1 CHAIR. Ay, marry, because the gate is narrow and you would make us +bring you in here. + +MASC. To be sure, you rascals! Would you have me expose the fulness of +my plumes to the inclemency of the rainy season, and let the mud receive +the impression of my shoes? Begone; take away your chair. + +2 CHAIR. Then please to pay us, sir. + +MASC. What? + +2 CHAIR. Sir, please to give us our money, I say. + +MASC. (_Giving him a box on the ear_). What, scoundrel, to ask money +from a person of my rank! + +2 CHAIR. Is this the way poor people are to be paid? Will your rank get +us a dinner? + +MASC. Ha, ha! I shall teach you to keep your right place. Those low +fellows dare to make fun of me! + +1 CHAIR. (_Taking up one of the poles of his chair_). Come, pay us +quickly. + +MASC. What? + +1 CHAIR. I mean to have my money at once. + +MASC. That is a sensible fellow. + +1 CHAIR. Make haste, then. + +MASC. Ay, you speak properly, but the other is a scoundrel, who does not +know what he says. There, are you satisfied? + +1 CHAIR. No, I am not satisfied; you boxed my friend's ears, and ... +(_holding up his pole_). + +MASC. Gently; there is something for the box on the ear. People may get +anything from me when they go about it in the right way. Go now, but +come and fetch me by and by to carry me to the Louvre to the _petit +coucher_. + +[Footnote: Louis XIV. and several other Kings of France, received their +courtiers when rising or going to bed. This was called _lever_ and +_coucher_. The _lever_ as well as the _coucher_ was divided into _petit_ +and _grand_. All persons received at court had a right to come to the +_grand lever_ and _coucher_, but only certain noblemen of high rank and +the princes of the royal blood could remain at the _petit lever_ and +_coucher_, which was the time between the king putting on either a day +or night shirt, and the time he went to bed or was fully dressed. The +highest person of rank always claimed the right of handing to the king +his shirt.] + + + + +SCENE IX.--MAROTTE, MASCARILLE. + + +MAR. Sir, my mistresses will come immediately. + +MASC. Let them not hurry themselves; I am very comfortable here, and can +wait. + +MAR. Here they come. + + + + +SCENE X.--MADELON, CATHOS, MASCARILLE, ALMANZOR. + + +MASC. (_After having bowed to them_). Ladies, no doubt you will be +surprised at the boldness of my visit, but your reputation has drawn +this disagreeable affair upon you; merit has for me such potent charms, +that I run everywhere after it. + +MAD. If you pursue merit you should not come to us. + +CAT. If you find merit amongst us, you must have brought it hither +yourself. + +MASC. Ah! I protest against these words. When fame mentioned your +deserts it spoke the truth, and you are going to make _pic_, _repic_, +and _capot_. all the gallants from Paris. + +[Footnote: Dryden, in his _Sir Martin Mar-all_ (Act i. sc. i), makes Sir +Martin say: "If I go to picquet...he will picque and repicque, and capot +me twenty times together" I believe that these terms in Molière's and +Dryden's times had a different meaning from what they have now.] + +MAD. Your complaisance goes a little too far in the liberality of its +praises, and my cousin and I must take care not to give too much credit +to your sweet adulation. + +CAT. My dear, we should call for chairs. + +MAD. Almanzor! + +ALM. Madam. + +MAD. Convey to us hither, instantly, the conveniences of conversation. + +MASC. But am I safe here? (_Exit Almanzor_.) + +CAT. What is it you fear? + +MASC. Some larceny of my heart; some massacre of liberty. I behold here +a pair of eyes that seem to be very naughty boys, that insult liberty, +and use a heart most barbarously. Why the deuce do they put themselves +on their guard, in order to kill any one who comes near them? Upon my +word! I mistrust them; I shall either scamper away, or expect very good +security that they do me no mischief. + +MAD. My dear, what a charming facetiousness he has! + +CAT. I see, indeed, he is an Amilcar. + +[Footnote: Amilcar is one of the heroes of the novel _Clélie_, who +wishes to be thought sprightly.] + +MAD. Fear nothing, our eyes have no wicked designs, and your heart may +rest in peace, fully assured of their innocence. + +CAT. But, pray, Sir, be not inexorable to the easy chair, which, for +this last quarter of an hour, has held out its arms towards you; yield +to its desire of embracing you. + +MASC. (_After having combed himself, and, adjusted the rolls of his +stockings_). Well, ladies, and what do you think of Paris? + +[Footnote: It was at that time the custom for men of rank to comb their +hair or periwigs in public.] + +[Footnote: The rolls (_canons_) were large round pieces of linen, often +adorned with lace or ribbons, and which were fastened below the breeches, +just under the knee.] + +MAD. Alas! what can we think of it? It would be the very antipodes of +reason not to confess that Paris is the grand cabinet of marvels, the +centre of good taste, wit, and gallantry. + +MASC. As for me, I maintain that, out of Paris, there is no salvation +for the polite world. + +CAT. Most assuredly. + +MASC. Paris is somewhat muddy; but then we have sedan chairs. + +MAD. To be sure; a sedan chair is a wonderful protection against the +insults of mud and bad weather. + +MASC. I am sure you receive many visits. What great wit belongs to your +company? + +MAD. Alas! we are not yet known, but we are in the way of being so; for +a lady of our acquaintance has promised us to bring all the gentlemen +who have written for the Miscellanies of Select Poetry. + +[Footnote: Molière probably alludes to a Miscellany of Select Poetry, +published in 1653, by de Sercy, under the title of _Poésies choisies de +M. M. Corneille Benserade, de Scudéry, Boisrobert, Sarrazin, Desmarets, +Baraud, Saint-Laurent, Colletet. Lamesnardiere, Montreuil, Viguier, +Chevreau, Malleville, Tristan, Testu, Maucroy, de Prade, Girard et de +L'Age_. A great number of such miscellanies appeared in France, and in +England also, about that time.] + +CAT. And certain others, whom, we have been told, are likewise the +sovereign arbiters of all that is handsome. + +MASC. I can manage this for you better than any one; they all visit me; +and I may say that I never rise without having half-a-dozen wits at my +levee. + +MAD. Good Heavens! you will place us under the greatest obligation if +you will do us the kindness; for, in short, we must make the +acquaintance of all those gentlemen if we wish to belong to the fashion. +They are the persons who can make or unmake a reputation at Paris; you +know that there are some, whose visits alone are sufficient to start the +report that you are a _Connaisseuse_, though there should be no other +reason for it. As for me, what I value particularly is, that by means of +these ingenious visits, we learn a hundred things which we ought +necessarily to know, and which are the quintessence of wit. Through them +we hear the scandal of the day, or whatever niceties are going on in +prose or verse. We know, at the right time, that Mr. So-and-so has +written the finest piece in the world on such a subject; that Mrs. +So-and-so has adapted words to such a tune; that a certain gentleman has +written a madrigal upon a favour shown to him; another stanzas upon a +fair one who betrayed him; Mr. Such-a-one wrote a couplet of six lines +yesterday evening to Miss Such-a-one, to which she returned him an +answer this morning at eight o'clock; such an author is engaged on such +a subject; this writer is busy with the third volume of his novel; that +one is putting his works to press. Those things procure you +consideration in every society, and if people are ignorant of them, I +would not give one pinch of snuff for all the wit they may have. + +CAT. Indeed, I think it the height of ridicule for any one who possesses +the slightest claim to be called clever not to know even the smallest +couplet that is made every day; as for me, I should be very much ashamed +if any one should ask me my opinion about something new, and I had not +seen it. + +MASC. It is really a shame not to know from the very first all that is +going on; but do not give yourself any farther trouble, I will establish +an academy of wits at your house, and I give you my word that not a +single line of poetry shall be written in Paris, but what you shall be +able to say by heart before anybody else. As for me, such as you see me, +I amuse myself in that way when I am in the humour, and you may find +handed about in the fashionable assemblies + +[Footnote: In the original French the word is _ruelle_, which means +literally "a small street," "a lane," hence any narrow passage, hence +the narrow opening between the wall and