Moliere, the contemporary of Corneille and Racine, whose original and real name was Jean Baptiste Poquelin, was born at Paris on the 15th January, 1622. His father and mother were both in trade; and they brought up their son to their own occupation. At the age of fourteen, young Poquelin could neither read, write, nor cast accounts. But the grandfather was very fond of him; and being himself a great lover of plays, often took his favourite to the theatre. The natural genius of the boy was, by this initiation, kindled into a decided taste for dramatic entertainments: a disgust to trade was the consequence, and a desire of that mental cultivation from which he had hitherto been debarred. His father consented at length to his becoming a pupil of the Jesuits at the College of Clermont. He remained there five years, and was fortunate enough to be the class-fellow of Armand de Bourbon, Prince de Conti, whose friendship and protection proved of signal service to him in after-life. He studied under the celebrated Gassendi, who was so impressed by the apparent aptitude of young Poquelin to receive instruction, that he admitted him to the private lectures given to his other pupils. Gassendi was in the habit of breaking a lance with two great rivals: Aristotle, at the head of ancient, and Descartes, then at the head of modern philosophy. By witnessing this combat, Poquelin acquired a habit of independent reasoning, sound principles, extensive knowledge, and that feeling of practical good sense, which was so conspicuous not only in his most laboured, but even in his lightest productions.

His studies under Gassendi were abruptly terminated by the following circumstance. His father was attached to the court in the double capacity of valet-de-chambre and tapestry-maker; and the son had the reversion of these places. When Louis XIII. went to Narbonne in 1641, the old man was ill, and the young one was obliged to officiate for him. On his return to Paris, his passion for the stage, which had first led him into the paths of literature, revived with renewed strength. The taste of Cardinal de Richelieu for theatrical performances was communicated to the nation at large, and a peculiar protection was granted to dramatic poets. Many little societies were formed for acting plays in private houses, for the amusement at least of the performers. Poquelin collected a company of young stage-stricken heroes, who so far exceeded all their rivals, as to earn for their establishment the pompous title of The Illustrious Theatre. He now determined to make the stage his profession, and changing his name, according to the usage in such cases, adopted that of Moliere.

He disappears during the time of the civil wars, from 1648 to 1652; but we may suppose the interval to have been passed in composing some of those pieces which were afterwards brought before the public. When the disturbances ceased, Moliere, in partnership with an actress of Champagne, named La BÉjard, formed a strolling company; and his first regular piece, called L’Etourdi, or the Blunderer, was performed at Lyons in 1653. Another company of comedians settled in that town was deserted by the spectators in favour of these clever vagabonds; and the principal performers of the regular establishment took the hint, pocketed their dignity, and joined Moliere. The united company transferred itself to Languedoc, and were retained in the service of the Prince of Conti. During the Carnival of 1658, the troop, having resumed their vagrant life, were playing at Grenoble. The following summer was passed at Rouen. When so near Paris, Moliere made occasional journeys thither, with the earnest hope of bettering his fortune in the metropolis, where the market for talent is always brisk and open, the competition, though severe, fair and encouraging. Once more he received protection from his august fellow-collegian, who introduced him to Monsieur, and ultimately to the King himself. The company appeared before their Majesties and the court for the first time, on the 3d of November, 1658, on a stage erected in the Hall of the Guards in the Old Louvre. Their success was so complete that the King gave orders for their permanent settlement in Paris, and they were allowed to act alternately with the Italian players in the Hall of the Petit Bourbon. In 1663 a pension of a thousand livres was granted to Moliere, and in 1665 his company was taken altogether into the King’s service.

As in the course of about fifteen years he produced more than double that number of dramatic pieces, instead of giving, within our narrow limits, a mere dry catalogue of titles, we shall make some more detailed remarks on a few of those masterpieces, in different styles, which not only raised the character of French comedy to a great height in France itself, but in a great measure furnished the staple to some of our own most distinguished writers.

