IPS 3525 0125 M7 1919 Copy 1 CopigMH?. 913 COPYRIGHT DEPOSm MOLlfiRE PLAYS BY PHILIP MOELLER MADAME SAND FIVE SOMEWHAT HISTORICAL PLAYS MOLIERE M L I E R E A Romantic Play in Three Acts by PHILIP MOELLER New York ALFRED • A • KNOPF MCMXIX COPYRIGHT, 1919, BY PHIUP MOELLER > tespan. The time is twilight of the same day as Act I. THE CHARACTERS IN ACT III. ARE: CLAUDE CHAPELLE, a friend of Moliere VINCENT CHAMBERS LA FONTAINE SIDNEY HERBERT LA FOREST ALICE GALE A DOCTOR WALLACE ROBERTS COLINGE FORREST ROBINSON BARON JAMES P. HAGEN MOLIERE HENRY MILLER ARMANDE BBJART. ESTELLE WINWOOD THE KING'S CHAMBERLAIN WILLARD BARTON LOUIS XIV HOLBROOK BLINN The scene is the same as Act I. The time is before, during and after the fourth per' formance of Moliere's "Imaginary Invalid," February, 1673. During Act III. the curtain is lowered to denote th8 passing of two hours' time. Scenery designed by Lee Simonson. Costumes de- signed by RoUo Peters and executed by Mme. Freisinger, Incidental music composed by Cassius Freeborn. ACT 1 The Characters in Act I Are Baron, a lad of seventeen, a member of Molieres Company. La Forest, a ivoman of sixty-eight, Molieres cook and friend. Armande Bejart, Moliere's wife. Jean Baptiste Poquelin, known to the world as Moliere. CoLiNGE, an old actor, a member of the troupe since the beginning. De Lauzun, a young Courtier. The King's Chamberlain. Louis XIV, King of France. Francoise Athenais de Montespan, the Kings Mistress. La Fontaine, the Writer of the Fables, and Several Courtiers and one or two Ladies in Wait- ing to de Montespan. The scene is Moliere s Study in his Theatre at the Palais Royal in Paris. The time of the action of Act 1 is the morning of a day in September, 1672. ACT I Moliere's study in his theatre at the Palais Royal. A room of quiet magnificence and careful luxury. About are beautiful bits of furniture and in the walls shelves from which gleam the silent faces of the best in books. In a corner is an antique chest from which hang the ends of rich costumes. In the centre the work table of the Master on which is a pile of sheets of an unfinished masterpiece. A door down right leads to the entrance from the street. In ba^k in the centre is the door to Moliere's dressing room. In the left wall, down front, is a big door giving on the stage of the theatre. The room is flooded with sunlight that streams in thru the mullioned windows and one is open and a piercing shaft of light falls upon the comer of the table where lies the manuscript of "The Misan- thrope." In a corner of the room are some empty bottles and two or three hampers from the pastry-cook, the remnants of the feast of the night before. When the curtain lifts 10 MOLIERE [Act I Baron is discovered asleep in the window niche. A church bell from a neighbouring tower sounds ten. A seller of cakes passing in the streets cries his wares. A bell in the farther distance sounds the hour. The boy sits up and rubs his eyes. "Cakes, pastries," calls the voice of the vendor. Baron [Leaning out of the window.^ Are you calling me? What? What? The Voice Cakes, Madeleines, delicious pastries. Baron None, good-morning, thank you, I'm too full of last night. [The voice dies away in the distance and the boy yawningly falls back to sleep. A mo- ment later La Forest enters and begins bus- tling about arranging the room in order. The sight of the hampers and the bottles angers her. At first she does not see Baron but as she passes the window niche he moves in his sleep.] La Forest Wake up, it's past the hour. Act I] MOLIERE 11 Baron [Sitting up.] Eh? La Forest Out with you now. Baron Here's where I fell asleep in the midst of the party yesterday evening. La Forest Well, yesterday evening's over. It's a wonder what he has you about for at all, drinking his wine and wasting his hours. Baron Why shouldn't I be here? Have you forgotten I'm a member of the troupe of Moliere? La Forest La, la, you little upstart! If I had my way I'd spank you to death, hang you out to dry and then send you off for a year to make love to the cows in Scotland. Baron There's likelier meat for love right here in Paris. And besides, I'll not be answered by you. I'm an artist stnd you're only a cook. 12 MOLIERE [Act I La Forest [Laughing.] An artist, indeed, you and your seventeen years. One would think you as great as the master. Baron Some day, perhaps, I'll be greater. La Forest Some day I'll be Queen of France. Baron Not with your face, my darling, though I tell you the queen is no beauty. But Madame de Monte- span, ah, she is as fair as the day. Do you know what they're whispering of her, my nymph of the pantries? La Forest No, get up and get out. Baron It's this, my princess of stews. [Then very mysteriously.] They say that whilst she gives gifts to one Moliere's wife, she'd rather be giving her love to Moliere. La Forest Begone now, you with your dirty talk of the courts. Act I] MOLIERE 13 Baron When you're as wise as I, La Forest, you will know that the Court and its master, the King, is the sun by which we live, all of us, even the great Moliere. La Forest The great Moliere, indeed. God help him. He ought to be off in the country getting the good of the air and not here in the stench of the Court and the stench of the city, and up 'till dawn with you and the others. Madame, his wife, was sing- ing, I suppose? Baron Like the lifting lark till the bells rang four and I tumbled off to sleep. Where's your master? La Forest Out lon^ since. He was pacing his room till morning and now he's down by the river talking to the barge men. He likes to mix with the crowds when there's something that knocks in his head that he doesn't want to hear. Madame was gay, you say? Baron And he, he too. La Forest The doctors have warned him. He's always so 14 MOLIERE [Act I weary when you're back from playing at the palace and then up till dawn, night in and night out. If he'd only listen to me. Baron [Jeeringlj.] You! La Forest If he doesn't — ^well — Baron My poor La Forest. What a little soul is yours! To be bothering about what may happen when life at the moment's gay. God should kill all ravens like you who croak when the sun is shining. La Forest Maybe you're right, my lad. Why, look how the beams hit the table there where he works. Why, that's a good omen. [Then at the table, and it might be a shrine at which she stood] Look, the sunlight's all about the play he's writing. Baron [Untouched by the beauty of her elation.] I hope there's a fine fat part for me. La Forest [Proudly.] I'm to hear it this morning. Act I] MOLIERE 15 Baron You, his cook? La Forest Yes, I, his cook. I hear what he's written even before the King of France. Baron [With a wry grimace, touching his fore- head.] There's a little bit wrong with the wisest. La Forest And often he'll change the parts that don't suit me. Baron And if he doesn't, I suppose you'll put poison in his broth? Is it that, or tell me in confidence, does he love you? La Forest I've been with him twenty years [And her voice is quivering a little] and it's I do the loving. Twenty years and now I know there's something eating his heart. Baron You mean the talk about Madame Armande? La Forest [Swiftly.] There's nothing to that. 16 MOLIERE [Act I Baron Think so, my friend? Ah, what a fool is the great Moliere! I do not think he will like his crown of horns; but love sees all and love sees nothing. La Forest What do you know of love? Baron I'm only seventeen but I've had four affairs to my credit, with one to discredit the other four, for she was old enough to be the aunt of my mother's aunt. What a mess of kissing is life. La Forest! La Forest If there be any truth in this talk about Madame, his wife, God knows what will happen. No one has ever loved as he. Baron Old lady, I see you're determined to be un- happy and now I'll give you some cause. La Forest What? Baron Something else, my dearie. Act I] MOLIERE 17 La Forest What, for the grace of God! Has there been trouble with the King? Baron Something that in the end is more mighty than that. Come closer and I'll whisper to you. La Forest What is it? Baron ' [Very seriously.] I'm thinking of leaving the troupe of Moliere. La Forest So? Baron Do you think he'll be able to survive it? La Forest Go, and good riddance to you. What were you, you imp of the gutter, when he took you in and made you a member of the troupe of Moliere? Baron [Strutting about.] There's a shift in fashions. The Court's gone classical again. Moliere is getting old fashioned. I'm signing with the company at the Bourgogne. 18 MOLIERE [Act I La. Forest You're jesting, my little Baron. Baron No, it's true. La Forest He has been your friend. It will hurt him to the quick. Baron See that Madame, his wife, hurts him less. La Forest All that about his wife's a lie, I tell you. Baron Wait and see. Each for himself in this world and the devil for those who aren't. Why, there's not one in all the troupe but knows. Even Colinge, who plays the fools and is one, is wiser than Moli- ere when it comes to Madame Armande. La Forest If you weren't such a child I'd beat you. Baron Beat, as you will, but the truth abides. La Forest You filthy little thing you! [She is about to strike him.'] Act I] MOLIERE 19 Baron Look out, old lady, Christ will never forgive you if you hurt a genius. [He has run around the table, La Forest after him as Armande enters. She is but lit- tle past twenty, fresh and exquisite, impetu- ous, wilful and passionate, but in the depths of her nature, as yet unstable and unformed, are hidden possibilities of deep tenderness and an acute sensibility to pain.^ Baron [As La Forest is very close to him.] Look out! Look out! Armande You're still here. Baron. What's the matter? Why the noise? Baron [Breathless.] We're in hot dispute, this tender thing and I, about the classics. She's hectic for Homer whilst I [he's gasping], I'm middling warm for Vergil. La Forest [Her arm lifted.] You, you! 20 MOLIERE [Act I Baron What's your opinion, Madame? Armande My opinion is that you'd best go before my hus- band's back. He'll want quiet for his work. La Forest [T^o Baron.] Yes, get out. Madame, the master is to read to me this morning. Armande Maybe not this morning, La Forest. La Forest Ah, yes, indeed, Madame. That's never changed. It's Wednesday and for twenty years he's always read to me on Wednesdays. He wouldn't give it up even if the King were coming. Armande He is. Baron [In amazement. 1 What? La Forest He is, Madame? Act I] MOLIERE 21 Armande The priests are up in arms against Jean's play, "TartufFe." La Forest [In a temper.] The devil damn them all. Why, it's so funny one dies laughing but to hear it. Armande The priests find libel in it and so His Majesty's coming to hear some scenes this morning and to decide whether or no he'll grant us right to play it. La Forest Leave that to Moliere, Madame; there's nothing in the world he cannot do. Baron Nothing, save one. Armande What's that, my little Baron? Baron Keep for himself what isn't his. Madame, you understand me. Armande [Resenting the imputation in his tone.] That's very cryptic. 22 MOLIERE [Act I Baron Search in your heart and see if you can't find the key. And now good-day to you for I haven't eaten since five this morning. [And he exits. '\ Armande I do not like Baron. La Forest The love that's lost between you wouldn't make straw for a swallow's nest. Armande "What do you think he meant, La Forest? La Forest Madame, I do not know. Armande Yes, you do. What, what? He is jealous of my success, isn't he? La Forest Perhaps. Armande Jean must be rid of him. La Forest That will be easy for he's going. Act I] MOLIERE 23 Armande Going? Is he the first rat to leave the ship? There are rumours, La Forest. La Forest [Pointedly.] Yes, of all sorts, Madame. Is there a cause? Armande What do you mean? La Forest Rumours of what? Armande That the troupe of Moliere is losing favour. The church would crush him and there's talk that Jean grows too arrogant. Why, after the ballet on Saturday at Chambord the King's Mistress sent for Jean to hear his latest play. [La Forest suddenly looks up.] But he was too weary. La Forest, would you believe it, too weary to go. La Forest Was he, Madame? Armande Yes. Only a very foolish man could have been as weary as that. Think what her interest may mean to us. 24 MOLIERE [Act I La Forest Madame, you were a little child and you do not remember but he was happier in the old days when we trouped from town to town and our thoughts were never bent on kings. Armande Those days are over. Now he is in and being in must stay. La Forest Monsieur La Fontaine says that the Master wastes his genius on these ballets that he's for ever writing for the King. Armande No chance should be forfeited at Court. In a few months our place may be less secure than now. LuUi is plotting against Moliere. Jean must bend before his Majesty for there's a saying. La Forest, that a King's favour is a ladder that trembles when one would climb. La Forest [Hot with sudden honesty.^ Would to God it might fall, Madame ; can't you see what is happening? He is ill. Urge him to give up this endless work. The doctors have warned him. Go with him to Auteuil. It is quiet there out in the open. I've not been with him all Act I] MOLIERE 25 these years for nothing. I know that unless you go— Armande In a month. La Forest, there will be time. You do not understand me, even you who have been my nurse. I am not doing this for myself but for Jean. La Forest Madame, you are a member of the troupe of Moliere. Armande IBitterly.] The troupe of Moliere. Yes, from the begin- ning. I was born in the lap of the troupe of Moli- ere. All I can remember is this life of the theatre. Don't you imagine that there are days when I would rush for ever from the grey sameness of it all? Have you never thought that I, — I, want to be some- thing besides the wife of a genius, the puppet of his endless imaginings? The troupe of Moliere [and her voice is vibrant], God, would that I were done with it. La Forest Madame, Madame! Armande No sooner are we back from the Palace than I'm hungry for the luxury of it all, for mornings that 26 MOLIERE [Act I do not mean rehearsals and for days that do not mean the endless study of his endless parts. La Forest Madame, your husband is the greatest man in France. Armande Is it because of that that you think I'm the happi- est wife in Europe? La Forest I have watched you ever since your childhood. I have seen little by little this fame come to you, to him. Madame, I think it has come but to crowd out peace. Armande Ah, I want to make an end of it. It's all so full that it is empty. It is he that will not give it up, he. You do not know your master as I know him. I am very young. La Forest, but there come moments when I am as old as an aged woman who has never known joy, whose heart is crying out for the happi- ness that she has never known. La Forest Back in the peace of Auteuil you will both find rest. Armande No, I am too young for silence. It will be terri- Act I] MOLIERE 27 ble being alone with him. I'm weary of being the shadow of another even though that other be Moli- ere. La Forest Madame, no good can come of this. We must make the best of what fate has made us. Armande [And her voice stings.^ Because you believe that, you are still a servant. La Forest [Quietly.] It is because I believe that that God has given me my happiness. Armande [She is sobbing.] Happiness; yes, that is the right of each of us and I shall find my own. La Forest [Pleading.] Madame, madame, not at the price of wounding him. Armande There are moments when no price is too high to pay. 28 MOLIERE [Act I La Forest Madame, be careful; I hear him coming. [And MoLiERE stands in the room. He is one of those extraordinary men that one feels as a "presence." He must be played at times with quiet power and at times with all the glamour and colour of romance. One must feel behind his every gesture the flash of his commanding mind. He must personify by multitudinous nuances the comedy, if not the tragedy, of such a mind's slavery to an over- sensitive and ever-present introspection. Un- der the superficial, fascinating charm of his actor s manner must be felt the dominant power of his vitally experienced and mellowed personality. His soul is of the sort that can think in intense clarity of human generalities and at the same moment feel to a degree of tragic poignancy, a sorrow or a happiness when he himself is touched. His intense en- ergy, always spent at high pitch, hangs poised half way between an almost blind adoration of his wife and an unflagging enthusiasm for his work as actor and as dramatist.] MOLIERE Armande, you're early up. ^ Act I] MOLIERE 29 Armande I've come to rehearse with Le Grange. The oth- ers are there too, on the stage, waiting to play the scenes for the King. MOLIERE And you. La Forest, are you here to sing a ballad for His Majesty? La Forest [In an offended tone.^ Have you forgotten that it's Wednesday? Moliere Why, so it is. The play is ready. [And he points to the table.] But first take away these ham- pers and these bottles. [La Forest begins collect- ing them.] I do not like a room after a feast. It's like a theatre when the play is over. Some- thing that has been is dead. Quick, La Forest; I will call you when I am ready. La Forest [Scolding.] See that you're not too long about it. Moliere [Smiling.] Oh, look here, don't scold. 