the bed. The _Précieuses_ at +that time received their visitors lying dressed in a bed, which was +placed in an alcove and upon a raised platform. Their fashionable +friends (_alcovistes_) took their places between the bed and the wall, +and thus the name _ruelle_ came to be given to all fashionable +assemblies. In Dr. John Ash's New and Complete Dictionary of the English +Language, published in London 1755, I still find _ruelle_ defined: "a +little street, a circle, an assembly at a private house."] + +of Paris two hundred songs, as many sonnets, four hundred epigrams, and +more than a thousand madrigals all made by me, without counting riddles +and portraits. + +[Footnote: This kind of literature, in which one attempted to write a +portrait of one's self or of others, was then very much in fashion. La +Bruyere and de Saint-Simon in France, as well as Dryden and Pope in +England, have shown what a literary portrait may become in the hands of +men of talent.] + +MAD. I must acknowledge that I dote upon portraits; I think there is +nothing more gallant. + +MASC. Portraits are difficult, and call for great wit; you shall see +some of mine that will not displease you. + +CAT. As for me, I am awfully fond of riddles. + +MASC. They exercise the intelligence; I have already written four of +them this morning, which I will give you to guess. + +MAD. Madrigals are pretty enough when they are neatly turned. + +MASC. That is my special talent; I am at present engaged in turning the +whole Roman history into madrigals. + +[Footnote: Seventeen years after this play was performed, Benserade +published _les Métamorphoses d' Ovide mises en rondeaux_.] + +MAD. Goodness gracious! that will certainly be superlatively fine; I +should like to have one copy at least, if you think of publishing it. + +MASC. I promise you each a copy, bound in the handsomest manner. It does +not become a man of my rank to scribble, but I do it only to serve the +publishers, who are always bothering me. + +MAD. I fancy it must be a delightful thing to see one's self in print. + +MASC. Undoubtedly; but, by the by, I must repeat to you some extempore +verses I made yesterday at the house of a certain duchess, an +acquaintance of mine. I am deuced clever at extempore verses. + +CAT. Extempore verses are certainly the very touch-stone of genius. + +MASC. Listen then. + +MAD. We are all ears. + +MASC. + _Oh! oh! quite without heed was I, + As harmless you I chanced to spy, + Slily your eyes + My heart surprise, + Stop thief! stop thief! stop thief I cry!_ + + +CAT. Good Heavens! this is carried to the utmost pitch of gallantry. + +MASC. Everything I do shows it is done by a gentleman; there is nothing +of the pedant about my effusions. + +MAD. They are more than two thousand miles removed from that. + +MASC. Did you observe the beginning, _oh! oh?_ there is something +original in that _oh! oh!_ like a man who all of a sudden thinks about +something, _oh! oh!_ Taken by surprise as it were, _oh! oh!_ + +MAD. Yes, I think that _oh! oh!_ admirable. + +MASC. It seems a mere nothing. + +CAT. Good Heavens! How can you say so? It is one of these things that +are perfectly invaluable. + +MAD. No doubt on it; I would rather have written that _oh! oh!_ than an +epic poem. + +MASC. Egad, you have good taste. + +MAD. Tolerably; none of the worst, I believe. + +MASC. But do you not also admire _quite without heed was I? quite +without heed was I_, that is, I did not pay attention to anything; a +natural way of speaking, _quite without heed was I, of no harm +thinking_, that is, as I was going along, innocently, without malice, +like a poor sheep, _you I chanced to spy_, that is to say, I amused +myself with looking at you, with observing you, with contemplating you. +_Slily your eyes_. ... What do you think of that word _slily_--is it not +well chosen? + +CAT. Extremely so. + +MASC. _Slily_, stealthily; just like a cat watching a mouse--_slily_. + +MAD. Nothing can be better. + +MASC. My heart surprise, that is, carries it away from me, robs me of +it. _Stop thief! stop thief! stop thief!_ Would you not think a man were +shouting and running after a thief to catch him? _Stop thief! stop +thief! stop thief!