Among many persons of taste and judgment, the Misantrope has borne the character of being the most finished of all Moliere’s pieces; of combining the most powerful efforts of united genius and art. The subject is single, and the unities are exactly observed. The principal person of the drama is strongly conceived, and brought out with the boldest strokes of the master’s pencil: it is throughout uniform, and in strict keeping. The subordinate persons are equally well drawn, and fitted for their business in the scene, so as to throw an artist-like light upon the chief figure. The scenes and incidents are so contrived and conducted as to diversify the main character, and set it in various points of view. The sentiments are strong and nervous as well as proper; and the good sense with which the piece is fraught, proves that the bustle and dissipation of the court and the theatre had not obliterated the lessons of the college, or the lectures of Gassendi. The title of the play will at once bring to the mind of an Englishman our own Timon of Athens; but there are scarcely any other points of resemblance. The ancient and the modern Man-hater had little in common: the Athenian was the victim of personal ill-treatment; having suffered by excess of good-nature and credulity, he runs into the other extreme of suspicion and revenge. Moliere’s Man-hater owes his character to the severity of virtue, which can give no quarter to the vices of mankind; to that sincerity which disdains indiscriminate complaisance, and the prostitution of the language of friendship to the flattery of fools and knaves. Wycherley, in his Plain Dealer, has given the French Misantrope an English dress. Manly is a character of humour, speaking and acting from a peculiar bias of temper and inclination; but the coarseness of the plain dealing is not to be tolerated, and what Manly does goes near to counteract the moral effect of what he says.

By way of contrasting the various talents of the author, than whom none better understood human nature in its various ramifications, or copied more skilfully every shade and gradation of manners, we may just mention the Bourgeois Gentilhomme, exhibiting the folly and affectation of a cit turned man of fashion. If the moral of the Misantrope be pure, the wit of the Bourgeois is terse and diverting.

In several of his comedies he has treated medicine and its professors not only with freedom but severity; it was, however, perverted medicine only, and its quack professors that were the subjects of his ridicule. The respectable members of the faculty could be no more affected by the satire, nor displeased by what they could not fear, than a true prophet by the punishment of imposture. Those who are acquainted with the history of the science will recollect the state of it at Paris in Moliere’s time, and the character of the physicians. Their whole employment was confined to searching after visionary specifics, and experimental trickery in chemistry. The cause of a disease was never inquired after, nor the symptoms regarded; but hypothetical jargon and random prescription were thrown like dust into the eyes of the patient, to the exclusion of a practice founded on science and observation. Thus medicine became a pest instead of a remedy; and this state of things justified the chastisement inflicted.

Les PrÉcieuses Ridicules is a comedy intended to reprove a vain, fantastical, and preposterous humour prevailing very much about that time in France. It had the desired effect, and conduced materially towards rooting out a taste in manners so unreasonable and ridiculous.

Tartuffe, or The Impostor, has occasionally, and even recently, sometimes to the disturbance of the public peace in France, given great offence not only to those who felt the justice, and winced under the severity of the satire; but to others, who suspected that a blow was aimed at religion, under the mask of an attack upon hypocrisy. But its intrinsic merit, the truth of the drawing, and the justness of the colouring, have secured patrons for it among persons of unquestionable sense, virtue, learning, and taste; and it has always triumphed over the violence of opposition. Cibber, a vamper of other men’s plays, has borrowed from it his favourite Nonjuror, and applied it to the purposes of a political party. On this adaptation has been grafted a more modern attack on the Methodists, under the title of The Hypocrite. But however great may be the merit of this celebrated drama, it cannot boast of entire originality. Machiavelli left behind him three comedies, the fruits of a statesman’s leisure hours. In all three, the author has exhibited the hand of a master; he has painted mankind in the spirit of truth, and unmasked falsehood and hypocrisy in a tone of profound contempt. Two monks, a brother Timothy and a brother Alberico, are represented with too much wit and keenness of sarcasm to have been overlooked by Moliere in his working up of the third specimen. The first three acts of the Tartuffe were played for the first time at court before the piece was finished. Masques of pomp, magnificence and panegyric, such as usually furnish out the amusement of royal saloons, are forgotten as soon as they have served the purpose of the moment: but masterpieces like that now in question perpetuate their own renown, and leave a lasting memorial of what is supposed to be a phenomenon, a princely taste for genuine wit.