30 MOLIERE [Act I La Forest You're sitting up too late. MOLIERE I promise to reform. La Forest When? MOLIERE Tomorrow. La Forest Tomorrow is the paradise of fools. MOLIERE Right, right, my friend ! It's the moment's faith that matters. For the past has sung itself to sleep and the future is life's gamble. Now, look here, La Forest, you can't carry all those at once. [For the old woman is bent under the weight of the hampers.] La Forest Didn't you say to hurry? No, I can manage these alone. [And she totters out.] Moliere God bless her, I think she could sweep out hell in seven days. Act I] MOLIERE 31 Armande Sometimes her tongue is too free. MOLIERE Let her go babbling to the end, Armande, — her heart is right. And now, good morning, Armande. [And he holds out his arms to her.] Armande So, I've forgotten. [And then she is over next to him and kisses him as a child might kiss its father.] MOLIERE You are tired. We supped too late last night. Armande No. La Fontaine was never more amusing and Chapelle too. He finished all the bottles, [She turns to go.] MOLIERE Armande. Armande What is it, Jean? MOLIERE Why are you in such a haste to go? 32 MOLIERE [Act I Armande I told you Le Grange is waiting. MOLIERE [And his voice is stern.] And so am I. Armande For what? For what? Moliere There's a quality in me that's rare in dramatists. Armande [With just a tinge of irony.] Well, I'll sit down if it's to be a dissertation. Moliere No, for brevity will spare you that. Perhaps you've noticed that in my plays I hasten to essen- tials. Armande [Smiling.] Yes, Jean, I've played in many. Moliere [Stepping closer to her.] And so in life too. Armande, what has come between us? Act I] MOLIERE 33 Armande I do not understand. MOLIERE Nor I. For days, for months I've been watching you. Fancies, I thought, perhaps of my too eager love. And then on Saturday at Chambord hints and almost certitudes, and now on all sides whis- pers of what my heart is trembling to believe. Armande What, Jean, what? [And she is looking straight at him.] MOLIERE Nothing, nothing; you're right. What should there be? Armande Now may I go? The lines are difficult. Le Grange is waiting. MOLIERE Yes. [She turns from him, then as she reaches the door that leads to the stage.] MOLIERE Armande! Armande [Turning.] Yes? 34 MOLIERE MOLIERE [Act I Is there something you would silence? Armande No. spare me by your MOLIERE Then I've misjudged you. Armande You best had save these subtle fancies for your comedies. MOLIERE Last night your songs were over-shrill, your laughter over-gay. It has been like this since Chambord. When I look at you, Armande, you turn from me. [And then almost fiercely.] If there is some one who has intrigued your heart, for the love of God, tell me, Armande, tell me. Armande No one. No one. Moliere Armande. Armande You know I love you, Jean. Moliere I do, and that is why I speak freely to you all, that else a doubt would make me hesitate to say. Act I] MOLIERE 35 Armande There is nothing, nothing. MOLIERE Armande, do not think I do not understand. Yes, I am older than you, but still I know the ter- rible swiftness of the will of youth when it desires. Do you know that they are whispering, they are hinting [and his voice is almost inaudible], hinting — that, De Lauzun — Armande [Starting back.] What! MOLIERE When Lulli speaks of him his lips sneer. Armande Lulli is your enemy and you still believe him. Moliere That is not all. When I passed with you under the trees at Chambord I heard the courtiers laugh- ing. You are the wife of an actor, Armande; you are an actress, and to their filthy minds that means that you are easily taken and that I, I, Moliere, should hide my head in silence and bend before the honour of their choice. Is no woman safe at Court? 36 MOLIERE [Act I Armande None, except de Montespan. MOLIERE You're right. Where's honour in a court where she is honoured? Armande Be careful lest some one hear you. MOLIERE Oh, don't be frightened; the King's not coming yet. Armande She has been kind, Jean, to me, to you. Moliere To what purpose? We are but actors. Armande [Holding out a little fan.] As a sign of her favour she sent this fan to me. She would help us. Moliere Help? Do we then need help? Am I not Moli- ere? Armande La Valliere has fallen, Jean. De Montespan is Act I] MOLIERE 37 nearest to the King. When she speaks it is France that listens. Remember the rival company at die Bourgogne. Some day we may need her. MOLIERE Need her. You too, Armande. Is the taint so easily taken then? Let my work speak for me and not the favour of any woman even though she be the Mistress of the King. Armande, let me see that fan. Armande [Drawing back for there is something in his tone that frightens her.] See how beautiful it is. She has written a motto on the panel. [And then she reads.] "She who flees her lover but flies to love." How beautiful it is! MOLIERE [Taking the fan and impetuously breaking it in his hand.] Armande [Her eyes filling with tears.] What have you done? What have you done? MOLIERE Forgive me, forgive me. [Then tenderly, his voice beseeching her.] Armande, if I am cruel it is my love that makes me cruel. If ever you are 38 MOLIERE [Act I false to me, lie to me, lie to me, so that I may tell the world it lies. See now it's over, never again will I doubt you. Never. You still love me, Ar- mande? Armande As I have always loved you, Jean. See, your work awaits you. [She is over, next to the table.] Here at least there lurks no doubt, no bitterness. Don't, Jean, don't. It hurts me when you ask me to forgive you. Can't you understand? Don't. Don't. [And then at the door.] La Forest, your master is calling you. [And she exits to the stage and when La Forest enters Moliere is seated at his table.] MOLIERE So, to work. [He takes up a few sheets of the manuscript.] Where were we last Wednesday? La Forest The scene where your hero goes blind with jeal- ousy. What a fool he is for all his chatter. Moliere He's very like me, isn't he. La Forest? La Forest [Bluntly.] Yes, Master. Act I] MOLIERE 39 MOLIERE , [Smiling.] You're frank, my ancient critic. La Forest You're both too honest, you and* your hero, this Alceste. Truth goes shivering in a world where lies are raiment. Master, don't harken all you hear. MOLIERE You're right. Well, sit down. La Forest [After a pause.] Master, I know what's troubling you. MOLIERE My comedy? Why, no, it's going well. Yes, here we are. [And he begins reading.] "Now Alceste rushes in with the letter in his hand." La Forest [Interrupting him.] I think he would be more of a gentleman if he walked in slowly. MOLIERE Perhaps you're right. Do you think I best had change it? 40 MOLIERE [Act I La Forest [Impatiently.^ Why do you read to me if you don't intend to do as I say? You are a dramatist and you may know how to write plays but I am a cook and I know the public taste. I tell you to have him walk in. MOLIERE [Smiling, Jl But why? La Forest What a fool you are with your questions. If he rushes in don't you know he may trip on his sword and then they will laugh where you don't want them to. MOLIERE Yes, there's something to that, but he doesn't have to have a sword. La Forest Then there's no fighting? MOLIERE No. We have changed all that. La Forest I always tell you it will be difficult to make your plays interesting if there isn't any fighting. Act I] MOLIERE 41 MOLIERE All of the fighting goes on in his doubts. La Forest So? MOLIERE Don't you know that the greatest battles are fought in the heart of man? La Forest That sounds well enough to say but will it be worth listening to in the theatre? Moliere That isn't in the play. La Forest Well, never mind if it is or isn't. Don't you know that all the great plays are about war and death? Moliere ^ [Laughing.] They used to be but now Moliere is in the field. La Forest You think very well of yourself, don't you, Mon- sieur? Moliere And you. La Forest, what do you think of me? 42 MOLIERE [Act I La Forest I'll tell you when the play is written. [At this moment Colinge enters. He is an old man who has been from the beginning a member of Moliere's troupe, — a poor old played-out actor pathetically conscious that the end of his career is upon him. His adora- tion for Moliere is that of a faithful old dog for its master.^ Colinge Master, may I speak with you? La Forest Get out, Colinge. Can't you see that he's read- ing to me? Colinge Oh, I'd forgotten it was Wednesday. La Forest This time we'll both forgive you. [He turns to go.] Moliere Colinge, what is it? Colinge Master, can you spare a moment only? Act I] MOLIERE 43 MOLIERE Of course, come in. La Forest [Resenting this.^ What! MOLIERE Now look here, La Forest, just because you are my critic you needn't think you own me bones and body. La Forest [Angry.] So ! You're going to let him interrupt your play so that you two cronies can sit and gab. Women have the name for chatter, but we are hard put to it to beat you men at gossip. Moliere Colinge, sit down. La Forest Well, sit down; can't you hear, Colinge? Moliere La Forest, I'll call you when I'm ready. La Forest See that you are not too long about it or I'll not listen to your stupid old comedy at all. [She exits.] 44 MOLIERE [Act I MOLIERE , Well, Colinge, what is it? COLINGE Master — I — I — MOLIERE Yes? Colinge [Hesitantly.] Monday at rehearsal when I forgot my lines you didn't seem to notice it and yesterday when I couldn't get the words you passed it over tho the company sat snickering in the comer. MOLIERE I've written so many lines that I think the world can spare a few. [And he scratches out several on the page before him.] Colinge Master, that was at rehearsal; what — what — [and he is almost afraid to say it] — what if I should forget some day during a performance? Moliere They'll bless you if you slice it. Most plays are twice as good when half as long. Act I] MOLIERE 45 COLINGE That is true of Racine maybe, but not Moliere. Master, what if all of the speeches should some day go from me? Last night I woke suddenly from a dream; the play had broken and the people jeered because Colinge could not go on. Moliere [Kindly, sweetly.^ Colinge, you were only dreaming. If that should happen they would never know. Just turn about and say: " 'Twas Wednesday last" or "Sir, your ribbons are awry" — or this or that, — just say it deeply with your voice in some new register and they will think the play's beginning over. Colinge [And a sob begins in his voice.] It's the first time it's happened in all the years I've played with you. Moliere [His arm about him.] It's about time you showed some temperament. The actor who is always perfect is no perfect actor. Colinge [Half tears, half laughter.} Master, you jest to spare me. 46 MOLIERE [Act I MOLIERE I did not think my jests spared any one. COLINGE Don't hesitate to speak. I'd rather that you'd say it, sir, and it were over. MOLIERE What, Colinge? COLINGE What I dread to hear but when the day comes I suppose each of us must be ready. Say it, mas- ter [his voice is faltering] ; say that I am too old, say that the troupe of Moliere has no longer any use for me. Moliere Colinge ! Colinge r Your comedies are too neatly written for my stumbling head. It's time for me to take my cur- tain. Moliere My friend, for twenty seasons you have played with me and now because you miss a rhyme or two you think your use is over. Colinge, where would I find another whose art's so mellow and so tested by the years? Where would I find another whose Act I] MOLIERE 47 listening is so eloquent as yours, whose humour is so rich yet never vulgar in its over ripeness? Co- linge, what would the troupe of Moliere do with- out you? COLINGE Master — Moliere IFor the old mans voice is next to tears.] Or have you perhaps had an offer from the com- pany at the Bourgogne? Is it thus you want to break the news to me? Well, God speed to you, my friend, and never forget the tricks that Moliere taught you. COLINGE Master, I never want to leave you. Moliere Well, don't whilst you are happy with me. You'll play a doctor in a comedy I plan to write, a comedy about a man who thinks that he's an in- valid. We're all fools to our thoughts, Colinge. My hero is to think he's dying of all the ailments in the index, my friend Colinge believes his playing days are done and I, Moliere, think that perhaps my wife — ah, well, at times this Moliere thinks too much. But now to work. [He is back at the Cable.] 48 MOLIERE [Act I COLINGE Wait and see, master; I will not slip tomorrow. MOLIERE Of course you won't. COLINGE Even if my new part is half your comedy 111 know each word of it. MOLIERE [Laughing.] Well, hardly half. Leave me a bit. I'm play- ing in it too. Tell La Forest that I'm ready. [And CoLiNGE exits.] La Forest [Entering.] You've kept me waiting long enough. MOLIERE [Half to himself.] Poor Colinge. La Forest What's the matter with him? MOLIERE Nightfall, La Forest, nightfall. Act I] MOLIERE 49 La Forest Nightfall. Rubbish! Well, let's to work. MOLIERE Yes, I'm ready ; come sit down. [He takes up his manuscript.] La Forest What do you call your play? MOLIERE "The Misanthrope." La Forest What's that? MOLIERE A man who thinks he alone is right. La Forest He's lonely, isn't he? Moliere Yes, and bitter. La Forest How has he learnt this bitterness? Moliere Through love and through the hurt of love. 50 MOLIERE [Act I La Forest It is good to be old and done with love. One can only be happy when that happiness is over. MOLIERE Love is the last dream we awake from. [And as he speaks he takes from the table the broken bits of Armande's fan.] La Forest [Watching him.] Go on with your play. MOLIERE It will be finished in a few weeks now that the fetes are over. La Forest Why don't you give up this acting for ever? You're rich, famous. MOLIERE [Smiling.] Were you a comedian, La Forest — La Forest [Interrupting him.] Monsieur, every morning I am on my knees thanking the good God that he has made me a, human being and not an actor. Act I] MOLIERE 51 MOLIERE Were you a comedian you would know that an actor must go on. Were you an actor you would realize that nothing is so transitory as the fame of a player. Today the beautiful applause of Paris is in our ears, the King has approved our comedy, and then for months we have to pay the guards to keep the crowds away from the theatre. And then tomorrow — and that tomorrow sometimes comes too swiftly — tomorrow we are, perhaps, forgotten and at some country fair, unlicensed, and in vain we spill our souls to the yawns of the yokels. That is why an actor believes so terribly, so ridiculously in the moment; any moment, La Forest, may be his last. Why, every day when I see you light the candles before the play, then I know that I shall never give it up. Sometimes I even think that I shall die acting. [There is a pause. Then the sound of a coach stopping in the street.^ La Forest The devil take the King if he's come to interrupt us. ' Armande [Entering from the stage.] Some of the coaches are coming, Jean. His Majesty will follow in a moment now. 52 MOLIERE [Act I MOLIERE Are all the actors ready. La Forest? Tell me when the King is here. \_He exits by the door leading to the stage.] La Forest [At the window.] The outriders are in yellow with ribbons of blue. Is it the King's coach, Madame? Armande Ribbons of blue. [And her voice is trembling.] La Forest, open the little door beyond the passage. [La Forest exits. A pause. And then there is the sound of voices and the next sec- ond DE Lauzun is in the room. He is young, debonair, extraordinarily handsome and in the grace and ease of his manner, a perfect courtier.] Armande How often must I beseech you not to come to the theatre? De Lauzun Bidding me stay away but draws me nearer. I have chosen this chance of the King's coming, just to see you, speak to you. Armande God ! You are torturing me. Act I] MOLIERE 53 De Lauzun And you? What do you do to me? [He steps nearer to her, holding out his arms.] Armande Don't, don't. Do not come here. I am afraid. Go! Go! De Lauzun Shall I, Armande? As you bid me — [He has taken a step toward the door.] Armande No, — stay a moment. What shall I do? What shall I do? De Lauzun I have told you. At Court all will be different. My mother's influence — she is lady-in-waiting to the Queen. A word from me — you understand. I love you but whilst you are here I can do nothing. Armande [Bitterly.] . Whilst I am here. De Lauzun When? Where shall we meet? Armande I am for ever watched. 54 MOLIERE [Act I De Lauzun Where? Armande I do not know. Sometimes I'm afraid. When he looks at me I know that I would rather die than hurt him and then come the long hours when my heart cries out for you. De Lauzun Armande ! [He has taken her into his arms.^ Armande God! God! De Lauzun Near the Palace at Fontainebleau is my father's hunting lodge. There's no living being about but the old man who keeps the dogs. It's so quiet there in the twilight, Armande, so very quiet. Armande I tell you I am for ever watched. I cannot get away from Paris. De Lauzun Then in the city here I'll meet you at the milli- ner's. Act I] MOLIERE 55 Armande He goes with me. There is no detail of the cos- tumes too small for his attention. De Lauzun At the shops on tlie Bridge. Armande Perhaps. I do not know. When you are away I would be with you. Then my heart bids me slam the door of his theatre for ever and be gone. But then I look up — and his eyes are upon me. Oh, God, what has Fate done to me? [She sinks into a chair at the table.^ De Lauzun You do not love me, Armande? Armande Yes, I want to go with you, but something — something — De Lauzun We men are braver. Armande It isn't fear but something I do not understand. De Lauzun This afternoon, after the play, my coach will be waiting beyond the bridge. 56 MOLIERE Armande No, I cannot. De Lauzun You do not love me. Armande [Act I Beyond the bridge. Some day perhaps, but — no — no. [The sound of more coaches stopping in the street. She is at the window.] It's the King. La Forest [Rushing in.] Madame, the King, the King! Armande Yes. Go tell your Master. La Forest [At the door, calling into the stage.] Master. The King, the King! Armande [Low to DE Lauzun.] Pity me, pity me. [At this moment Moliere stands on the threshold, his eyes glancing from de Lauzun to Armande. He is about to speak, the blood mounting in his face. La Forest stands Act I] MOLIERE 57 watching him. His hand, lifted to his heart, is trembling.] MOLIERE [Very low.] Armande. [There is a pause. Then suddenly the sound of voices in the passage way.] La Forest Master, the King. MOLIERE [Suddenly straightening up.] Yes, I am ready. [One or two courtiers enter. And then the voice of the chamberlain is heard calling.] The King! The King! [MoLiERE, Armande, the Courtiers and La Forest all bow facing the door and Louis OF France enters and on his arm is leaning Francoise de Montespan. The King is pompous, self-indulgent and inordinately con- ceited. He has learnt through dire necessity to cover his stupidity under royal irritability. Even in spite of this he has a certain personal charm, but though he has had two mistresses to his credit and several others not historically recorded, it is more to the fact that he is King 58 MOLIERE [Act I than an irresistible gentleman that his favour with the ladies has been so regally extensive. Madame de Montespan, to quote Baron and the superlative Saint-Simon, is as beau- tiful as the day. She is imperious and at the same time fascinating, quick, humorous and witty. She is never for a moment off her guard, always alert with the sensitive alertness of an astute woman whose life has been a per- petual campaign for power and who has learned that most subtle of the lessons of femi- ninity: the ability to anticipate another's men- tal mood.^ Following the King are one or tivo more Courtiers, de Montespan's ladies and La Fontaine, the writer of the Fables. He is a quaint, eccentric man, a mixture of the direct and the aloof, a man whose speech is coloured by a peculiar attractive quality of absent- mindedness. 