_ + +[Footnote: The scene of Mascarille reading his extempore verses is +something like Trissotin in _Les Femmes savantes_ (see vol. III.) +reading his sonnet for the Princess Uranie. But Mascarille comments on +the beauties of his verses with the insolent vanity of a man who does +not pretend to have even one atom of modesty; Trissotin, a professional +wit, listens in silence, but with secret pride, to the ridiculous +exclamations of the admirers of his genius.] + +MAD. I must admit the turn is witty and sprightly. + +MASC. I will sing you the tune I made to it. + +CAT. Have you learned music? + +MASC. I? Not at all. + +CAT. How can you make a tune then? + +MASC. People of rank know everything without ever having learned +anything. + +MAD. His lordship is quite in the right, my dear. + +MASC. Listen if you like the tune: _hem, hem, la, la._ The inclemency of +the season has greatly injured the delicacy of my voice but no matter, +it is in a free and easy way. (_He sings_). _Oh! Oh! quite without heed +was I_, etc. + +CAT. What a passion there breathes in this music. It is enough to make +one die away with delight! + +MAD. There is something plaintive in it. + +MASC. Do you not think that the air perfectly well expresses the +sentiment, _stop thief, stop thief?_ And then as if some one cried out +very loud, _stop, stop, stop, stop, stop, stop thief!_ Then all at once +like a person out of breath, _Stop thief!_ + +MAD. This is to understand the perfection of things, the grand +perfection, the perfection of perfections. I declare it is altogether a +wonderful performance. I am quite enchanted with the air and the words. + +CAT. I never yet met with anything so excellent. + +MASC. All that I do comes naturally to me; it is without study. + +MAD. Nature has treated you like a very fond mother; you are her darling +child. + +MASC. How do you pass away the time, ladies? + +CAT. With nothing at all. + +MAD. Until now we have lived in a terrible dearth of amusements. + +MASC. I am at your service to attend you to the play, one of those days, +if you will permit me. Indeed, a new comedy is to be acted which I +should be very glad we might see together. + +MAD. There is no refusing you anything. + +MASC. But I beg of you to applaud it well, when we shall be there; for I +have promised to give a helping hand to the piece. The author called +upon me this very morning to beg me so to do. It is the custom for +authors to come and read their new plays to people of rank, that they +may induce us to approve of them and give them a reputation. I leave you +to imagine if, when we say anything, the pit dares contradict us. As for +me, I am very punctual in these things, and when I have made a promise +to a poet, I always cry out "Bravo" before the candles are lighted. + +MAD. Do not say another word; Paris is an admirable place. A hundred +things happen every day which people in the country, however clever they +may be, have no idea of. + +CAT. Since you have told us, we shall consider it our duty to cry up +lustily every word that is said. + +MASC. I do not know whether I am deceived, but you look as if you had +written some play yourself. + +MAD. Eh! there may be something in what you say. + +MASC. Ah! upon my word, we must see it. Between ourselves, I have +written one which I intend to have brought out. + +CAT. Ay! to what company do you mean to give it? + +MASC. That is a very nice question, indeed. To the actors of the hôtel +de Bourgogne; they alone can bring things into good repute; the rest are +ignorant creatures who recite their parts just as people speak in +every-day life; they do not understand to mouth the verses, or to pause +at a beautiful passage; how can it be known where the fine lines are, if +an actor does not stop at them, and thereby tell you to applaud +heartily? + +[Footnote: The company of actors at the hotel de Bourgogne were rivals +to the troop of Molière; it appears, however, from contemporary authors, +that the accusations brought by our author against them were +well-founded.] + +CAT. Indeed! that is one way of making an audience feel the beauties of +any work; things are only prized when they are well set off. + +MASC. What do you think of my top-knot, sword-knot, and rosettes? Do you +find them harmonize with my coat? + +[Footnote: In the original _petite oie_; this was first, the name given +to the giblets of a goose, _oie_; next it came to mean all the +accessories of dress, ribbons, laces, feathers, and other small +ornaments. In one of the