Les FÂcheux was the first piece in which dancing was so connected with the dramatic action, as to fill up the intervals without breaking the thread of the story.

Le Mariage ForcÉ was borrowed from Rabelais, to whom both Moliere and La Fontaine were deeply indebted. The Aristotelian and Pyrrhonian philosophy, as travestied by modern doctors, furnishes occasion for lively satire and clever buffoonery. The horror with which Pancrace calls down the vengeance of heaven on him who should dare to say the form of a hat, instead of the figure of a hat, is a pleasant parody on the unintelligible absurdities of the schools. According to Marphurius, philosophy commands us to suspend our judgment, and to speak of every thing with uncertainty; not to say I am come, but, I think that I am come.

La Princesse d’Elide, though not one of Moliere’s happiest efforts, deserves notice on account of its contributing to the festivities of the court, by an adaptation of ingenious allegories to the manners and events of the time. This satire was aimed at the illusion of Judicial Astrology, after which many princes of the period were running mad; and in particular Victor Amadeus, Duke of Savoy, father of the Duchess of Burgundy, who kept an astrologer about his person even after his abdication. The dramatic antiquary may find some amusement in comparing the fÊtes of the French court with the masques of Ben Jonson, Davenant, and others, exhibited before our James I. and Charles I.; but here the interest ends. It is sufficient to remark, that the masques of the English court owed their power of pleasing to the ingenuity of the machinist and the flattery of the poet. The little dramas performed before the royal family of France tickled the ears of the audience by the pungency of their wit and ridicule.

The Miser has been pretty closely translated, for the version is little more, by Henry Fielding; but not so happily as he himself seems to have imagined.

The subject of that excellent comedy, Les Femmes Savantes, in which the ridicule is kept within reasonable bounds, and female faults and virtues are painted with a proper gradation of colouring, where what the painters call a medium tint harmonizes the extremes of light and shade, was taken up by Goldoni with that coarse and abrupt pencilling of black and white, which has always been the vice of the Italian stage. It has indeed been advanced as a reproach to Moliere, that he too often charged his comic pictures with the extravagance of caricature: but if we compare even the most farcical of his scenes with the speaking pantomimes and half-improvisations of Italy, we must pronounce him a model of delicacy and classical propriety.

His last comedy was Le Malade Imaginaire. It was acted for the fourth time on the 17th February, 1673. The principal character represented is that of a sick man, who, to carry on a purpose of the plot, pretends to be dead. This part was played by Moliere himself. The popular story was, that when he was to discover that it was only a feint, he could neither speak nor get up, being actually dead. The wits and epigrammatists made the most of the occurrence; those who could not write good French, treated it with bad Latin. But unluckily for the stability of their conceits, they were not built on the foundation of truth. Though very ill, and obviously in much pain, he was able to finish the play. He went home, and was put to bed: his cough increased violently; a vessel burst in his lungs, and he was suffocated with blood in about half an hour after. He was only in his fifty-second year when this event took place. The King was extremely affected at this sudden loss, by which, as Johnson said of Garrick, the gaiety of nations was eclipsed; and as a strong mark of his regard, he prevailed with the archbishop of Paris to allow of his being interred in consecrated ground. Nothing short of so absolute a King’s interposition could have effected this; for, independently of the general sentence of excommunication then in force against scenic performers, Moliere had drawn upon himself the resentment of the ecclesiastics in particular, by exposing the hypocrites of their cloth, as well as the bigots among the laity. Those who ridicule folly and knavery in all orders of men must expect to be treated as Moliere was, and to have the foolish and knavish of all orders for enemies. During his life, Paris and the court were stirred up and inflamed against the dramatist; and on more than one occasion, he must have fallen a sacrifice to the indignation of the clergy, had he not been protected by the King. The friend of his life did not desert him when he was dead; but procured for his insensible remains that decent respect, which all nations have consented to pay, as a tribute even to themselves.