1^ Moliere [Approaching and kneeling to the King.] Sire, you're welcome. The actors are waiting to play the scenes that the Reverend Fathers of God find libelous. Louis So, how long do the scenes last? Act I] MOLIERE 59 MOLIERE Only the length of your amusement, Sire. Louis Some day I shall issue a royal edict so limiting all plays. La Fontaine [Dryly.] That would close nearly every theatre in Paris, Your Majesty. Louis [Patly.] No, sir, all in France, but at the moment I except Moliere. He is an excellent fellow. MOLIERE Your Majesty, that is because I have not yet learned how easily you are bored. Louis Exactly. Why do the Abbes object to your com- edy? MOLIERE Perhaps because it tells the truth. Louis What's its theme. Sir? 60 MOLIERE [Act I MOLIERE [His eye on Armande who stands at one side close to DE Lauzun.] It's called "Tartuffe," Your Majesty, and it's about a hypocrite. Louis The theme's a pregnant one. You play in it, Moliere? MOLIERE Today, Sire, only a small part. Louis It takes a big man to play the little parts. Where's your make-up? Moliere In my art. Louis Well answered. Can you teach me to speak so patly? Moliere In one lesson. Sire, provided only — Louis What? Moliere That you were Moliere, Act I] MOLIERE 61 Louis [Enjoying the answer tho the poinfs against him.] La Fontaine, make a note of that. La Fontaine [Smiling slyly.] I've already done so, your Majesty. Louis And tell these things to the Queen; they may amuse her. She must be amused, otherwise having nothing to do she is apt to come to my apartments on the pretext of inquiring how I feel. I'm in ex- cellent health. Have a bulletin sent out each morn- ing, until Lent, saying I'm in excellent health. Mme. de Montespan God so preserve you. Sire. Louis Frangoise, thanks for your prayers. [Then to Armande.] Good morning, Madame. At Cham- bord you were a delight to the eye and a ravishment to the ear. You must come some time and play for the Queen, only play something that's religious. Moliere, you will write something sacred for Her Majesty. 62 MOLIERE [Act I MOLIERE [Bowing.] In all things it will be my privilege to please you, Sire. Louis Good. Full of Saints, Moliere. A play quite stuffed with saints, lest Her Majesty misunderstand it. Mme. de Montespan j Too much holiness may crowd out art. Moliere And too much art, the holy. Louis That's good, Moliere. La Fontaine, make a note of that. La Fontaine Yes, Your Majesty. Louis [Magnificently.] Moliere, you have a way of saying exactly what I'm thinking. Some day I must act in one of your plays. I'm a very excellent actor. Moliere Not so good as I, Sire. Act I] MOLIERE 63 Louis Why not? Moliere Sire, I can play the King of France, but can you play Moliere? Louis Write a scene for this lady and myself. [He points to DE MoNTESPAN.] Something pastoral and quieting. Mme. de Montespan i [With a suggestive delicacy.] What, Louis? Did you say quieting? La Fontaine [His voice half winking.] Why not, Madame? You're both most excellent actors. Louis Exactly. And follow it with an interlude of shepherds for the ballet. I'm an expert dancer too. And then another scene tender and peaceful for the lady and myself, under a sycamore. Some twenty pages, say. Mme. de Montespan [Laughing.] Not too long in the preamble, Moliere. [And 64 MOLIERE [Act I then slower, more warmly than she knows. ^ Let us soon come to the loving. MOLIERE A love too swiftly given is a love too swiftly done. Sire, the actors await your coming. \^He stands aside to make way for the King to pass into the theatre. I hope you will approve of our scenes. Louis I do not know. A play is like a woman. One never knows if it is good or not until it is over. [And the King exits, followed by Moliere and others. At the door Mme. de Monte- span stops Armande.] Mme. de Montespan You are in the scenes, Madame? Armande No, Madame, not these. [She steps nearer to the door.] Mme. de Montespan A word with • you, Madame. Do not be dis- turbed. His Majesty will grant permission for the comedy. Moliere has already won his heart and I have spoken in his favour. You both have greatly pleased us. Act I] MOLIERE 65 Armande [Bowing.] Madame. Mme. de Montespan Yes, at Chambord you were exquisite. Armande Madame. Mme. de Montespan I marvel at you. Armande It is an art which mellows with experience. Mme. de Montespan [Quietly. Hardly looking at Armande.] As for me I have never been able to seem what I am not, but I regret it. We are but tools in the hands of men, our masters, unless we have refuge in seeming what we are not. [A pause.] But, Madame, perhaps you have not suffered at the hands of love? Armande My life has been from the beginning very guarded. It is only when we are summoned to the fetes at Court that I see other gentlemen besides the members of my husband's troupe. And they are for the most part very dull. Actors are very stu- pid, Madame ; most of them without real feeling. 66 MOLIERE [Act I Mme. de Montespan You players are for ever imagining the emotions of others. Is that why you have so few yourselves? Armande Perhaps, Madame. Mme. de Montespan I have been watching you much, Madame. [And Armande looks up at her.] It is not alone your art that interests me. Armande No, Madame? Mme. de Montespan Your manners, too, are so graceful, so distin- guished. For each part you play they are correct. Armande I have learned much from my husband, both as to manners and characterization. He has the fac- ulty of watching people and of understanding their souls. Mme. de Montespan Always, Madame? Armande Yes, always. Act I] MOLIERE 67 Mme. de Montespan Surely it is easier for a dramatist to know men than women? As for me I think I never know a person until I have seen them weep. It is when we are sad that the soul is off its guard. [And suddenly she looks at Armande.] Armande Jean says it is when people laugh that they are most themselves. Mme. de Montespan Perhaps that is because he doesn't like to weep. Have you ever seen him weep, Madame? Armande No, Madame. [A pause.} Mme. de Montespan Your dresses too, Madame, are exquisite. Armande They are of my own design. I have them made thus that the lines of the body should not be hidden. Mme. de Montespan You are an artist then. Armande Thank you, Madame. m MOLIERE [Act I Mme. de Montespan But— {And she has taken a step nearer to her and stands looking into her eyes. Armande, feel- ing the scrutiny, tries to turn away.] But — even the charm of your acting has not been iible to hide what to the eye of a woman is as clear as this ring here on my finger. Men are such fools. They so often seek vain shadows in the midst of realities. It is a beautiful ring, is it not, my dear? Louis gave it to me the first time — ah, well. [ Then her voice takes on, almost a note of command.] Gome closer to me, child. Armande Madame, with your permission. Mme. de Montespan ^ [Siveetly.] Yes, Madame, with my permission. Armande I have a long part at rehearsal tomorrow. I have left the lines below in my dressing-room. Mme. de Montespan [The command is now tenderness.] Why do you turn away from me? I am Fran- Qoise de Montespan. Do you think I do not know the heart of a woman? Act I] MOLIERE 69 Armande Madame, I — Mme. de Montespan - No. Do not acknowledge, do not deny. Your great sad eyes have answered me. [She has taken her hand.] Your husband is not kind to you? Armande [Confused, it is difficult to withstand the directness of her pity.] Too kind, too kind. Mme. de Montespan ^ [After a pause, her voice almost tremulous with sympathy.] These scorching shackles of gentleness are the most terrible tyranny of all. Come closer to me, Armande. You will permit me to call you Ar- mande? Perhaps you will care to tell me when you know that I pity you. Armande Tell you what, Madame? What? Mme. de Montespan What you are saying clearly though you do not speak a word. Do you not want to tell me? Do you not want to tell any one? Do not answer me if you do not wish to. Shall we speak of something else? [Her hand is on the girl's shoulder. J 70 MOLIERE [Act I Armande [Suddenly.] Yes, yes, I want to shriek it out to all Paris^ — to all the world. Mme. de Montespan [Her arm about her.] Softly, softly, my dear. Would it not be wiser to whisper it to a woman? [And then very low.] You do not love your husband? Armande I — I — He has my respect, my admiration. Mme. de Montespan You are right. It is as I thought. I know, I know. One never loves what one respects. [There are tears in her voice.] My dear, my dear. Armande [And all that she had tried to suppress wells up.] In the midst of his love which stifles me, I am alone, alone! Mme. de Montespan [Stroking her hair.] You are a young, a beautiful woman; have you never thought a way out of this loneliness? Act I] MOLIERE 71 Armande I see no one ; I know no one. Mme. de Montespan [Smiling.] Then the rumours of the attentions of the cour- tiers are but empty gossip. Armande Yes. Mme. de Montespan [Slowly watching the effect of her words,] Then your husband doesn't really know that you love de Lauzun? Armande [Springing back.] Why do you say that? [Her tone has told all.] Mme. de Montespan So, my dear. Armande I have not seen him since Chambord. Mme. de Montespan No, madame? But we're in Paris now. I, too, have loved, madame. I have watched you. You should guard your voice, — your voice grows hot when he comes near you. 72 MOLIERE [Act I Armande No one knows. Mme. de Montespan No one need know, my child. [She is still smiling.] Armande Why do you look at me like that? Mme. de Montespan Your youth is too beautiful to be wasted, Ma- dame. I do not think that God desires that. Come closer to me; I pity you. [And again she holds out her arms to her.] Only the ecstasy of requited love is a fitting offering to lay on the altar of the great wonder of life. Have you known that ec- stasy? It is that which makes us very beautiful. It is that which makes us gods. Nature has not meant that that should be denied. Ah, madame, my heart bleeds for you. Armande [She is weeping noiv.] What am I to do? I am for ever watched, for ever imprisoned in this bitter love of his. Mme. de Montespan [For a second a strange look in her eye.] It is a great love, Madame; crowded into a mo,- ment it might set the. world, aflame.. Act I] MOLIERE 73 Armande Too great, too great; what shall I do? When he is away I know I love de Lauzun. I love him; I love him. When he speaks to me it is my heart that listens. When he looks at me my soul goes out to meet him. This morning, Madame, — ah, what a fool I am, — I stood at the window watching the flight of the swallows, — because when they flew across the river I seemed to hear his laughter. And on the way back from Chambord I counted the mile posts, one by one — when we passed them my breath choked me; they seemed to be on fire. Each one brought me nearer to Paris and to him. I half hoped, half feared, he would find some excuse for coming to the theatre and now that he is come I am afraid. No man can understand this, Madame; what shall I do? What shall I do? Mme. de Montespan Under my apartment at the Palace there is a lit- tle garden. No one enters there save at my com- mand. Be there a little before twilight tliis eve- ning. I will tell de Lauzun. Shhh! They are coming back. No, — do not thank me. Say noth- ing. I am your friend. Go; do not stay to see de Lauzun. I have watched your husband watch- ing you. [And Armande exits and de Montespan is over at the table where she has thrown her 74 MOLIERE [Act I gloves among some books, and stands with some pages of the manuscript of "The Misan- thrope" in her hand when the King, Moliere and the others enter. ^ Louis Frangoise, you are not coming to hear the play? Mme. de Montespan No, Louis; these pages have intrigued me more. I'll leave you to decide about the priests and hypo- crites. You know how Bossuet bores me. But this I find closer to my liking. Louis What is it, Moliere? Moliere My new comedy, "The Misanthrope." May it be an honour to you and to your reign. Your Maj- esty. Mme. de Montespan It will. It's deeply felt. Moliere, how have you imagined this? Moliere Madame, I am a dramatist. Mme. de Montespan But this is life. Act I] MOLIERE 75 MOLIERE Your distinction breeds divorce. Must the two be separate? La Fontaine Not when Moliere, the master, weds them with his art. Louis La Fontaine, you're too elaborate. What's the theme of this comedy? Perhaps I'll play in it. Mme. de Montespan Jealousy, Your Majesty, jealousy that feeds upon its own heart even tho the food be bitter. Louis I'll hear a page. Moliere With pleasure, Sire, but what of the priests and my poor hypocrite in there? [He points towards the stage. ^ Louis Later we'll hear the rest of that. But now a page of this since it so moves this lady here. Moliere With your permission. Sire. [By this time the rest of the courtiers have 76 ' MOLIERE [Act I entered from the stage and stand in the room. The King seats himself as Moliere takes the sheets from the table.^ Louis Choose at random, Moliere. A speech or two so that we may taste the flavour of it. Moliere [Reading.] "Everywhere I see nothing but base flattery, self- seeking, injustice and deceit. No, I can bear it all no longer and my intention is to break for ever widi all mankind." Louis Yes, it's apparent there's a woman in it. Mme. de Montespan You're cruel, Louis. Louis Go on, Moliere. Moliere Now Philinte speaks: "This philosophic mo- roseness is, I think, too fierce." La Fontaine [His tongue in his cheek.] Yes, I agree with him. Act I] MOLIERE 77 Louis By your leave, La Fontaine, this is a comedy and not a commentary. [And at this moment the door opens and The King's Chamberlain enters.] The King's Chamberlain Sire. Louis Well, what is it? The King's Chamberlain Your pardon, Majesty, but word has just come from the Palace from your Minister Colbert that you have promised an audience to the ambassadors of Spain before noon today. Louis Does my Minister Colbert think that these Am- bassadors are more important than the comedies of Moliere? The King's Chamberlain Again, Your Majesty, pardon, but your Minister also desires me to tell Your Majesty that you've kept the Spanish Ambassadors waiting for more than a week. Louis [Annoyed.] What shall I do, Moliere? 78 MOLIERE [Act I MOLIERE Sire, out of respect for Madame, your wife, who is a Spaniard, I think you should see them before the month is up. Louis I do not relish these Ambassadors. I would hear more of your comedies. There are too many am- bassadors, too many countries and too many kings. There should be only one king and he should blaze like the sun. MOLIERE The sun of France, Sire. Louis Yes, and in the meantime as to your "Tartuffe" I've heard enough. Let the priests yelp. You actors, too, are God's instruments. Let not one in- strument of God restrict the other. Come and play it at the Louvre. Your comedy will have the royal sanction. MOLIERE Thanks, Your Majesty. Mme. de Montespan Louis, you have decided well. Louis Frangoise, I always do. My favour is my praise. Act I] MOLIERE 79 La Fontaine [Pointing to Moliere.] None has deserved it more than he. Mme. de Montespan He should be crowned with laurels. Moliere Madame, such matters do but scratch the brain. La Fontaine He is the chief glory of your reign, Sire. Louis What's that? [His pride has been tactlessly touched.] Is my reign to be remembered for Moli- ere or Moliere for my reign? Moliere I am but a ray of your refulgence. Sire. Louis See that no shadow ever dim the flame. And now we'll see these Ambassadors. Your comedies have put me in the proper mood. [He turns to go.] The King's Chamberlain The King ! Make way for His Majesty the King! [And then follows a scene of bustling cour- 80 MOLIERE [Act I tesy attending the departure of the King. As DE Lauzun passes Madame de Montespan she stops him.^ Mme. de Montespan Tonight in my garden, at twilight. [The courtiers are leaving; there is much bowing and formality but in the end Moliere is left alone and sits down to write.] La Forest [Quietly entering.] Shall we go on now, Master? Moliere No, not now. Where's Armande? La Forest In her dressing-room, studying her lines. Moliere Tell the actors they are free until this afternoon's rehearsal. La Forest All has gone well. Master? Moliere Yes, yes. La Forest God be praised. And I'll let no one in. Act I] MOLIERE 81 [She goes about quietly closing the doors and exits to the stage to tell the actors they are dismissed. Moliere sits in the sunlight, thinking, his quill lifted, waiting for the mo- ment of inspiration. He writes a word or two. A pause. He leans upon his arm. Then he is up pacing about the room, mumbling the speeches to himself. He has reached the door that leads to the stage and turns in amazement for standing in the passageway that leads from the street he sees de Montespan.] Moliere Madame! Mme. de Montespan A moment, Moliere; pardon but I've left my glove there on your table. [And he brings it over to her and hands it to her with a bow.] Mme. de Montespan A word, Moliere, before you bow too low. Do you not think that I am your friend? Moliere Madame, I hope so. Mme. de Montespan I will give you proof. Come to my apartments this evening if you would serve me. 82 MOLIERE [Act I MOLIERE Madame, this evening — Mme. de Montespan Do not say no, Moliere, for once before I bade you come. Moliere [A little hesitantly for there is something in her manner which he mistrusts.] If I can serve you, Madame. Mme. de Montespan You can and that will greatly please me for 1 thought, perhaps, your allegiance was only to the King. Moliere If I serve one who is dear to His Majesty, do I not also serve the King? Mme. de Montespan That is well answered. [Her tone is low, per- haps to hide a note of command.] You will come? Moliere Yes, madame, I will come. Mme. de Montespan A little after twilight, Moliere. [And now her words are even lower and in her voice there is the Act I] MOLIERE 83 beginning of something half hope, half passion.^ Remember, a little after twilight. [And she is gone and he stands looking after her, an expression of misgiving in his eyes as the curtain falls.