old translations of Molière _petite oie_ is +rendered by "muff," and _Perdrigeon_ (see next note), I suppose, with a +faint idea of _perdrix_, a partridge, by "bird of paradise feathers!!"] + +CAT. Perfectly. + +MASC. Do you think the ribbon well chosen? + +MAD. Furiously well. It is real Perdrigeon. + +[Footnote: Perdrigeon was the name of a fashionable linen-draper in +Paris at that time.] + +MASC. What do you say of my rolls? + +[Footnote: According to Ash's Dictionary, 1775, _canons_, are "cannions, +a kind of boot hose, an ancient dress for the legs."] + +MAD. They look very fashionable. + +MASC, I may at least boast that they are a quarter of a yard wider than +any that have been made. + +MAD. I must own I never saw the elegance of dress carried farther. + +MASC. Please to fasten the reflection of your smelling faculty upon +these gloves. + +MAD. They smell awfully fine. + +CAT. I never inhaled a more delicious perfume. + +MASC. And this? (_He gives them his powdered wig to smell_). + +MAD. It has the true quality odour; it titillates the nerves of the +upper region most deliciously. + +MASC. You say nothing of my feathers. How do you like them? + +CAT. They are frightfully beautiful. + +MASC. Do you know that every single one of them cost me a Louis-d'or? +But it is my hobby to have generally everything of the very best. + +MAD. I assure you that you and I sympathize. I am furiously particular +in everything I wear; I cannot endure even stockings, unless they are +bought at a fashionable shop. + +[Footnote: Without going into details about the phraseology of the +_précieuses_, of which the ridiculousness has appeared sufficiently in +this scene, it will be observed that they used adverbs, as "furiously, +terribly, awfully, extraordinarily, horribly, greatly," and many more, +in such a way that they often appear absurd, as, "I love you horribly," +or, "he was greatly small." Such a way of speaking is not unknown even +at the present time in England; we sometimes hear, "I like it awfully," +"it is awfully jolly."] + +MASC. (_Crying out suddenly_). O! O! O! gently. Damme, ladies, you use +me very ill; I have reason to complain of your behaviour; it is not +fair. + +[Footnote: I employ here the words "to have reason," because that verb, +in the sense of "to have a right, to be right," seems to have been a +courtly expression in Dryden's time. Old Moody answers to Sir Martin +Marall (Act iii., Scene 3), "You have reason, sir. There he is again, +too; the town phrase; a great compliment I wise! _you have reason_, sir; +that is, you are no beast, sir." ] + +CAT. What is the matter with you? + +MASC. What! two at once against my heart! to attack me thus right and +left! Ha! This is contrary to the law of nations, the combat is too +unequal, and I must cry out, "Murder!" + +CAT. Well, he does say things in a peculiar way. + +MAD. He is a consummate wit. + +CAT. You are more afraid than hurt, and your heart cries out before it +is even wounded. + +MASC. The devil it does! it is wounded all over from head to foot. + + + + +SCENE XI.--CATHOS, MADELON, MASCARILLE, MAROTTE. + + +MAR. Madam, somebody asks to see you. + +MAD. Who! + +MAR. The Viscount de Jodelet. + +MASC. The Viscount de Jodelet? + +MAR. Yes, sir. + +CAT. Do you know him? + +MASC. He is my most intimate friend. + +MAD. Shew him in immediately. + +MASC. We have not seen each other for some time; I am delighted to meet +him. + +CAT. Here he comes. + + + + +SCENE XII.--CATHOS, MADELON, JODELET, MASCARILLE, MAROTTE, ALMANZOR. + + +MASC. Ah, Viscount! + +JOD. Ah, Marquis! (_Embracing each other_). + +MASC. How glad I am to meet you! + +JOD. How happy I am to see you here. + +MASC. Embrace me once more, I pray you. + +[Footnote: It was then the fashion for young courtiers to embrace each +other repeatedly with exaggerated gestures, uttering all the while loud +exclamations. The Viscount de Jodelet is the caricature of a courtier of +a former reign; he is very old, very pale, dressed in sombre colours, +speaks slowly and through the nose. Geoffrin, the actor, who played this +part, was at least seventy years old.] + +MAD. (_To Cathos_). My dearest, we begin to be known; people of fashion +find the way to our house. + +MASC. Ladies, allow me to introduce this gentleman to you. Upon my word, +he deserves the honour of your acquaintance. + +JOD. It is but