Voltaire characterizes Moliere as the best comic poet of any nation; and treats the posthumous hostility which made a difficulty about his burial as a reproach both to France and to the Catholic religion. Professing to have reperused the comedians of antiquity for the purpose of comparison, he gives it as his judgment, that the French dramatist is entitled to the preference. He grounds this decision on the art and regularity of the modern theatre, contrasted with the unconnected scenes of the ancients, their weak intrigues, and the strange practice of declaring by the mouths of the actors, in cold and unnatural monologues, what they had done and what they intended to do. He concludes by saying that Moliere did for comedy what Corneille had done for tragedy; and that the French were superior on this ground to all the people upon earth. A country possessing such a comic drama as ours, throughout the course of about two centuries, with Much ado about Nothing at one end of the list, and The School for Scandal at the other, will be inclined to demur to this broad national assumption: but we, in our turn, must in candour confess, that though the chronological precedence of Shakspeare, Jonson, Fletcher, Massinger, and Ford, had established a glorious stage for us before Moliere was born, or while he was yet in petticoats; yet our most eminent comic writers in the reigns of William III., Anne, and George I., drank deep and often from the abundant source of French comedy. But Moliere’s influence was most beneficially exerted in reclaiming his countrymen from a fondness for such Italian conceits as ringing the changes upon odours and ardours, &c., to which authors like Scudery, Voiture, and Balzac had given an ephemeral fashion. Boileau and Moliere principally contributed to arm the French against the invasion from beyond the Alps, of such madrigal-writers as Marini, Achillini, and PrÉti.

It is not true that Moliere, when he commenced his career, found the theatre absolutely destitute of good comedies. Corneille had already produced Le Menteur, a piece combining character with intrigue, imported from the Spanish stage. Moliere had produced only two of his most esteemed plays, when the public was gratified with La MÈre Coquette of Quinault, than which few pieces were more happy either in point of character or intrigue. But if Corneille be the first legitimate model for tragedy, Moliere was so for comedy. The general shaping of his plots, the connexion of his scenes, his dramatic consistency and propriety were attempted to be copied by succeeding writers: but who could compete with him in wit and spirit? His well-directed attacks did more than any thing to rescue the public from the impertinence of subaltern courtiers affecting airs of importance; from the affectation of conceited, and the pedantry of learned, ladies; from the quackery of professional costume and barbarous Latin on the part of the medical tribe. Moliere was the legislator of conventional proprieties. That period might well be called the Augustan age of France, which saw the tragedies of Corneille and Racine; the comedies of Moliere; the birth of modern music in the symphonies of Lulli; the pulpit eloquence of Bossuet and BourdaloÜe. Louis XIV. was the hearer and the patron of all these; and his taste was duly appreciated and adopted by the accomplished Madame, by a CondÉ, a Turenne, and a Colbert, followed by a long train of eminent men in every department of the state and of society.

Little has come down to us respecting Moliere’s personal history or habits, excepting that his marriage was not among the happy or creditable events of his life. So little did he in his own case weigh the evils of disproportioned age, however sarcastically he might imagine them in fictitious scenes, that he took for his partner the daughter of La BÉjard, the associate of his strolling career. If his choice were a fault, it carried its punishment along with it. He was very jealous, and the young lady was an accomplished coquette. The bickerings of married life were the frequent and successful topics of his comedies; and his enemies asserted, that in drawing such scenes, he possessed the advantage of painting from the life. Of that ridicule which had so often set the theatre in a roar, he was himself the serious subject, the repentant and writhing victim.

Fuller accounts of Moliere are to be found prefixed to the best editions of his works: we may mention those of Joly, Petitot, and Auger. An article of considerable length, by the last-named author, is devoted to our poet in the Biographie Universelle.