^ ACT II The Characters in Act II Are Madame de Montespan. La Fontaine. Giovanni Lulli, the Court Musician. Hercules, a black boy, Page to Madame de Monte- span. The King MOLIERE and two Ladies-in-Waiting to de Montespan, The scene is the Apartments of Madame de Mon- tespan. The time of the action of Act II is twilight of the same day as Act I. ACT II The apartment of Madame de Montespan, a room in the most exquisite style of the period of Louis XIV. In an alcove is a low bed, the frame of which is made of embossed silver. On the other side of the room is a tall window which looks below into the court or tiny pri- vate garden of the King's Mistress. Opposite the window is a small door in a panel in the wall. Madame de Montespan is at her mirror. One of her ladies is bending over arranging de Mon- tespan's hair. Another stands a little to one side, a bottle of perfume in her hand. On the toilet table are various trinkets, among them a tiny watch, and near by in a golden vase are some deep purple Iris flowers. At t>k Mon- tespan's feet on a cushion sits Hercules, her little blackamoor, with a tremendous jewelled turban on his head. On one side of the room is LuLLi seated at a harpsichord and on the other is La Fontaine, a book in hand. The two men are alternately reading and playing to the Mistress of the King as she makes her 87 88 MOLIERE [Act II toilet. La Fontaine is more absent-minded than usual and has stopped in the middle of a fable he is improvising and is unable to go on. Mme. de Montespan Well, what happens; how does the fable end? La Fontaine I have forgotten, Madame. [Attempting to re- call the story.] Dear me, what was it about? Well, never mind ; I will begin another. ^ Mme. de Montespan If it is not too long perhaps you will remember this one. La Fontaine Let me see. Let me see. [He sits for a mo- ment in thought.] Yes, yes. [And he begins his story.] "The Dove and the Ant" — Mme. de Montespan Is it short? La Fontaine No longer than Hercules. [He bends over and taps the boy on the head.] Black Boy, do you want to hear my fable? Hercules Wait until I have eaten my chocolate. [And Act II] MOLIERE 89 taking one from a gilded box in a cushion next to him he gulps it down.] Now begin. [La Fontaine sits thinking what the tale is about. A pause. Lulli strums a few bars on the harpsichord.] [To Lulli.] Be still or I will throw my candies at you. Mme. de Montespan [To Lulli.] We'll have the tale without accompaniment, Gio- vanni. [The Ladies laugh. Then to La Fon- taine.] Go on. La Fontaine My fable is about some very little animals. Hercules Smaller than the King's dog? La Fontaine Yes, for one of them is an ant, and the other is a dove. Now I will begin. [And they all sit lis- tening.] At the side of a brook a dove is drink- ing when, lo, an ant tumbles into the water. Hercules Does the ant get drowned? 90 MOLIERE [Act II Mme. de Montespan Be still, Hercules; how would the tale go on if the hero is drowned at the very beginning? La Fontaine My lad, wait and listen. Be more patient. Hu- manity is less patient than the unthinking beasts. Where was I? [A pause.] Oh, yes. [And then he goes on with his fable.] Even now the ant is struggling to reach the shore but all in vain, for to him the tiny brook seems vaster than the sea. Hercules Go on. Go on. La Fontaine \With lifted finger.] But the dove is kind. Mme. de Montespan' Why not, for the dove is love's symbol and love is kind. [Then to one of the ladies.] Do the lackeys know to have Monsieur Moliere wait in the little room beyond the corridor? The First Lady Madame, we have so told them. Act II] MOLIERE 91 La Fontaine [Continuing.] And so the dove with quick charity throws a leaf into the stream and the ant climbs on the leaf and thus is saved. Hercules [Looking up from his candies.] And is that all? Mme. de Montespan When you are older, my black boy, you will know that life saves us from one danger but to lead us to another. [Then to one of the ladies.] See if Moliere is not waiting in the ante-room. [The First Lady goes out.] Mme. de Montespan [Feeling Lulli's eyes upon her.] But we have forgotten your story, my fable tree. LULLI [Impatiently.] Madame, I have composed a minuet for you. Shall I play it? Mme. de Montespan No, not now. [Then to La Fontaine.] What of the dove? 92 MOLIERE [Act II La Fontaine The dove's in danger. Hercules [Looking up.] Yes? La Fontaine For a peasant with bare feet passes and in his hand is a bow and when he sees the dove he lifts his bow to kill it. Hercules I don't want him to kill it. I don't want him to kill it. Doves are white. Mme. de Montespan says her throat is as white as a dove's. If he kills the dove I will tell the King. Mme. de Montespan Stop your chatter. [Then to La Fontaine.] Well, what happens? La Fontaine Just a minute, Madame; just a minute, there! I'm afraid I've quite forgotten. Hercules If you don't know I will ask Moliere. LULLI What? Act II] MOLIERE 93 Hercules [Pointing to de Montespan.] Madame Frangoise says there is nothing that Mo- liere doesn't know. [He begins eating another chocolate.] La Fontaine [Who has been thinking of the end of his story.] Ah! Now I know the end. Mme. de Montespan Well, go on. La Fontaine Let me see — Come over to me, Hercules, and you shall hear the end of my fable. [The boy goes over to him.] La Fontaine [Taking his hand.] As the man is about to shoot the dove the ant stings him in the heel and as he turns his head the dove is gone, thus his supper flies away and there isn't a penny's worth of pigeon left. Mme. de Montespan [Clapping her hands.] Bravo! Bravo! You're improving, my fable tree. You have remembered all of it. 94 MOLIERE [Act II La Fontaine I am well pleased myself, Madame, that I've remembered all. Alas, I forget everything. I haven't seen my wife for years. The only way we could stay together was by living apart. I do not even recall what she looks like. [Then with a sighS\ In life sometimes it is good to forget but not in fables. That is why I make my fables so short lest I forget how they started. Indeed, Ma- dame, some day I am afraid that on a gay dog I will tie a sad tale or make the weeping willows laugh. [The First Lady returns. 1 The First Lady Madame, no one is waiting in the ante-room. Mme. de Montespan Not yet, not yet? La Fontaine Will you hear another fable? Hercules {Decidedly. '\ No, sir, for you take too long to tell them, nor are you so great a writer as the montebank, Moliere. So says my lady de Montespan. Will you take me some day, Madame, if there is room in your great Act II] MOLIERE 95 coach for the King, besides yourself and me, to see this animal man's menagerie? La Fontaine You will have to be tinier than you are, my ebony boy. Hercules [Not to be thwarted. 1 I will go ; I will go. Why must I be tinier? La Fontaine [Pointing to his head and with his voice smilingly poised in whimsy.^ To enter here for all these great and little beasts live in the minutest chambers of my brain. Hercules Madame, this fellow tires me. [Then pointing to LuLLi.] Have your Giovanni play his minuet. Mme. de Montespan [Touching her lips with a last bit of rouge.]^ Is there time for dancing before the twilight falls? LuLLI Madame, there is always time for my minuet. I am Lulli, musician to the King. 96 MOLIERE [Act II Mme. de Montespan So? [Then less lightly to one of the ladies.] Go to my window and see if any one is waiting be- low in my garden. The Second Lady [At the window, looking out.] There is a woman waiting beneath the statue of Cupid. Mme. de Montespan [Smiling.] She will not be there alone for very long. Now if there is still a moment before Moliere comes we will have the music, my Giovanni. LULLI [Angrily.] Can you not keep this actor waiting? La Fontaine* Why so hot, Giovanni? Is there not room at court for all of us? LuLLI [His temper rising.] Not for Moliere. When self -opinion grows too big it may burst its ovm too pompous head. Act II] MOLIERE 97 La Fontaine Then you had best have your own wig tightened, my Italian. LULLI This actor is an upstart, the son of a tradesman. La Fontaine Sometimes the lowest bushes bear the reddest roses. Mme. de Montespan [Looking up at him.^ Yes, that is so, my fable tree. LuLLI The son of an upholsterer. Bah! La Fontaine Remember your own beginning, my Giovanni. Is not a counter in a shop as soft a cradle as a scullery? LuLLI That's a lie. La Fontaine. La Fontaine [Dryly.] But we must all begin somewhere, I suppose, and of that, words avail us naught, ^ave you ever thought, Madame, that at birth we &ay nothing and 98 MOLIERE [Act II at death it matters little what we say though in the interim we may have filled the world with all the idle gossip of our days? LULLI / am something at Court. / am music master to the children of the King. La Fontaine And alas, Moliere is too often player to the pleas- ure of the King. He wastes his genius on these trifles for the court. LuLLi His genius goes too far, Madame. Mme. de Montespan \^For there is something in his voice which arrests Aer.] What? LuLLI He has insulted you. Mme. de Montespan [Swiftly.] What's that? LuLLI Do you not know that he has written a play in which he has had the temerity to satirize you, Act II] MOLIERE 99 Madame, and your husband and even His Majesty, the King? La Fontaine That's a lie. LULLI Boileau heard the comedy. He was telling me at Chambord. In this play, this actor, with his tongue in his cheek, has made sport of you, Ma- dame. La Fontaine Madame, do not believe this. LuLLi . He even boasts that he will have it printed. La Fontaine That is not true. Moliere is too loyal to the King. LuLLi Is he? Mme. de Montespan More loyal to his King than you are to your friend, Giovanni. There is some mistake. The King must not hear of this. Hercules [Jumping up.^ I will tell him if you do not give me another box of sugar plums. 100 MOLIERE [Act II La Fontaine So, my little courtier, you are learning early. LULLI [Significantly.] If the King hears of this, the curtain falls for ever on Moliere. Mme. de Montespan There is some mistake. LuLLI Even this Moliere can go too far. La Fontaine , Do not believe until you know. Mme. de Montespan I don't. [She has gone over to the window and is looking out.] La Fontaine [Straight at Lulli and the words hit him in the face.] Maybe the desire breeds the lie. [A pause.] LuLLi What of my minuet, Madame? Act II] MOLIERE 101 Mme. de Montespan Yes, we have forgotten, — play. [LuLLi sits at the harpsichord and begins playing the first measures of his minuet.] Hercules [Going over to de Montespan.] I have been learning some new steps, Madame. [And then he bows to her until his turban sweeps the floor.] Will you do me the honour, Madame, will you dance with me? Mme. de Montespan [To La Fontaine.] Will you dance, too, my fable tree? La Fontaine No, if he doesn't play too loudly I will doze. Mme. de Montespan [To LULLI.] Begin again. [And she takes the hand of the child and they begin to dance a few measures. Then she breaks from him and rushes over to the window and as he plays Lulli watches her.] Mme. de Montespan [At the window.] At last, at last. I thought the lady would not be 102 MOLIERE [Act II long alone. Play louder, Giovanni. [She is back in the room, her voice aglow.] Louder, louder. Come, Hercules, and we shall finish. [Then as they dance.] Where have you learned these pretty steps? Hercules [Pirouetting.] I peeped thru the door when the children of the King were at their lesson. Point the right toe thus as you turn round. [And he shows her.] Mme. de Montespan Some day with these tripping steps you may win a dusky lady's heart. Hercules Not with my toe's point but my sword's. Mme. de Montespan [With a peal of laughter.] You men are all so masterful. [They go on dancing a measure or two. Suddenly Lulli stops, for standing in the doorway of the alcove is the King. They all turn and bow to his Majesty.] Louis [Stepping into the room.] No, do not stop. I like to find France dancing. Act II] MOLIERE 103 Mme. de Montespan [Gaily.] And will you join us? Louis Not now. Tomorrow, maybe. Or if not to- morrow, then in a day or two, if you are still danc- ing when I am back. Mme. de Montespan [Glancing towards the door.] You are leaving Paris, Louis? Louis Frangoise, I thought I told you that this morning. Mme. de Montespan God forgive me, Louis, but I had quite forgotten. Louis Madame, it were best to remember the comings and the goings of a King. I leave for Fontaine- bleau in some few minutes now. I have come to say farewell. Mme. de Montespan [To the others.] Pray leave us. [They are all bowing to the King.] 104 MOLIERE [Act II Louis [To La Fontaine.] La Fontaine, will you join the hunt? La Fontaine Sire, with your permission I would not slay with my hand the animals that my art makes live. [He is bowing to the King.] Mme. de Montespan [Swiftly to her ladies.] Wait in the passage till I call you. [LuLLi is watching them. The Ladies exit.] Louis [To LULLI.] And you, LuUi, do you wish to go along? The hunting's good at Fontainebleau. LuLLI [Glancing at Mme. de Montespan.] In Paris, too, Your Majesty. Louis [For he has caught some hidden meaning in the tone.] What's that? Act II] MOLIERE 105 LULLI Sire, we are all huntsmen, following the brush of your desire. Some gallop slow as I, some fast as this Moliere of yours, but at the day's end of the chase we are all waiting for the prize of your fair favour. Alas, I cannot join you, Sire, for this evening I have promised Her Majesty a little con- cert of some sacred tunes. Louis Some day I fear Her Majesty, quite unawares, will drift straight up to God, on the wings of all this hymning. Too much incense chokes me. I've just seen the Queen. I always do on Wednes- day. But she smelt so much of saints and paradise that for these last few minutes, Frangoise, I'll spend the time with you. Mme. de Montespan [Bowing.] Louis, not only these few moments, but all my life is yours. Lulli, La Fontaine — [She bows to them.] La Fontaine [At the door.] Was my fable finished? Louis If not, you may go on tomorrow. 106 MOLIERE [Act II La Fontaine Sire, with the greatest of pleasure. [And he exits.^ LULLI [Insinuatingly. ] Some day, Madame, you will hear my minuet? Louis [Now a little irritated.] Yes, hut for the moment let us let music wait its own necessity. [LuLLi, bowing, exits. 1 Mme. de Montespan [To Hercules.] Well, Hercules, my little Argus, go now. [And then pointing it beyond mistake.] And see that the lackeys let no one enter. [The boy exits and she turns to face the King.] Louis Frangoise, it grieves me to leave you for today. Mme. de Montespan Louis, it saddens me to see you go. When you are gone, I sit in darkness waiting for the dawn. Louis Would God had given my wife your honeyed tongue. Act II] MOLIERE 107 Mme. de Montespan What's that? Louis So that when I am with her, she would remind me more of you. With her each half an hour drags the dull day's length, with you each hour seems but a happy moment. Mme. de Montespan That is because we know the wisdom, you and I, of crowding all into the moment. All of our love, all of our life. France, you will never know how much I love you. Louis [Lyrically. "l Frangoise, I never want to know. Love is the endless finding of more love. [Then more prosily.^ Do you know I think if I had time, I might have been a poet, but if one would be a King [with a sighj^ one must give up all else. Mme. de Montespan You are a poet, Louis. Your deeds are epics. Your whims are history and you, sire, [she thinks for a moment just how to put it] well, — you are the State. 108 MOLIERE [Act ll Louis [Thoughtfully.^ I the State? Frangoise, that's a phrase that's worth remembering, I am the State. The State is I. [He is enjoying the sound of it.^ Mme. de Montespan [Nodding her agreement.^ Yes, Louis, it's better that way. The State is L Louis [Repeating.^ The State is L Thanks for the wording, Fran- goise. Mme. de Montespan Why, nonsense, Louis, what is the wording, when the thought was yours? Louis Well then we'll share the thought, tho I'll retain the glory. Mme. de Montespan [Again glancing at the door.] When are you leaving, sire? Louis Soon, Frangoise. Act II] MOLIERE 109 Mme. de Montespan [More eagerly than she knows. ^ Soon? Louis Yes, Madame. But, by your question, would you make it sooner? Mme. de Montespan [Swiftly.] I wish you did not have to go at all. Louis There's too much harping on my going. Fran- goise, what's in your mind? Mme. de Montespan [Covering the slip.] Something that I hope will please you. Louis What, then? Mme. de Montespan [Beaming with bright candor.] Shall I go with you, Louis? Louis I think the question hints that you would rather not. 110 MOLIERE [Act II Mme. de Montespan If you don't wish it then, of course — Louis And you? Mme. de Montespan Sire, if you wish me, I will go, but shall I speak frankly? Louis Why not? One must speak frankly to one's King and to one's God. [And in the sequence God goes by the board.] Mme. de Montespan Louis, you know I am only happy when I'm with you, but today — well — I am a little tired; and to- morrow, I had planned a day's rest in some still retreat. The Court's High Season has spent my strength, Your Majesty. [She is smiling sugges- tively.] I think I am a little pale. [She turns to her mirror.] Louis A trace, perhaps, but not less beautiful. [He steps nearer to her.] Ah, I shall miss you. Let me carry with me the sweet odour of your hair. [He takes her in his arms.] Act II] MOLIERE 111 Mme. de Montespan [Looking over his shoulder at the door.^ Louis, Louis. Louis [Insinuatingly.] By tomorrow evening, you will come to me? Mme. de Montespan [In his arms.] Sire, if I am better, by tomorrow noon. Why do you go at all? Louis Because tho I am a King I am still a slave. Some months ago this hunt was planned for these Ambassadors. It's the last courtesy. It is not fit- ting that a last courtesy should be omitted, lest all the others be forgotten. Mme. de Montespan But, for a day, then. Sire. [She bows to him.] Louis [With an echo of displeasure.] Frangoise, I have not yet bowed to you. Would you thus hint to hasten my departure? 112 MOLIERE [Act II Mme. de Montespan [Laughing a little nervously.] How you misread me ! Give me time, Sire, and I'll go dress and go with you, tho I never was more spent. [She has seated herself and leans back tiredlyJ] There, I'm better. Shall I go with you? [Then swiftly.] No? Then next week, let us go alone, — ^you and I, — and steal a holiday in some hidden hut, deep in the woods, at Ver- sailles? Imagine we two quite alone. [She is smiling languidly.] Louis, Louis, quite alone. [She holds out her arms to him.] Louis Frangoise, in the gallop of the horses I shall feel the beat of your heart. Would that tomorrow were today. Mme. de Montespan Only for these few hours, Sire. There, see how your love brings my strength back to me. [She has risen and again bowed and subtly the suggestion reaches him.] Louis You're right. It's time to go. Mme. de Montespan Not yet, — but if you must go, good night and Act II] MOLIERE 113 think of me. [He is at the door. She calls him back.] My King! My King! [For a moment they embrace, then he is gone. She stands for a little while listening and then suddenly rushes over to the door that leads into the corridor.] Mme. de Montespan [Calling down the passage.] Madame! [The Second Lady enters.] Mme. de Montespan [Anxiously.] Well? Well? The Second Lady Madame, Lulli is outside and craves a word with you. Mme. de Montespan [On the tip of temper.] What's that? Lulli? Bid him come back to- morrow. The Second Lady Madame, your pardon, but he says the matter presses. Mme. de Montespan We'll have him in then. And see that no one 114 MOLIERE [Act II goes near my garden. Lovers need but the night and the first sweet rising of the moon. [The Second Lady exits. Madame de MoNTESPAN turns from the door as Lulli enters.] Mme. de Montespan [Hurriedly.] Well, what do you want of me? Lulli There is still time before Moliere arrives. I warn you. Mme. de Montespan What's that, Giovanni? Lulli I speak for your sake, not for mine. Madame, you are playing with fire. Mme. de Montespan Keep your hand out of the flame then lest your thumb be burnt. Moliere is coming to do a serv- ice for the King. Lulli Madame, it would not be well if he stop on the way. I am your friend. Act II] MOLIERE 115 Mme. de Montespan When it proves most friendly to yourself you're always friend. I do not think you swallow well this favour of Moliere's. Is the taste too bitter, LuUi? LULLI Madame, I would die but to touch the hem of your gown. Mme. de Montespan You dare! [The First Lady enters.] Mme. de Montespan [Eagerly.] Well? The First Lady Madame, Moliere is waiting in the little room beyond the corridor. Mme. de Montespan [And her voice is uncontrolled.] At last! At last! Show him in. [The First Lady exits.] LULLI [ Threateningly. ] You will not listen. 