just we should come and pay you what we owe; your charms +demand their lordly rights from all sorts of people. + +MAD. You carry your civilities to the utmost confines of flattery. + +CAT. This day ought to be marked in our diary as a red-letter day. + +MAD. (_To Almanser_). Come, boy, must you always be told things over and +over again? Do you not observe there must be an additional chair? + +MASC. You must not be astonished to see the Viscount thus; he has but +just recovered from an illness, which, as you perceive, has made him so +pale. + +[Footnote: Molière here alludes to the complexion of the actor +Geoffrin.] + +JOD. The consequence of continual attendance at court and the fatigues +of war. + +MASC. Do you know, ladies, that in the Viscount you behold one of the +heroes of the age. He is a very valiant man. + +[Footnote: In the original _un brave à trois poils_, literally, "a brave +man with three hairs." This is an allusion to the moustache and pointed +beard on the chin, then called _royale_. We have seen the fashion +revived in our days by the late emperor of the French, Napoleon III. and +his courtiers; of course, the _royale_ was then called _impériale_.] + +JOB. Marquis, you are not inferior to me; we also know what you can do. + +MASC. It is true we have seen one another at work when there was need +for it. + +JOD. And in places where it was hot. + +MASC. (_Looking at Cathos and Madelon_). Ay, but not so hot as here. Ha, +ha, ha! + +JOD. We became acquainted in the army; the first time we saw each other +he commanded a regiment of horse aboard the galleys of Malta. + +MASC. True, but for all that you were in the service before me; I +remember that I was but a young officer when you commanded two thousand +horse. + +JOD. War is a fine thing; but, upon my word, the court does not properly +reward men of merit like us. + +MASC. That is the reason I intend to hang up my sword. + +CAT. As for me, I have a tremendous liking for gentlemen of the army. + +[Footnote: Cathos, who only repeats what her cousin says, and has +observed that Mascarille admires Madelon, is resolved to worship more +particularly the Viscount de Jodelet.] + +MAD. I love them, too; but I like bravery seasoned with wit. + +MASC. Do you remember, Viscount, our taking that half-moon from the +enemy at the siege of Arras? + +[Footnote: Turenne compelled the Prince de Condé and the Spanish army to +raise the siege of Arras in 1654.] + +JOD. What do you mean by a half-moon? It was a complete full moon. + +MASC. I believe you are right. + +JOD. Upon my word, I ought to remember it very well. I was wounded in +the leg by a hand-grenade, of which I still carry the marks. Pray, feel +it, you can perceive what sort of a wound it was. + +CAT. (_Putting her hand to the place_). The scar is really large. + +MASC. Give me your hand for a moment, and feel this; there, just at the +back of my head. Do you feel it? + +MAD. Ay, I feel something. + +MASC. A musket shot which I received the last campaign I served in. + +JOD. (_Unbuttoning his breast_). Here is a wound which went quite +through me at the attack of Gravelines. + +[Footnote: In 1658, the Marshal de la Ferte took this town from the +Spaniards.] + +MASC. (_Putting his hand upon the button of his breeches_). I am going +to show you a tremendous wound. + +MAD. There is no occasion for it, we believe it without seeing it. + +MASC They are honour's marks, that show what a man is made of. + +CAT. We have not the least doubt of the valour of you both. + +MASC. Viscount, is your coach in waiting? + +JOD. Why? + +MASC. We shall give these ladies an airing, and offer them a collation. + +MAD. We cannot go out to-day. + +MASC. Let us send for musicians then, and have a dance. + +JOD. Upon my word, that is a happy thought. + +MAD. With all our hearts, but we must have some additional company. + +MASC. So ho! Champagne, Picard, Bourguignon, Cascaret, Basque, La +Verdure, Lorrain, Provençal, La Violette. I wish the deuce took all +these footmen! I do not think there is a gentleman in France worse +served than I am! These rascals are always out of the way. + +[Footnote: These names, with the exception of Cascaret, La Verdure and +La Violette are those of natives of different provinces, and were often +given to footmen, according to the place where they were born. +_Cascaret_ is of Spanish origin, and not seldom used as a name for +servants; _La Verdure_ means, verdure; _La Violette_, violet.] + +MAD. Almanzor, tell the servants of my lord marquis to go and fetch the +musicians, and ask some of the gentlemen and ladies hereabouts to come +and people the solitude of our ball. (_Exit Almanzor_). + +MASC. Viscount, what do you say of those eyes? + +JOD. Why, Marquess, what do you think of them yourself? + +MASC. I? I say that our liberty will have much difficulty to get away +from here scot free. At least mine has suffered most violent attacks; my +heart hangs by a single thread. + +MAD. How natural is all he says! he gives to things a most agreeable +turn. + +CAT. He must really spend a tremendous deal of wit. + +MASC. To show you that I am in earnest, I shall make some extempore +verses upon my passion. (_Seems to think_). + +CAT. O! I beseech you by all that I hold sacred, let us hear something +made upon us. + +JOD. I should be glad to do so too, but the quantity of blood that has +been taken from me lately, has greatly exhausted my poetic vein. + +MASC. Deuce take it! I always make the first verse well, but I find the +others more difficult. Upon my word, this is too short a time; but I +will make you some extempore verses at my leisure, which you shall think +the finest in the world. + +JOD. He is devilish witty. + +MAD. He--his wit is so gallant and well expressed. + +MASC. Viscount, tell me, when did you see the Countess last? + +JOD. I have not paid her a visit these three weeks. + +MASC. Do you know that the duke came to see me this morning; he would +fain have taken me into the country to hunt a stag with him? + +MAD. Here come our friends. + + + + +SCENE XIII.--LUCILE, CÉLIMÈNE, CATHOS, MADELON, MASCARILLE, JODELET, +MAROTTE, ALMANZOR, AND MUSICIANS. + + +MAD. Lawk! my dears, we beg your pardon. These gentlemen had a fancy to +put life into our heels; we sent for you to fill up the void of our +assembly. + +LUC. We are certainly much obliged to you for doing so. + +MASC. This is a kind of extempore ball, ladies, but one of these days we +shall give you one in form. Have the musicians come? + +ALM. Yes, sir, they are here. + +CAT. Come then, my dears, take your places. + +MASC. (_Dancing by himself and singing_). La, la, la, la, la, la, la, +la. + +MAD. What a very elegant shape he has. + +CAT. He looks as if he were a first-rate dancer. + +MASC. (_Taking out Madelon to dance_). My freedom will dance a Couranto +as well as my feet. Play in time, musicians, in time. O what ignorant +wretches! There is no dancing with them. The devil take you all, can you +not play in time? La, la, la, la, la, la, la, la? Steady, you +country-scrapers! + +[Footnote: A Couranto was a very grave, Spanish dance, or rather march, +but in which the feet did not rise from the ground.] + +JOD. (_Dancing also_). Hold, do not play so fast. I have but just +recovered from an illness. + + + + +SCENE XIV.--Du CROISY, LA GRANGE, CATHOS, MADELON, LUCILE, CÉLIMÈNE, +JODELET; MASCARILLE, MAROTTE, AND MUSICIANS. + + +LA GR. (_With a stick in his hand_). Ah! ah! scoundrels, what are you +doing here? We have been looking for you these three hours. (_He beats +Mascarille_). + +MASC. Oh! oh! oh! you did not tell me that blows should be dealt about. + +JOD. (_Who is also beaten_). Oh! oh! oh! + +LA GR. It becomes you well, you rascal, to pretend to be a man of rank. + +DU CR. This will teach you to know yourself. + + + + +SCENE XV.--CATHOS, MADELON, LUCILE, CÉLIMÈNE, MASCARILLE, JODELET, +MAROTTE, AND MUSICIANS. + + +MAD. What is the meaning of this? + +JOD. It is a wager. + +CAT. What, allow yourselves to be beaten thus? + +MASC. Good Heavens! I did not wish to appear to take any notice of it; +because I am naturally very violent, and should have flown into a +passion. + +MAD. To suffer an insult like this in our presence! + +MASC. It is nothing. Let us not leave off. We have known one another for +a long time, and among friends one ought not to be so quickly offended +for such a trifle. + + + + +SCENE XVI.