116 MOLIERE [Act II Mme. de Montespan [Gaily.] What's that, Giovanni? LULLI [Slowly and with insinuation.] Madame, I warn you I am Giovanni LuUi. Mme. de Montespan Lulli, I do not warn you but I am de Montespan. Now go! [Lulli exits and she is over at her toilet table touching her lips with a last drop of perfume and turns to face Moliere.] Mme. de Montespan Ah, Moliere, good evening. Pray sit down. No? As you will. Moliere, I think you do not like me. Am I wrong? Moliere We are all servants of the King, Madame, and you are dear to him. Mme. de Montespan By indirection you are more direct. I know you do not like me. But what matter, — and yet it does matter. All my life I have wanted people to care for me. At the convent when I was a little girl one of the nuns did not love me once and be- Act II] MOLIERE 117 cause she did not love me I set fire to her veil with a candle from the altar, — from the high altar where they were about to say mass, Moliere. I do not know whether God has ever forgiven me that. Moliere Let us hope so. There are so many masses, Madame, and perhaps God didn't miss the veil. What happened to you? Mme. de Montespan For three days I prayed, weeping at the shrine of Our Lady, and my body was fed on too little because I had loved too much. But that is long ago and the past is over. But memories still come crowding. Is it not so, Moliere? Moliere Madame, your pardon, I am a comedian and to a comedian the present ever presses. A comedian's faith is in the moment's laughter rather than in the fading pageants of the past. You asked me to come to you, Madame? Mme. de Montespan You are too swift. I think less speed would breed more chivalry. Moliere I am a very blunt man, Madame. It is perhaps because as I end my lines with a needed rhyme I 118 MOLIERE [Act II strive to edge my acts with their needed necessity. You asked me to come to you — Mme. de Montespan Of course, of course. Otherwise I think you would not come. You do not know why I sent for you? [There is a moment's pause in which she looks at him.] MOLIERE No, Madame ; your whims are famous. PerhajDS you'd have me scale the Tower of St. Jacques. Mme. de Montespan [And her eyes smile.] To read the hard hearts of the gargoyles. Moliere Perhaps? Sometimes a stone's heart is softer than a woman's will. Mme. de Montespan [Laughing.] No, it isn't that. Moliere [Answering the gaiety of her mood.] Or perhaps you'd have me drink up the Seine. God forbid; it's muddy, Madame, near the city. Act II] MOLIERE . 119 Mme. de Montespan I think you are more thirsty for my reason than the river. MOLIERE [With an echo of impatience.] I am. Mme. de Montespan I bade you come to me to please die King, Mo- liere. Moliere I am his servant. What do you wish of me? Mme. de Montespan Whatever I wish of you your genius will accom- plish. Moliere Thanks for your faith, Madame. Mme. de Montespan Next Tuesday is Louis' birthday. I have sent for you to ask your aid in the preparations for the festivities. Will you write a little comedy for the occasion? Moliere It is a deep honour, Madame, but at the mo- ment — ' 120 MOLIERE [Act II Mme. de Montespan Can a moment alter your loyalty to France? We will do the play at Chambord in the woods. We will deck the autumn with flowers. Cartloads will be sent up from the South, cartloads of roses. MOLIERE More serious matters — Mme. de Montespan I will honour the pageant and your play — your play, Moliere. [She is looking at him curiously.]^ Write for me the part of the nymph Iris. I will play it in a gilded veil over a robe of gold. That will be charming. Will it not? Perhaps the King himself will dance. Write me some lovely lines as Iris so that I, de Montespan, will do justice to Moliere. Moliere The compliment is indeed a great one but at the moment, alas, I am so deep in work on my newest play, Madame. It is going well. You will un- derstand. I do not wish to check the mood. I give my life to the characters I am creating. I am part of my comedy. The play will be, perhaps the greatest of my career. May I hope it will be an honour to France and to the King? Madame, because of my comedy I must refuse you. Act II] MOLIERE 121 Mme. de Montespan Is it the manuscript I saw this morning in which the laughter hides the tears? MOLIERE Yes, Madame, my comedy in which a lover does battle with his doubts. Mme. de Montespan [And again she looks at him.^ I know. I know. Love lies ever poised be- twixt despair and ecstasy. [A moment's pause.] And your wife? She is so exquisite. She is well, I hope. MOLIERE Well, Madame, but weary from the plays at court. Mme. DE Montespan I'm sorry you cannot do this ballet, Moliere. It would greatly please the King. Moliere [Slowly for there is something in her tone which he instinctively mistrusts.] I have too often stolen from my mind's treasury to coin these baubles for the pleasure of His Maj- esty. An artist, Madame, owes deep debts to what is deepest in him. We are but instruments and the 122 MOLIERE [Act II breath of creation uses us at its will. We must be ever ready for its profoundest use. The King will understand. Have I not often pleased His Maj- esty? Mme. de Montespan Often. But have you ever sought to please me, me, Frangoise de Montespan? I am but a woman, Moliere; is chivalry then dead at Court? MOLIERE [With a how.^ Chivalry is always waiting for the bidding of a woman's smile. Mme. de Montespan [With a tinge of sarcasm.] You talk like a courtier. Moliere [Suddenly direct.] If I do so, Madame, it is because I wonder if you would tolerate me if I answered as a man. Mme. de Montespan Try me, Moliere. Less elegance may drive nearer to the truth. Moliere [Changing his tone.] Madame, I am an actor. Act II] MOLIERE 123 Mme. de Montespan [Laughingly.^ So I've heard, Moliere. MOLIERE Perhaps also something of a judge of others' act- ing. Mme. de Montespan [Avoiding the imputation.] Yes, you have trained your wife most excel- lently. Moliere [For there is something in her tone that ar- rests him.] What do you mean? Mme. de Montespan Just that. What did you think I meant? [A pause. They are looking at each other.] Mme. de Montespan Why do you hesitate? Go on. Does the great Moliere then lack the word? Moliere Not the word, Madame, but the courage. Mme. de Montespan Then take me for your example, my comedian, I have never lacked in courage. 124 MOLIERE [Act II MOLIERE That I can believe, Madame. Mme. de Montespan [Smiling.^ Profit by me then. MOLIERE I do. I do. But still I lack the bravery to say what lies nearest to my mind. Mme. de Montespan Ah, there's where we differ, we women and you men. You have the strength to hesitate, we women but the weakness to say all. MOLIERE It's a brave frailty, Madame, when discretion guides it. A woman's weakness is often stronger than our strength. Shall I speak plainly? Mme. de Montespan Of course; what is it? MOLIERE Madame, I think this play that you would have me write is but a pretext for some other matter. Mme. de Montespan Be careful. [Then controlling herself ."l What do you mean, Moliere? Act II] MOLIERE 125 MOLIERE You said that you would have me say it all. Mme. de Montespan What is the all then? Moliere I do not know, and that's what troubles me. I do not like uncertainties. Round about has ever been for me too round about. I think there is a lie lurk- ing between our minds, Madame. Mme. de Montespan You dare — ^no, no, go on. I like you best when you are crudest. Moliere [Getting «/>.] Shall I leave you, Madame? Mme. de Montespan No, stay; I'm hungry for untinselled honesty. What is this lie you think that lurks between us? Moliere I do not know, but it makes our faces dim and what is uglier, our hearts ignoble. Shall we erase this clouding smudge with truth? The play's a pretext, is it not? 126 MOLIERE [Act II Mme. de Montespan [Slowly.] Perhaps, Moliere. MOLIERE Madame, I thought so. Mme. de Montespan And if it is, what do you think it hides? Moliere I do not know. The Court's too crowded with intrigue. Is there some one you would have me slay with verses? — or [and he speaks the rest very slowly and very low] or maybe kill with poison? Have you chosen me because I would be least sus- pected? Is it thus you would test my allegiance? Has Mme. La Valliere returned to Paris? Or is the Queen's new court lady perhaps too beautiful? Mme. de Montespan Moliere, you dare — Moliere I am a dramatist, Madame. You must forgive me if at times I think too vividly. If my mind's too swift retard me but I think a man's must travel quickly to outmatch a woman's. Act II] MOLIERE 127 Mme. de Montespan [And her voice is strange.] A word may be more wounding than a rapier. MOLIERE [Parrying.] A wish may be more likely than its deed, [He is at the door.] May I go? Mme. de Montespan [Springing up.] No, stay a moment, Moliere. Moliere It is a waste of words, Madame, to hint to me that at Court death silences an imagination that is over eager. I know the neighbourhood of kings is dangerous. But you called me in. If in my haste I have overstepped I am ready to pay, if needs be, vith my life. Death's but a little door opening on great spaces. We do not know, Ma- dame, but fate whispers they are free. Shall I tell the King myself that I have wounded you? Mme. de Montespan [Slowly.] There is no fear of death, Moliere. Moliere Have I misjudged you then? It is not death? 128 MOLIERE [Act II Mme. de Montespan Not death but something that's more terrible; come closer to me. MOLIERE What is it, Madame? Mme. de Montespan Come closer. Something more terrible than death, more exquisite than life, — desire! Now do you understand? [And her voice is trembling.] I love you, I, Frangoise de Montespan, Mistress of the King of France; I love you. [Her voice breaks.] I love you, — the player of the King. Have pity on me. MOLIERE This is a trick or some sudden madness. Is Lulli waiting with a sword beyond the corridor? I have not wronged you. Why do you wish to break me? Mme. de Montespan You have wronged me with your pride, Moliere. I have shown you favour and you have repaid me with respect. I have been thirsty and you have given me wit to drink. I have looked at you with longing and you have turned away to listen to the low laughter of the crowd. Act II] MOLIERE 129 MOLIERE Madame, I didn't know. Mme. de Montespan Now I have told you. Now you know. Is it too late, too soon? MOLIERE Neither too late nor too soon but too rash. I am the servant of the King, Madame, and even were I not you are the Mistress of my friend. Mme. de Montespan What am I to hope for? Moliere Reason, Madame; this is but a mad caprice. I think later you would hate me were I to forget I were more a lover and less a man. Mme. de Montespan Then you do not think me beautiful? Moliere I do, Madame, too beautiful to be without your ladies. Where are they? 130 MOLIERE [Act II Mme. de Montespan I have sent them all away. [She takes a step nearer to him and suddenly tears open her dress at her bosom.^ See how my heart lifts in my throat to go out to you. MOLIERE Madame, we are but human. Let us be afraid of what the gods are doing. Look, the wind from your garden is blowing out the candles. Let not the wind of your passion blow out the light in our souls. Mme. de Montespan [Swiftly,] Let it blow. I am less guarded than you, Mo- liere. I think this moment matters more than that to come. I have ever been mistress of the moment. Moliere It is because of that that you are mistress of the King. Mme. de Montespan Ever since my childhood. Moliere I thought fate broke the human heart when it was too imperious. Act II] MOLIERE 131 Mme. de Montespan Before mine breaks it will answer to my will. It has been my servant all these years. When I was a little girl I had a garden and I used to think which flower I would most be like. Not of the simpler sort that hid their quiet beauty in the shad- ows, — no, I took the regal, purple iris for my sym- bol. [And she takes one from the golden vase.] I was but eight years old, Moliere, but even then I knew that I would be like the iris. There was something so beautiful, so strangely rich in its deep lavender lifting its head above the humbler flowers. Moliere I understand, Madame; they say La Valliere wore pale violets in her bosom. Mme. de Montespan [Anger mounting in her eyes.] Are you more loyal to dead violets then? [And she has flung the iris flower to the floor.] ' ■ Moliere I'm sorry for the lady. They say she loved the King. Mme. de Montespan Why waste your sorrow? She has found eternal love in God. I envy her. 132 MOLIERE [Act II MOLIERE And you, Madame? Mme. de Montespan I ^m not ready yet for those eternities. Come closer to me. What, why do you draw back? MOLIERE Can't you see that some one stands between us? Mme. de Montespan Who, the King? What? Do you not know that each new lady at the Court is his whim's possibility? Why shouldn't I seek refuge when he leaves me lonely and when my heart calls? Do you not hear it, Moliere? It is speaking to you so madly, so terribly that I've forgot the King. Can you not forget His Majesty for this one sovereign moment? Moliere It is not the King. Mme. de Montespan Who then? Who then? Moliere Madame, my wife. It is her shadow that lies between us. yVcT II] MOLIERE 13:i Mme. de Montespan Shadows are but fragile things, Moliere. MOLIERE This has the substance of our love, a love so deeply rooted in our being, Madame, that no sud- den, poignant moment can shatter it. We are safe in our love, Madame. It is this love that keeps us loyal; it is the beat of our hearts, the sight of our eyes, the reason of our life. Mme. de Montespan [Her eyes closed, her hand upon her bosom.] For such a love — for such a love — Moliere, do you not pity me? Moliere I do, and now good evening. See the twilight has fallen and the room grows dark. Shall I not have some one light more candles? [His hand reaches for the door.] Mme. de Montespan Moliere ! Moliere ! MOLIEIIE Madame? 134 MOLIERE [Act II Mme. de Montespan You're right. I've been over rash. This inci- dent — if the King should hear. MOLIERE Madame, I do beseech you, you are safe and now good evening. Mme. de Montespan No, stay a moment. There is something I would do, for I think there is something that you should know. MOLIERE That will be true until the end of time. Knowl- edge is always just beyond us and therein lies the comedy of humanity. Mme. de Montespan Is it not braver to know all, Moliere? Moliere Braver, but less likely — else man were God. That makes the comedy humane. We are less than gods, Madame. Mme. de Montespan [Significantly.} Is it not God-like to know all and to survive? Act II] MOLIERE 135 MOLIERE Madame, I hope you will. See, the mood is over. Mme. de Montespan No, you misjudge me ; I forget myself. MOLIERE That is the great illusion. Whoever does? Mme. de Montespan [As he turns away.] Now it is my turn to pity you. Moliere [Turning back.] Then we are on safer ground for pity is control- lable. [Then a little bitterly.] Thanks, but I'd rather have you laugh at me than pity me. Mme. de Montespan One love is dangerous, Moliere. It is not wise to worship at one shrine. Moliere [At a loss.] Madame — Mme. de Montespan There are saints who sin. 136 . MOLIERE [Act II MOLIERE In that truth lies man's brotherhood. What's at the end of your preamble? Mme. de Montespan My hesitancy. Moliere Go on; I thought you never lacked in courage. Mme. de Montespan I do when it's the courage to wound another. See, now the last candle has gone out and we are indeed in shadow. Moliere Is it too dark? Mme. de Montespan But that is easily altered. By now the moon is up. [And she rushes over to the window over her little garden and pulls back the curtain and as she does so the room is flooded with moonlight.^ Mme. de Montespan Now we shall see. Moliere By moonlight all is beautiful. The moon's the Act 11] MOLIERE 137 living lamp lighting with fantastic beauty the thea- tre of the world. Some day I must play a comedy by moonshine. Mme. de Montespan It would become your wife for it's the light of love. MOLIERE [Quickly.] What do you mean? Mme. de Montespan Only what your heart tells you and you won't believe. Are you sure your wife is faithful? MOLIERE [Swiftly for the thrust has gone home.] As sure as that you're not, Madame. Mme. de Montespan [Bridling.] Go on; I think I like you best when you are an- gry. How do you know that she is innocent? Moliere I know because she loves me. Mme. de Montespan Then you have not heard what they say at Court? 138 MOLIERE [Act II MOLIERE Madame, would it be well for you to listen to all they say at Court? Mme. de Montespan These bitter tongues are part of the price I pay for my power to punish. But your wife is not Mistress of the King. Moliere No, God be praised ; she is but my wife. Mme. de Montespan And you don't doubt her? Moliere Why should I when there is no reason? Mme. de Montespan And seeing you have not wished to see? Moliere I have looked with a man's eyes, not a woman's. [And she lifts her eyes to him and her lips are curled.] Moliere Armande is hungry for adulation, that is all. Mme. de Montespan They say she is very free. Act II] MOLIERE 139 MOLIERE I have given her freedom but she has never abused it. Of that there is no doubt lurking in my mind, Mme. de Montespan And these rumours? MOLIERE At court a woman's beauty is ever sweet food for too many hungry, dirty tongues. This gossip is all noisy emptiness. I know; I know. I have loved her too deeply to have listened. No, she is innocent. There is something almost terrible in my love for her. When I love her thus is she not safe? I have surrounded her with my adoration. Mme. de Montespan [Slowly. ]^ And what of de Lauzun? Moliere [His voice hot with rage.^ That is a lie, Madame, a lie. Mme. de Montespan Perhaps you're right. Who knows? Who knows? But you're heated, Moliere. The eve- ning air is cool that blows up from my garden. 140 MOLIERE [Act II Let's forget these whisperings and your wife. [Then assuming a lighter tone.] Come here and I will show you a view of Eden. [She has gone over to the window.] MOLIERE [At a loss to solve the shifting of her mood.] What, Eden here in Paris? Mme. de Montespan Yes, for Eden is wherever love dwells. There is a statue of Cupid below among the trees. Look; he seems to smile when the moon is on his face. Come, see. And beyond the garden are vistas, — far, long vistas. Why are distances so beautiful? Come look and we will both forget the present in what lies beyond, there where night becomes the earth and earth the night. [Instinctively he draws nearer to the win- dow.] Mme. de Montespan Look, the moon is up and hangs like a great gold lantern in the trees. [She is leaning forward.] Listen, that is the sound of voices murmuring. Why, see, there are two lovers below there in the garden. Look, Moliere, there beneath the statue of Cupid, that is for ever aiming his arrows at the heart of the world. Look closer; are they not kissing? The girl is lovely, is she not, Moliere? [His hand is trembling as he clutches the curtain.] Act II] MOLIERE 141 Look closer. And he — he — [Her voice is lifted.^ See, they have heard us. Why do they flee away like that? Look closer, closer. Have we not seen them both before? [And suddenly he flings the curtain across the window and springs back into the room.^ MOLIERE I have seen too much. I have seen the end of my life. Mme. de Montespan [Coming over to him, her voice heavy with sorrow.^ You have my pity, Jean; you have my pity. MOLIERE [His heart on fire.^ That is your garden. No one enters there save at your command. This is a trick, — a trick, Ma- dame. Mme. de Montespan You have my pity for now you know. [Her arms are stretched out to him. Sud- denly he catches her by the wrist and flings her from him so violently that she stumbles to the floor. J Moliere [Towering over her.] I have asked neither your pity nor this proof. 142 MOLIERE [Act II God forgive you, Madame. Why have you done this? Mme. de Montespan [Cowering at his feet.^ Because I love you. MOLIERE Love? The word sounds loathsome when you speak it. That is the way a woman loves, per- haps, but not a man. Mme. de Montespan Sooner or later you would have found out every- thing. It is thus too cheaply that she sells her faith. It is because I love you that I have done this. [She crawls over to him.^ I will be more honest. Moliere You! You! Mme. de Montespan See, I give myself to you. I, Frangoise de Mon- tespan, I give myself to you. Take me, take me. [She is on her knees before him.] If your heart is broken I will give you strength. Bend over; for the love of God, bend over. My lips are wet with the dew of oblivion. Drink, drink. Shut out the light in my eyes with your kisses. It is in such a moment that I would die. Act II] MOLIERE 143 [She clings to him but with a gesture of ab- horrence he struggles from her] . MOLIERE Get up, Madame; I would not have you cringe before me. Mme. de Montespan Have pity on me. MOLIERE Pity! No, that's another snare. I'm not so easily beaten. Do not forget, Madame, I've looked into your garden but I'm still Moliere. Mme. de Montespan It was my will to break your spirit but you have broken mine. May Christ forgive me. See, I'm a shattered bauble in your hands. Moliere Get up. Remember you are Mistress of the King ; you should not bend to any man. Mme. de Montespan I have offered myself to you and you do not take me. [Her hands are clenched.] Look, I am pray- ing to you as though to God. Just for this hour, Jean, this one small hour, and then a lifetime to forget or to remember. 144 MOLIERE [Act II MOLIERE [Half scorn and half command. ^^ Get up. This is no brothel but the palace of the King. Mme. de Montespan [Weakly.'] You do not love me then? Moliere [And his voice is low.] Now God pity me for my love is below there in your garden. Mme. de Montespan [Suddenly drawing back from him.] I have offered you my love. [And then there is something terrible in her eyes.] And you have turned away from me. What are you that you dare do this? Do you think my hate will be more welcome? Moliere Madame, your hate is nothing. It's the hurt. [And he glances toward the window.] The hurt. And now good-night. Mme. de Montespan Moliere! Moliere! Act II] MOLIERE 145 MOLIERE [At the door. He has half opened it.^ Madame, good-night. [Her arms are stretched out to him. She is going towards him. Suddenly there is a sound. It is a key turning in the little door that leads to the apartments of the King.} Mme. de Montespan [Swiftly.] Stay, it's Louis. He's come back. He's heard our voices. If you go now he'll suspect. Stay. Give me a moment. Wait, wait, a word and I will find a way that will explain it. [And the little door opens and the King is in the room.li Louis Frangoise, Lulli has just sent a messenger, crav- ing me to turn back, saying that you were ill and wanted me. Mme. de Montespan [Her eyes are fraught with terror, but her lips smile as she greets him.} I do, Louis, always, and that means now. Louts Well, here I am. You're better? 146 MOLIERE [Act II Mme. de Montespan [Taking a step towards him.^ Much, Louis, now that you have come. [^45 the King turns to seat himself he sees some one standing over by the door.^ Louis Who's that? MOLIERE [Stepping out into the room.^ It's I, Your Majesty. Louis What, you, Moliere? I thought I heard some voices. [He looks about him and then turns to Mme. de Montespan, his words edged with the question.^ And are you quite alone? , Mme. de Montespan [Quickly.] We were planning a surprise, Your Majesty, something that's a secret until your birthday. Louis [Significantly.] Then I've come too soon. Is it very secret, Frangoise? Act II] MOLIERE 147 Mme. de Montespan [Attempting to force the echo of a laugh into her voice.^ Deeper than the Seine, Sire. Louis [Slowly, — glancing at de Montespan.] I was starting on my way to hunt at Fontaine- bleau. Mme. de Montespan Yes, Louis, and now by God's grace you have come back. Louis God's grace, Madame? Sometimes Heaven's works are unexpected then? Mme. de Montespan What, Louis? Louis [With a quick look from one to the other. ^ So! Whilst I would hunt at Fontainebleau do they lay traps in Paris here? It does not please me to find you thus alone. Mme. de Montespan [Fencing for a mvmenfs thought.^ You're jesting, Louis. 148 MOLIERE [Act II [She seats herself, attempting again to force a laugh.l^ I Louis No, Frangoise; I save my jests for war and the assemblies. I never was in deeper earnest. Where are your ladies? Mme. de Montespan [Swiftly to avoid the answer.^ Sire, I was beseeching him to write a ballet for your birthday. Louis Then I'm indeed too soon. Perhaps to the re- gret of all of us, I wasn't born until Tuesday. Where are your ladies and the lights? Come, let's have more lights. [And he goes to the door and calls down the passage.^ Louis Lights ! Lights ! [And then he turns to DE Montespan and the intonation of his voice is like one that commands the moment when a whip is lifted.] Louis Words can seem what they sound like when the face is hidden. Act II] MOLIERE 149 Mme. de Montespan Sire — Louis A moment, by your leave. [And he takes a step nearer to Moliere.] This is a hidden talent, Sir, that I hadn't counted on. Do you sometimes play then in the dark? [De Montespan springs up.] Moliere [Seeing the agony in her eyes.] Sire, the lady pleaded but I refused. [She has taken a step nearer to him.] Louis [Ironically.] A lady pleaded and you turned away? I thought I was the king of gentlemen. Moliere I denied myself the honour of pleasing Your Majesty with this ballet for your birthday, for at the moment I am at white heat with my new com- edy. Mme. de Montespan Yes, his muse was more importunate than the pleasure of his king. [She has said this with an attempted gaiety 150 MOLIERE [Act II but the King scents its insincerity. For where women are concerned he is no fool.] Louis We shall see my pleasure or maybe something else the better when it's lighter for here come the lackeys. [And they enter bearing candelabra in which are lighted candles. One is placed on the table, the other on the mantel shelf. All this while Louis never lifts his eyes from Mme. de Montespan.] Louis Madame, you seem pale tonight. Mme. de Montespan I am a little tired. Louis Where are your ladies, then, to help you get to bed? Mme. de Montespan I sent them off with Hercules to see the monkeys. Louis What's that? Act II] MOLIERE 151 Mme. de Montespan In the trees at the far end of the Tuileries. [Then fencing for time.] We had planned to put the lad in the pageant, Sire. He was to enter on a camel munching chocolates. He was to play the part of Gluttony. Louis And you, Madame? Mme. de Montespan I? — Oh, I was to play the nymph Iris in a robe of gold. Louis [And his words are like the edge of a rapier.] You are so many coloured that I think you'd play it well. Mme. de Montespan [Still smiling.] Thanks, Louis. Louis Truth is more simply clad. Moliere Or naked, Sire, when it looks upon its naked self in pride [and then his eyes meet a swift glance 152 MOLIERE [Act II from DE MoNTESPAN as she goes over to the win- dowl or loathing. Louis Frangoise, I've never seen you quite so beauti- ful. Mme. de Montespan [Her voice soft.] Yes, Louis. Louis Or less honest. [A pause.] I think the truth lies smothering somewhere in this silence. No, leave the window open. Moliere [ Taking a step forward but as he again sees the trembling terror in her eyes he stops.] Your Majesty — [A pause.] Mme. de Montespan What's the matter, Louis? Louis I do not know. You do. There's too much here that's left unsaid. [She is looking out into the garden.] Act II] MOLIERE 153 Louis Well, then, what is it? [Suddenly she wheels around. The ex- pression in her face is changed. Where a moment before there might have been the passing shadow of a fear, there is now a look of purpose if not of triumph.^ Mme. de Montespan Your doubt should be as empty as — well, as empty as my garden is. [She has glanced up swiftly at Moliere. Then to the King.] If you must hear the truth it won't be pleasant. Louis Go on, go on ; a King must know and master all. Moliere Else he were less than king. Mme. de Montespan Louis, you came just in the nick of time. I have implored him but he wouldn't listen. [And now as she looks at Moliere her eyes are half closed with hate.^ Perhaps he'll be more willing when his king commands. Louis [Ironically.] 154 MOLIERE [Act II I've already bit at this ballet, Frangoise, but it won't go down. Mme. de Montespan The ballet was a subterfuge. Louis [And his voice is bitter]. Yes, so I thought. I am a diplomat as well as king and therefore used to lying. Mme. de Montespan A subterfuge I used to save him. Now you shall know the truth. [And then turning on Moliere she springs the trap she has been resolving and all the passion thafs pent up in her spills out in a burning flood of words.] Mme. de Montespan Yes, I sent my women off because I did not wish that they should hear what I had to say to him. If that's displeasing to you I did it to stem a dis- pleasure that will hurt you more deeply and nearer to the quick. No one should hear what I've been begging of him but you have forced me. Sire. [And her eyes are like two sharp swords of flame.] I have been beseeching your favourite, this come- dian; I have been imploring him, I, the Mistress of Act II] MOLIERE 155 the King, to destroy a scandalous play he has writ- ten before the matter reached your ears. Louis What play is this? Mme. de Montespan One that should never have been thought of. Louis Why not? Mme. de Montespan Because in this comedy he has heaped ridicule upon my husband and myself. Louis [Swiftly.^ What's that? Mme. de Montespan This, your little actor, has made merry with my soul, Your Majesty; mine, FranQoise de Monte- span's. Dare any man do that? Moliere Sire — Mme. de Montespan [And her hand is lifted to command his silence. 1 156 MOLIERE [Act II Perhaps, Louis, in your great clemency you might have pardoned this — yes, even this — but your dear player, grown too proud and pompous from the grace of your regard, has gone another step, a step that's too near treason. Sire, and in base disloyalty, in this same play has made even you, yes, you. Your Majesty, a butt for the derision of the Court. Louis [For a moment towering with all his little might. ^ What's that? Mme. de Montespan [And the words grate against her teeth J\ He has used you, his King, as a painted puppet for his lewd imaginings so that the lowest clowns in France can hoot at you, their sovereign. Now do you see why I lied to save him? I knew you held this actor dear, but now, now — Louis Is this the truth, Moliere? Mme. de Montespan Why look, Louis, can't you see his face tells all? [For Moliere stands aghast. Her ruse has been too sudden in its turning.^ Act II] MOLIERE 157 Louis No, there's some error here. Moliere would not do that. Mme. de Montespan Ask him, Your Majesty; he'll not dare deny it. LuUi had news of this at Chambord. After the fetes there I sent for Moliere but he would not come. I sent for him to beg him to destroy this comedy because I knew you loved him and because I've seen the terrible just haste of your displeasure when anger moves you. Again this evening I bade him come to me. Yes, I have suffered this — even this^ — for you and now I've told you all out of my love for you and my deep loyalty. l[The thrust was well chosen. She has touched the King in his most vulnerable spot, his vanity.] Louis Moliere, is this so? Have you dared to laugh at me? Moliere Sire, if you'll grant me time I can explain, though it's not easy in the web that's spun about me. Louis If you have done this I do not think that words will alter it. 158 MOLIERE [Act II Mme. de Montespan Some of the filthy sheets were read to Lulli. MOLIERE Ah, Giovanni! I might have guessed it. [Then with a smile that sneers.^ Your Majesty, no man's a friend at Court whose foot is on the ladder. [De Montespan is about to speak but his tone arrests her.] MOLIERE In life no woman's true whose heart is hungry. Mme. de Montespan Louis — ^Louis ! , Louis What's that to do with this? Moliere Nothing. [And his words are for de Monte- span and not the King.] Nothing except that all things tie together thus to drag me down. Louis Have you written such a play? ^ Act II] MOLIERE 159 MOLIERE Sire, the matter's but a jest. Louis . Is it a jest to make laughter of your King? MOLIERE Do not the gods make laughter of us all? Louis I do not think your similes can make this fact more lovely. Come, have you written such a com- edy? MOLIERE If envious eyes so read it, yes, it's written. Louis You dare to be disloyal to your King? [De Montespan is ivatching him. She has gauged correctly, for His Majesty's anger ■ is mounting past control.] MOLIERE Not disloyal to my King, but loyal to my muse. The play's but meant for laughter. Louis Is no price, then, too high to pay for laughter? 160 MOLIERE [Act II MOLIERE You weigh the matter with a weight that's not its purpose. Louis Sir, if you have made this lady seem ridiculous, why, that's enough. MOLIERE It's her will to make me seem something baser still and that's a traitor to Your Majesty. My play is but a farce written in a moment's merriment. There may be reasons though why there are others who would make of this comedy a sudden scaffold for my hanging. Your Majesty, I do beseech you, let's have done with this. Mme. de Montespan Sire, the matter is not so easily scattered. You'll be the jesting stock of Paris for this author has crucified you upon the filthy gibbet of his wit. MOLIERE Madame, and you would break me upon the hid- den rack of your desire? Mme. de Montespan [To Louis.] Act II] MOLIERE 161 Forgive this insult and he'll be the first of many who'll dare gibe at you. MOLIERE You urge a low intention that I never meant. Mme. de Montespan [And the words bite.] Sire, is nothing holy to these witty men? Moliere Madame, is nothing safe beyond your hate? [Then to the King.] This comedy, Your Majesty, may mean much mirth hereafter, when you and I and this too loyal lady here are but dry dust that's scattered in the mad whirlings of the wind. Mme. de Montespan Louis, he has flung low laughter in your face and you are less than King if you forgive him. Louis No, for it's gone beyond forgiveness and has reached command. Moliere, I command you to destroy this comedy. [And he lifts his hand as though to strike him.] 162 MOLIERE [Act II MOLIERE [Stepping back, his head high lifted,^ You command me. Sire? Louis Am I not still your King? MOLIERE Yes, to command me. Sire, but it's left to Mo- liere to obey. Louis What's that? [And he threateningly steps nearer to him.^ MOLIERE Yes, you have made of me a courtier to obey you, and if you strike me it would be my craven duty to beg pardon with a smile. But now the truth breaks in the dim places of my mind. Sire, you command me to destroy this comedy. What matter if I do or do not? You'll still be King of France, and I, Moliere, tho there be one farce more or less. The play is nothing. It's this com- mand that matters. For that's the lash that makes me feel how lowly under the beatings of your will I've bent to serve you. What have I done at your too base commands? What have I left undone? What godlike biddings have I left unanswered Act II] MOLIERE 163 to pipe the paltry pageants of your Court? Oh, that's the deep dishonour of it all, — that I, Moliere, who in my plays have hooted at the hypocrites and with my pen have flayed the scheming seekers, that I, Moliere, here at your pampered Court, to your too honeyed orders have been myself a liar and a slave. Louis [And his voice is the voice of a king.] Beware ! Moliere [And his voice is the voice of a man who greets his freedom.] A moment. Sire, for this moment's mine, this sudden moment that smites with blasting truth the dark remembered days and deeds that crowd about me. Now I would go out upon the bridges of your Paris and shout to all the listening crowds. Now let all those come at whom I've laughed and with their pitiless laughter let them hurl laughter back at me. Now I must drink the bitter acid that I've flung for now I know that often, oh, too often, I've left unwritten the deep truth that moves the human spirit to buy this gilded pleasure of a King. Mme. de Montespan Yes, of your King, by the Divine right of God. [And now she stands between them.] 164 MOLIERE [Act II MOLIERE Yes, of this King by the blind right of accident, this King who for his tinselled whim has chained my spirit. I am Moliere and Moliere should know no King nor any rule save to serve the world with truth. Louis Moliere, I hold your destiny here between my fingers. [And he lifts them as though to snap them.