--DU CROISY, LA GRANGE, MADELON, CATHOS, LUCILE, CÉLIMÈNE, +MASCARILLE, JODELET, MAROTTE, AND MUSICIANS. + + +LA GR. Upon my word, rascals, you shall not laugh at us, I promise you. +Come in, you there. (_Three or four men enter_). + +MAD. What means this impudence to come and disturb us in our own house? + +DU CR. What, ladies, shall we allow our footmen to be received better +than ourselves? Shall they come to make love to you at our expense, and +even give a ball in your honour? + +MAD. Your footmen? + +LA GR. Yes, our footmen; and you must give me leave to say that it is +not acting either handsome or honest to spoil them for us, as you do. + +MAD. O Heaven! what insolence! + +LA GR. But they shall not have the advantage of our clothes to dazzle +your eyes. Upon my word, if you are resolved to like them, it shall be +for their handsome looks only. Quick, let them be stripped immediately. + +JOD. Farewell, a long farewell to all our fine clothes. + +[Footnote: The original has _braverle_; brave, and bravery, had formerly +also the meaning of showy, gaudy, rich, in English. Fuller in _The Holy +State_, bk. ii., c. 18, says: "If he (the good yeoman) chance to appear +in clothes above his rank, it is to grace some great man with his +service, and then he blusheth at his own bravery."] + +MASC. The marquisate and viscountship are at an end. + +DU. CR. Ah! ah! you knaves, you have the impudence to become our rivals. +I assure you, you must go somewhere else to borrow finery to make +yourselves agreeable to your mistresses. + +LA GR. It is too much to supplant us, and that with our own clothes. + +MASC. O fortune, how fickle you are! + +DU CR. Quick, pull off everything from them. + +LA GR. Make haste and take away all these clothes. Now, ladies, in their +present condition you may continue your amours with them as long as you +please; we leave you perfectly free; this gentleman and I declare +solemnly that we shall not be in the least degree jealous. + + + + +SCENE XVII.--MADELON, CATHOS, JODELET, MASCARILLE, AND MUSICIANS. + + +CAT. What a confusion! + +MAD. I am nearly bursting with vexation. + +1 MUS. (_To Mascarille_). What is the meaning of this? Who is to pay us? + +MASC. Ask my lord the viscount. + +1 MUS. (_To Jodelet_). Who is to give us our money? + +JOD. Ask my lord the marquis. + + + + +SCENE XVIII.--GORGIBUS, MADELON, CATHOS, JODELET, MASCARILLE, AND +MUSICIANS. + + +GORG. Ah! you hussies, you have put us in a nice pickle, by what I can +see; I have heard about your fine goings on from those two gentlemen who +just left. + +MAD. Ah, father! they have played us a cruel trick. + +GORG. Yes, it is a cruel trick, but you may thank your own impertinence +for it, you jades. They have revenged themselves for the way you treated +them; and yet, unhappy man that I am, I must put up with the affront. + +MAD. Ah! I swear we will be revenged, or I shall die in the attempt. And +you, rascals, dare you remain here after your insolence? + +MASC. Do you treat a marquis in this manner? This is the way of the +world; the least misfortune causes us to be slighted by those who before +caressed us. Come along, brother, let us go and seek our fortune +somewhere else; I perceive they love nothing here but outward show, and +have no regard for worth unadorned. (_They both leave_). + + + + +SCENE XIX.--GORGIBUS, MADELON, CATHOS, AND MUSICIANS. + + +1 MUS. Sir, as they have not paid us, we expect you to do so, for it was +in this house we played. + +GORG. (_Beating them_). Yes, yes, I shall satisfy you; this is the coin +I will pay you in. As for you, you sluts, I do not know why I should not +serve you in the same way; we shall become the common talk and +laughing-stock of everybody; this is what you have brought upon +yourselves by your fooleries. Out of my sight and hide yourselves, you +jades; go and hide yourselves forever. {_Alone_). And you, that are the +cause of their folly, you stupid trash, mischievous amusements for idle +minds, you novels, verses, songs, sonnets, and sonatas, the devil take +you all. + + + + + + + + + +End of the Project Gutenberg EBook of The Pretentious Young Ladies, by Moliere + +*** END OF THE PROJECT GUTENBERG EBOOK THE PRETENTIOUS YOUNG LADIES *** + +This file should be named 8prtl10.txt or 8prtl10.zip +Corrected EDITIONS of our eBooks get a new NUMBER, 8prtl11.txt +VERSIONS based on separate sources get new LETTER, 8prtl10a.txt + +Produced by David Moynihan, D Garcia, Charles Franks +and the Online Distributed Proofreading Team. + +Project Gutenberg eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the US +unless a copyright notice is included. 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