^ Moliere Open your hand, Sire. My fame no longer lies between your fingers but in the heart of France. They are waiting for me, all my people. It is for them I will write. It is for them I have lived and dreamed. Ever since the old days and I, an hum- ble, an unknown player, followed the ox-cart with a song in my heart through the winding lanes of Languedoc. Louis [Slowly, for his sudden anger has become something that's more lasting.^ Drink deeply of your words, my player, for words are but the wine of hope that drugs us. Moliere No, I am not drugged on words but thirsty for my freedom. Act II] MOLIERE 165 Louis [And his voice is sinister.] Be not too rash to cast me off, my brave come- dian. See, if I wish to I can break you as I break the crystal of this watch. [And as he speaks he takes the little watch from among the trinkets that are lying on the dressing table and splinters the glass against its edge.] Look, for the moment I have halted time. The hour has stopped just on the hour. Perhaps it is your hour, my comedian. [And then bitterly, driving each word home.] When I forget then France forgets. MOLIERE No, my people, they will not forget. They are waiting with shouts to greet me. Mme. de Montespan [And now her smile is filled with triumph.] We shall see. The King is still the King. MOLIERE Yes, we shall see. [And then turning on the King.] Sire, I have been a servile lackey to your laughter and at your bidding your powdered clown; ' but these things I now throw off for ever, for now my mind shall be my sovereign and my unshackled soul, my king. 166 MOLIERE [Act II Louis * Moliere, remember I have spoken. MOLIERE Sire, remember it is thus I answer you. I have put my faith in kings; now I will give it back to France. [And thus sacrificing his fame as an author and an actor and the future of his company, he rushes from the palace. J Louis [After a moment's silence, for in Moliere's voice far off has sounded the dim echo of the fall of kings. ^ That fool has been too noisy with his words. Mme. de Montespan Sire, what matter, for if I know you, and I think I do, your player has outrun his breath. Now may I close the window? For at last the twilight's fallen and the night is growing damp. [Then as she stands in the window niche.^ Louis Frangoise, now I know you never were so beau- tiful. Look, the moonlight's all about you. [And it plays about her hair.^ Act II] MOLIERE 167 Mme. de Montespan [Her voice sweet and low with languor as she comes over to him.^ Louis, my lover, come let's see how fair my bed of silver is, for look; the moon that makes me beau- tiful has spread its hand of silver on the sheets. [and the curtain falls] ACT III The Characters in Act III Are Claude Chapelle, a life-long friend of Moliere. La Fontaine. A Doctor. La Forest. Colinge. Moliere. The Actress who plays Toinette. Another Actress. Armande. Several Actors in the Fantastic Costumes of the Ballet. The King's Chamberlain and The King. The Scene is the same as Act I. The time of the action of Act III is before, dur- ing, and after the fourth performance of Mo- liere's '^'Imaginary Invalid,^' February seven- teenth, 1673. ACT III During Act III the curtain is lowered to denote the passing of two hours' time. The scene is the same as Act I, Moliere's Study at the Palais Royal. It is four o'clock of a win- ter s afternoon and through the window is seen the view of the nearby houses and the falling snow. A fire is lit in the deep fireplace and in a corner is a brazier. Though there has been little actual change in the room there should be suggested in the first episode an at- mosphere of quiet and a hint of sadness in contrast to the crowded and more brilliant rhythm of Act I. The second episode which is played during and after the fourth performance of the "Imag- inary Invalid" should be pitched with a sense of the foreboding of the end and throughout there should be suggested the silent stir which pervades the back stage of a theatre during a performance. A view of the play that is going on can be seen by the actors through the door in the left wall of Moliere's study. When the curtain lifts on the first episode, La Fon- 171 172 MOLIERE [Act III TAINE, Chapelle, a life-long friend of Mo- liere's, and the Doctor are seated at the Master s table and are drinking the Master s wine. Near the fireplace sits La Forest. In her lap is a costume she is mending. Close to her is Colinge, who for the early part of the scene is silent. When La Forest is up and about he moves nearer to the fire to warm his hands. Chapelle is standing and with lifted glass is singing. Chapelle Tra-la-la-la! La Fontaine Miraculous! Though the intention is that of a nightingale the voice is that of an angry bull. How do you like it, Doctor? The Doctor I know so little about music. La Fontaine In such matters ignorance is best, for music is the divine riddle whose answer is itself. [Then to Chapelle.] Another song, Claude. Chapelle Tra-la-la ! Act III] MOLIERE 173 La Forest [Rushing over to him.^ For the love of God, if you're the nightingale, be silent. He's asleep in there, resting before the play. [And she points to Moliere's dressing- room.^ Chapelle My friend, the entire troupe might be resting for all the impression Moliere's latest play has made on Paris. [But at the moment song seems to be the most pressing thing and so he continues. li Tra- la-la! La Forest If your throat's so parched that you must be making sounds like that, I'll fetch another bottle. I'd rather have you drunk than singing. La Fontaine Why not both? If not drunk on wisdom, then on wine. Life is the merry-go-round of disillu- sion. La Forest [To La Fontaine.] Monsieur, don't you think that maybe there's talk enough in the world already? Chapelle Tra-la-la-la! 174 MOLIERE [Act III La Forest Keep quiet, all of you. [She goes over to Moliere's door.] Chapelle It might be better if he awoke and came and drank with us. Then he might forget Armande. It's six months since she left him, isn't it? La Forest Be still, for the love of God. No one dare speak her name. La Fontaine Then let us drink to silence. Fill the cup, La Forest; we will drink our dreams. It is only when we close our eyes that we see everything. La Forest [Back at the table.] What are we to do? He's for ever making speeches. La Fontaine Is there still another bottle? La Forest You know the master has never been a saver when it comes to friends. [She goes over to the cupboard; the Doc- tor follows her.] Act III] MOLIERE 175 The Doctor None of you knows how ill he is. [Colinge looks up, listening.^ If he plays today the strain may be too much. I've warned you. La Forest Shh! What if he should hear you? He'll not listen to me. He'll not listen to any one. It is only when he is acting that he seems to forget her. Chapelle [Obliviously singing.^ "The springtime when the new rains fall — " La Fontaine La Forest, listen; you're a woman. This song has to do with love. La Forest What? La Fontaine Love, the green season in the world and in the heart of man. La Forest [Coming back to the table.l Shhh! Keep quiet. The Doctor [To Colinge.] Why does he have them about at all? 176 MOLIERE [Act III COLINGE He likes to sit listening to their songs. It's like in the old days when he was still the King's come- dian. The Doctor How did he lose the favour of the Court? COLINGE No one knows. They say the Italian LuUi lied about him. Chapelle [Singing.] "Then in my heart the skylarks call — " The Doctor [Over at the table.] Gentlemen, a word. Your friend is very ill. Chapelle Nonsense; he's been like this before. Now that the people are in Paris for the fair the houses will be better. [He drinks.] That makes all the dif- ference. La Forest You are right, M. Claude. When the people laugh it's like new blood in his veins. Act III] MOLIERE 177 Chapelle Then let us drink to hope and houses though there weren't fifty people out in front on Monday. La Forest That's a lie. There were easily seventy. La Fontaine What? Are there still threescore faithful peo- ple here in Paris? And in the old days the King's guard had to keep the crowds away. La Forest Each day his comedy goes better. La Fontaine What matter? No play matters unless the great world sets the pace, the great stupid world that stumbles tipsy along its road of stars. More wine, La Forest. The Court's forgotten Moliere though he is still the greatest man in France. La Forest Soon this "Imaginary Invalid" of his will be known everywhere. La Fontaine His "Imaginary Invalid"! With what an un- dreamed whimsy fate has set the stage, that he, an 178 MOLIERE [Act III invalid, in fact, should play the clownish victim of these pills and purgings. Life — life — what was I saying — ah, well, no matter. Fill the glass. La Forest This is the last bottle. Soon the actors will be coming. Chapelle [Very lugubriously.] Woe is me! La Fontaine What's the matter? La Forest He's always like that when he isn't empty. In a moment he will want to die. Chapelle I do. I do. La Forest What did I tell you? La Fontaine Which way lies the river? La Forest What do you want with the river? Isn't he wet enough? Act III] MOLIERE 179 La Fontaine It's the cleanest way. He might jump in. I don't remember but I'm sure I saw the river some- wheres this morning. Chapelle Woe is me! La Forest Stop it, I tell you. It's the tenth time in two weeks that you want to go to heaven when your breath's so strong that St. Peter wouldn't let you pass. Chapelle [Sadly.] Is there still time for repentance? La Fontaine [Dryly.] Doubtless; there always is — time, if not repent- ance. Chapelle i Thanks, for blesseder than the needle's eye is the camel that repents. Now just one more drop to strengthen me on the way to righteousness. La Forest Hurry; the troupe is late this afternoon. 180 MOLIERE [Act III COLINGE In the old days by this time there would already be a crowd at the window. Chapelle , Good-bye! La Fontaine What if you should really get to heaven after all with all the angels singing out of key? But that's a risk we all must run. Chapelle , Farewell, my friends. La Forest, tell your mas- ter — Moliere [Standing in the doorway of his dressing- room.] What? Your voices woke me. [He is spent and weary. Some of the old assurance and force have gone out of his man- ner, but still at moments there are flashes of the ancient power.] La Fontaine You've come just in time, Jean, to bid the falter- ing Claude farewell. Moliere [Stepping toward the door that leads to the street.] Act III] MOLIERE 181 Good-bye, both of you, and come back early for the play. Half of the places are sold already. COLINGE More, master; some ten or fifteen more. MOLIERE What's that, Colinge? You have been in the theatre fifty years and your eye is still upon the box-ojffiee. La Fontaine [With mock seriousness.^ What mean such trifles when Claude's doom is writ? [For Chapelle is unsteadily making for the door.] Look, Jean; Claude is on his way to death. MOLIERE That's true of all of us. But in the meanwhile is there no more wine? La Forest Not that, Master. He's swilled until his gills are running over and now there's nothing left him but to die. MOLIERE [Laughingly.] Why should he leave the house then, for here's a doctor waiting to help him on the way? [Then to the Doctor.] Good day, sir. 182 MOLIERE [Act III The Doctor You're feeling stronger? MOLIERE Well again, for sleep has bettered the vile stuff you gave me. Chapelle Farewell, farewell. MOLIERE [Smiling.^ Claude, have you considered the matter well? La Fontaine He's plumed philosophy to all its bitter dregs. MOLIERE What's a philosophy? The shadow of a lie cast from the light of truth. A help before and after never — ^now. Chapelle The river, the river! MOLIERE Well, if you insist. Good-bye. [And charmingly he holds out his hand to him.] Chapelle [Sitting down at the table.] Good-bye. Act III] MOLIERE 183 [At this moment two members of the troupe arrive.] The Actress who plays Toinette It's good to see you up and strong again. Moliere Thanks. There'll be a splendid house in front today. , The Second Actress We've inquired at the window. So far none of the courtiers' seats are sold. [La Forest motions her to be quiet.] Moliere What difference? Who wants these gabbing dandies on the stage? Don't you know that it's the laughter of the pit that matters? La Forest [To the women.] Hurry or you'll be late. The Actress who plays Toinette All right. All right. The Second Actress [To Moliere.] Sir, I hope in the new play you write there'll be a part for me and not only this bit in the ballet. 184 MOLIERE [Act III The Actress who plays Toinette What, you? [She laughs. '\ When you have had my experience you will have the right to ask for a part. The Second Actress Yes, and when one is as beautiful as I, one may expect it. [She smirks beatifically.]i The Actress who plays Toinette What's that, darling? MOLIERE [Smiling.] Ladies, according to your deserts art will serve you. The Actress who plays Toinette Art, indeed ; I'd like to know what the theatre has to do with art? [Then to the Second Actress.] Come, darling. [They start to go.] MOLIERE Ladies, play beautifully, for soon all Paris will be clamouring for a sight of you. The Actress who plays Toinette Thanks, sir. [Then to the Second Actress.] You speaking lines, indeed. [And she bursts into a peal of laughter.] Act III] MOLIERE 185 The Second Actress Dear, why don't you give imitations of the King's hyena in the tumbler's booth on the bridge? The Actress who plays Toinette You, indeed. Ha-ha. [They exit.] La Fontaine [Looking after them.] Can't the children of the Lord love one another? La Forest They do, although they are always bickering. La Fontaine No, I do not believe it. Moliere Why not? La Fontaine Because they are actors. Moliere You do us actors an injustice. We may love others but first of all we must love ourselves for our ego is our instrument and it is only through love that we reach perfection. [ Then to Chapelle who has seated himself at the table and is pouring 186 MOLIERE [Act III out another glass of wine.] Claude, I see you're bent on going. Chapelle [Sadly.] Yes, but before I die I'd like to see you do your Invalid once more. La Fontaine That's wise. The play's the wittiest he's writ- ten. MOLIERE La Forest, do you hear that? La Forest Don't believe him; he's been drinking, too. Moliere Then surely it's the truth, for critics lie when sober. My comedy is good. The part grows richer as I play it. The Doctor [To Moliere.] Sir, though you scoff at me I beg you not to act today. Moliere What? You would have me disappoint my pub- lic and my company and this gallant gentleman who Act III] MOLIERE 187 has so nobly decided to live until tomorrow just to see me do Argan once again. [ Then to the others.^ Come, gentlemen, I will go with you to the ticket window. I too, Colinge. [Then when they have reached the door.^ And come back early, friends, I urge you, for the house will be so full that there will be no room — \^and in his eyes there is a strange look'\ no room, Claude, even for this death that you are seeking. [Then to the Doctor, pointing to Claude.] Go with them till the wine wears off. He has more need of you than I. [MoLiERE, La Fontaine, Claude and the Doctor exit.] Colinge La Forest, he's worse. I can see it in his face. La Forest The Doctor's right if he play — Colinge He will, La Forest, even though — La Forest You are right, Colinge. I, too, know the mas- ter. Alas, sad times have come to all of us. Coltnge Sad times, yes. But these days are not all bitter- ness. Sometimes I watch him sitting there by the 188 MOLIERE [Act III fire and a smile comes into his face, a smile like one sees on the faces of children when they're sleeping. La Forest Can we do nothing? COLINGE I have thought for weeks wondering what is best to do. La Forest He speaks often of the old time. Perhaps if he would go to Auteuil. You and I will go with him, Colinge, won't we? COLINGE I will go with the master even into the great darkness if he but hold out his hand to me. La Forest I have spoken with the few friends that remain loyal. They say so little that I know that they are thinking much. Colinge And Armande — La Forest No, we must not mention her. I tried to little by little after she had gone but it seemed as though Act III] MOLIERE 189 he didn't hear me. Now no one ever speaks of Armande or of the King. COLINGE What I have done, La Forest, may seem madness to you. La Forest [Quickly.] Have you asked Monsieur La Fontaine to beg His Majesty's forgiveness for Moliere? COLINGE No, that is over. La Forest Sometimes I think it hurts him that he's forgot- ten at the Louvre. COLINGE No, one evening they were speaking of Racine and the success of the company at the Bourgogne and when they were gone he said, "Colinge, such little things as fame are of the moment, but what is of the heart is of eternity." And though he did not think I knew it his hand closed about the broken pieces of a little fan he always carries with him. La Forest What you have done — is it about Armande? 190 MOLIERE [Act III COUNGE Yes, I have seen her. La Forest You have seen her? Where? COLINGE She has heen living alone at Chartres. I have known it all along. She wants to come back to him. It is only the master that she has loved. I have been waiting till he spoke of her. Waiting for some hint, some sign that I might tell him. La Forest Sometimes he mutters her name when he is sleep- ing and then I must go out of the room lest I wake him with my weeping. Colinge Things have not gone well with the great Moliere but his pride is still unbroken. No, he never speaks of her. La Forest, but just the same, I think, that if only once he could clasp her in his arms and know that she still loves him that that would be the last happiness he could ask of life. La Forest [With a tinge of anger.] No, that is not possible. Act III] MOLIERE 191 COLINGE Why? La Forest I will not speak her name to him. COLINGE Are you afraid? La Forest [And perhaps for a moment her heart is more rebellious than she knows.^ Of what his eyes will say though his lips be silent. We cannot do that, Colinge. COLINGE We, — not you perhaps, but I, I will do it. • La Forest What? Colinge I have done it. Armande is coming back. La Forest [Echoing him.] Armande is coming back? Colinge Word came from her this morning. My son has ridden all the night to bring it to me. She's coming 192 MOLIERE [Act III though she doesn't know how ill the master is. She'll be here before the twilight, surely. La Forest [Slowly, as though to herself.] Armande is coming back. COLINGE If I have done wrong the good God in heaven will forgive me but I meant my error to be right. La Forest May God in heaven forgive all of us, even her. COLINGE The master. La Forest, he still loves her. La Forest Yes, Colinge, yes. Only those who love can understand this loving and they because they know that love is past all understanding. Colinge So life has taught you that? La Forest I am a woman and have gone the way of all women — [then switching and a little brusquely], though I end my days in peeling onions. Have you time before the play to go to the pastry cook's and bring in some supper for the master? Act III] MOLIERE 193 COLINGE Yes, there is still half an hour. [He is at the door to the street.] It will be a happy feast; wait and see. La Forest [Stopping him.] Her coming back — we must be careful how we go about it. COLINGE I have spoken to the doctor. It will be best after the play this evening, just before supper; then he will tell the master that she has come. We will know what to do, you and I. La Forest You and I. We are all that are left of the troupe, Colinge, of the famous troupe of Moliere. We are all that are left to love him. Ah, what's the matter with me? Now I must fix the soup. Colinge Don't forget the cheese. La Forest [Herself again.] Begone; who are you "o order me? Haven't I been making it for twenty years? Don't you sup- pose I know how he wants it? 194 MOLIERE [Act III COLINGE I'll hurry back and see that he sleep a little be- fore the play. All will be well, La Forest. This morning I saw a look of gladness in his eyes. The master's tired, that is all. See that he sleep a lit- tle before the play. [He is going out as Moliere enters.] MOLIERE Where are you going, Colinge? COLINGE To fetch some supper, master. Moliere Don't be late, Colinge ; remember we cannot play without you. [Then as Colinge exits, La Forest goes over to the brazier in the corner and begins preparing the soup.] Moliere [Looking through the door that leads to the stage.] Is everything ready for the play? La Forest Yes, master, everything is ready. Now sit down a moment and I'll bring your soup to you. I didn't want to wake you earlier. [He has seated himself in his chair at the end of the table, in front of the fireplace.] Here, now, this way. Act III] MOLIERE 195 [And she arranges a pillow behind his head.] MOLIERE Thanks. How good the soup smells! / La Forest There's Parmesan cheese. MOLIERE Well, let me have it. La Forest [Scolding him.] You'll have to wait till it's ready. MOLIERE Of course; do you know. La Forest, I've been practising bravery all my life? La Forest [Looking up quickly, a little frightened.] For what? For what? Moliere Just once to be brave enough to disobey you. La Forest I'd leave you on the moment if you did and where would the great Moliere be without La For- 196 MOLIERE [Act III est? Here, I'll put this about you. [And as she speaks she takes a robe from one of the chests and puts it over him.] Now you mustn't move. MOLIERE I'll have to, just a little, to smell the soup. Ah, how good it is ! Such must have been the odour of manna in the wilderness or of ambrosia on Olym- pus. La Forest Now you're talking like Monsieur La Fontaine. MOLIERE What? La Forest Saying words that crowd the mouth. Tell me, master, you men who write, do you listen to your- self when you're talking? y Moliere [Smiling,] Perhaps ; I never thought of that. La Forest Not you, master; I meant Monsieur La Fontaine. His mind chatters like a magpie's. When he isn't talking he's forgetting. Act III] MOLIERE 197 MOLIERE He forgets many things but not his loyalty to me. Life has been kind in that, La Forest. Life has given me the gift of friends and when the penny pipes of fame are silent it is friends that matter most. Colinge has not forgotten and you and Jean, and Claude — dear Claude — La Forest Master, that drunkard is a good-for-nothing. MOLIERE Only time can tell the good from the nothing. La Forest Give him time and there won't be a drop of red wine left in France. MOLIERE It is thus he finds his peace. [He is tired and his head falls back against his chair. ^ La Forest Master, won't you sleep a little before the play? MOLIERE [Wearily.] Have you forgotten the soup? 198 MOLIERE [Act III La Forest It will be ready in a minute now. [She goes over to him and tucks the robe about him.^ Mas- ter, you're not cold? MOLIERE No. ■ • La Forest You're feeling better. Moliere Much, much. La Forest Then God be praised. Moliere Your voice is like a mother's. Do you think I'm still a little boy? [He has taken her hand.^ La Forest Master, something in your heart has never grown up. Moliere You're right; you're right, La Forest. Because of that I am still a comedian. [And as she looks at him a smile that would hide his infinite weariness comes into his eyes.l i Act III] MOLIERE 199 La Forest The costumes needed little mending. MOLIERE Soon we will have new ones. La Forest Soon, Monsieur? MOLIERE For the new season in the spring. La Forest [Steadying her voice.] In the spring? [She is over at the brazier.] Ah, how good it smells! MOLIERE Why do you keep your back turned? Is there something in your face that you would not have me La Forest What should there be? Can't you see I'm busy? Moliere Come here, La Forest. [And she is over next to him and he has again taken her hand and sits for a moment silently gazing at her.] seec 200 MOLIERE [Act III MOLIERE So, so, your eyes are a little damp but deep down your soul is smiling as it has for all these years. You have done well, my friend, for whilst we, the wise ones, have hurt our hearts seeking for happi- ness, you, every day, year in, year out, in your sim- ple duty have lit the candles for the play. La Forest [Brusquely. '\ The price of candles is going up. MOLIERE You have been as a silent priestess of light at the holy altar of our laughter, and it is well to laugh, to laugh lest man remembering — [His voice falters.] La Forest You will be tired before the play. MOLIERE I have known much joy and sorrow, La Forest, but it is best to remember what is best. See, I have bid that tipsy Claude still live, and why? Because I — even I, who feel the mirthless shadows crowd- ing round me, know that the fight of life is splendid till the end. [He is up.] We shall have new can- Act III] MOLIERE 201 dies for the comedy today and they shall laugh, all of them, out there. They shall laugh. [And it is as though the house with eager eyes were there before him.] La Forest Master, you are tired. Shall I not tell them to close the ticket window? MOLIERE Why, no; I never was more ready. Today I might be the Moliere of the years gone by. Do you remember. La Forest, how in the old days you used to sit there at the cart's end in the sunlight ever sew- ing? La Forest I do, master. Moliere Life, too, is that expert seamstress, ever changing the sackcloth of yesterday into the motley of to- morrow. But we must not look too closely for sometimes those bright red patche.« in the domino are but the torn hearts of men. La Forest [Swiftly, so as to hide what is beginning in her voice.] Your soup is ready. [She brings it over to him.] 202 MOLIERE [Act III MOLIERE [Sipping it.^ How good it tastes! La Forest I learnt to make it this way years ago at Lyons. Do you think we'll play at Lyons soon again? MOLIERE At Lyons, soon again? Who knows? La Forest [Carefully, feeling her way.] It was there for the first time that Mme. Made- leine was ill and the part — was — played — by — [Suddenly Moliere has straightened in his chair.] Monsieur, let's go back to Auteuil. Moliere No, the country is desolate in winter. La Forest When the fair is over maybe not half the places will sell and in Auteuil, well, what difference? Moliere This. I am Moliere, and Paris is still my throne. La Forest A month there in the quiet and all will be well again. Act III] MOLIERE 203 MOLIERE Why waste a month when your broth revives me now? It is time to dress. [He has got up but weakly sinks back into his chair. 1 La Forest Monsieur. MOLIERE Well? La Forest You're still quite — [And then because of the look in his face she changes suddenly] I think the woman who plays Toinette does it well. MOLIERE Why do you switch? I know what's troubling you. La Forest Not that, Monsieur. The doctor says you're really well again. Moliere Of course. Listen, some of the audience are coming. La Forest No, some of the actor? are entering by the door beyond the stage. The days seems shorter here in Paris, It's not yet five. [His head drops forward 204 MOLIERE [Act III a little. '\ Master, do not play today. Will you not listen to me? I have loved you like a mother. MOLIERE That love at least is past corrupting. [He has sunk deeper in his chair. ^ La Forest Go in, lie down ; I'll wake you in time before the play. * MOLIERE No, fetch my wig and make-up now. [She exits into his dressing-room For a moment, his eyes half closed, he leans back murmuring to himself.^ La Forest [Entering.] Come to your room, Master; see how tired you are. [He doesn't answer. She comes over and puts his wig and make-up on the little table that is near him.] La Forest There, he's sleeping. [She bends over him, very gently, like an anxious mother.] My son! My son! Act III] MOLIERE 205 [For a little while she stands watching him, wiping the tears from her eyes. Then Co- LINGE enters, a basket on his arm.^ La Forest Shhh! He's sleeping. What have you brought? COLINGE A goose liver and patties and some almond tarts. La Forest [Scolding him in a whisper.] What a fool you are! Do you think we're going to feed the King's fat jailer? Goose, indeed, and patties. If it weren't for the noise I'd fling them, at your stupid head. COLINGE [Delving in the basket.] And here are eggs and half a chicken. La Forest Well, that's nearer right. COLINGE It's like you women to judge a man before the basket's empty. La Forest And like you men to have nothing in the basket that's worth the judging. 206 MOLIERE [Act III COLINGE There's some news. La Forest Who cares? Since when has there not been news? The serpent started news in Eden. COLINGE They were whispering at the pastry shop. La Forest Well? COLINGE So you do want to hear it after all? La Forest No, you poor old man. [She is leaning towards him.^ I'm waiting to hear you sing the psalms in Turkish. [They are laughing quietly together and Moliere has awakened and is listening.] La Forest Well, what is it? COLINGE Who do you think was at the pastry shop? La Forest Any one of all the fools in Paris. Act III] MOLIERE 207 COLINGE Baron. La Forest Baron? COLINGE And his tongue was wagging about the company at the Boui •gogne. La Forest They have done nothing. The troupe of Moliere is still the greatest troupe in France. COLINGE Fat in fame, La Forest, but thin in favour. La Forest Shhh! What if he should hear you? What was the boy saying? COLINGE There's an intrigue at the palace to reinstate Moliere. La Forest Go on; go on. Why do you lick the words with your tongue? COLINGE I cannot talk as quickly as you listen. La Forest Well, what is it? Who has spoken to the King? 208 MOLIERE [Act III COLINGE No one knows from whence or how it came. But they hint some woman's in it. La Forest Well? Well? COLINGE They say some one has tried to reach His Majesty to crave pardon for Moliere, and that the King — MOLIERE [Suddenly springing up.^ Who has dared do that? Is not my soul my own? COLINGE God forgive me, master. I thought you were asleep. La Forest Now look what you've done with your gossip. Master, be calm ; be calm. [And Moliere stands beside his table, his hand reaching for his chair. ^ La Forest Colinge, see how pale he is. Master, master. Moliere There, I'm better. [He has seated himself.] What was the lad saying, Colinge? Act III] MOLIERE 209 COLINGE Nothing; that was all. La Forest Master, you must rest. MOLIERE That was all, Colinge? [And he is looking at him so directly that the old man turns away.^ Colinge Yes. [A pause. He is seeking a way out for he doesnt want to tell the rest.] Do we play the new scenes tonight? MOLIERE Yes. Colinge I'd best see to my lines then. My head is none too good at best. [He is about to go.] Moliere If you slip, I'll improvise to help you. I will not pause or hesitate as you do now. What was Baron saying? La Forest It's almost curtain time. You should be dressed. 210 MOLIERE [Act III MOLIERE That's easily done. Only Argan's wrapper over these same trousers here. [Then to CoLiNGE.] Well, my friend? COLINGE Master — [He falters.^ MOLIERE Well? La Forest [Seeing the fear in the old mans eyes.] The fire is low. It's bitter cold in here. Co- linge, fetch me some wood that's in the passage there. [CoLiNGE starts to go.] Moliere Colinge, come over here. I know the news you have to tell. Colinge There is none. Moliere His Majesty is coming to the play. La Forest No, master, not that, not that! Act III] MOLIERE 211 MOLIERE Why not? I am Moliere; I am ready to forgive. La Forest Colinge, is it so? COLINGE I— I— La Forest [Seeing how the old man hesitates.^ Master, master, later. Listen, some of the people are coming. Moliere The truth? Colinge Master, I cannot lie to you. Moliere Well, then— Colinge They were whispering at the cake shop that His Majesty refused to grant an audience. Moliere What's that, Colinge? COLiriGE And Baron says that this afternoon the King goes to see Racine's tragedy at the Bourgogne. 212 MOLIERE [Act III MOLIERE [Vaguely repeating his words.] Racine— the King — La Forest [He tries to get up but his strength fails him.] He is ill, ill. Tell them at the window that the play is ofif. Send one of the actors in to help carry him to bed. COLINGE Yes, that will be best. [But suddenly Moliere has sprung up and with a flash of his ancient power he speaks.] Moliere No, wait. La Forest. Stand at the curtain. We play today. [And there is something about him that makes them crouch back in terror.] Go; do as I bid you. COLINGE [His hand stretched out to him.] Master. Moliere [Gently.] Dress, sir, or you will be late. Act III] MOLIERE 213 La Forest [Her voice frightened.] You'll play, Monsieur? MOLIERE Yes, for whilst this afternoon His Majesty and the Court are at the Bourgogne for Racine's trag- edy, I, Moliere, here at the Palais Royal will play my "Invalid," — my comedy — for the people of Paris who have come up for the fair. [And from utter exhaustion he has sunk into his seat. Then as he slowly lifts his head and the curtain is fall- ing.] Light the candles. La Forest; I am ready. When the curtain tifts. La Forest is at the door to the left that leads to the stage. She is watch- ing the performance. When the door is opened there can be heard from beyond the confused voices of the actors and the applause and laughter of the audience. Chapelle en- ters from the right.] Chapelle How's it going. La Forest? La Forest Well, why aren't you out in front? Is there no room? 214 MOLIERE [Act III Chapelle Too much. La Forest Why do you come back here? Chapelle [Glancing at the table. ^ It's cosier. [He has taken up a bottle but finds it empty.] La Forest I thought you were going to jump into the river. Chapelle Old woman, you are vindictive. Don't you like me about? La Forest I, Monsieur? Of course; you're about as wel- come as salt to a wound. Chapelle ' Thanks. La Forest What do you thank me for? If I didn't know you loved the master I'd never let you pass that door. Act III] MOLIERE 215 Chapelle [Seriously.^ Jean should not have played today. La Forest What could I do? We begged him but he would not listen. Chapelle Is there any danger? La Forest How should I know? Chapelle You are always whispering in the corner with the doctor. Women always do that; I think they like it. La Forest What do you know about women or anything else except the bottom of an empty glass? Chapelle That reminds me. Is there still a bottle that's unfinished? La Forest See for yourself. [She points to the cupboard and then opens the door to the stage a little. A 216 MOLIERE [Act III sound of laughter is heard from the front.] It's going well. Chapelle [Stopping on his way to the cupboard.] How does he seem, La Forest? La Forest It's near the last scene ; I think all will be well. [Chapelle has taken up the bottle but sud- denly he puts it down and comes over to her.] Chapelle I'll watch with you. La Forest Listen, now he's speaking. His voice is stronger, isn't it? Chapelle Yes, it seems so. You must not let him act to- morrow. Take him to Auteuil; make him rest. Keep him there ; I will come and see you. La Forest Why, Monsieur? We brought all the best wine up to Paris with us. Chapelle Your heart is hard, old woman. Act III] MOLIERE 217 La Forest I've made it so lest life should break it. [Then looking through to the stage.} If only he is strong enough to finish. [CoLiNGE enters from the stage.] La Forest How is he? We cannot see well from here. COLINGE Give me his robe. It's cold off stage when he makes his exit. La Forest [Handing it to him.] How is he? Has he spoken to you? COLINGE Yes, he seems better. The comedy is going well. He has them in his hand. He is happy. He need but lift his little finger and they laugh. Chapelle Are there more out in the theatre than last night? COLINGE No, I do not think as many. La Forest Has he cut at all? 218 MOLIERE [Act III COLINGE No, he plays each scene a little slowly, that is all. La Forest [Opening the door a bitS\ Listen! \_A pause. From the front the low murmur of voices is heard, then laughter J\ La Forest Surely he's the greatest actor in the world. COLINGE Look, that's new business. He's sitting up. Chapelle I cannot see. La Forest Go 'round in front. ' Chapelle But— La Forest There'll be wine for supper. Come back later. Chapelle You don't hate me after all, do you? La Forest No, get out. And if you feel like laughing at Act III] MOLIERE 219 the comedy, why, laugh, even though you are a friend. [Chapelle exits.] COLINGE Has Armande come? La Forest Not yet. COLINGE I will go back now. I like to be behind his chair waiting when he comes off. He may need some- thing. [The Actress Who Plays Toinette en- ters from the stage.] The Actress who plays Toinette Here, please, help me change this. [They help her to put on the Doctor's robe over her servant's dress.] La Forest Is he very tired? The Actress who plays Toinette No, he's acting well. There's something about it all I can't make out. La Forest What? What? 220 MOLIERE [Act III The Actress who plays Toinette I do not know. It's as though he poured his life into every word he's saying. Where is the syringe? When I enter with it that business always gets a laugh. La Forest [Handing the "'prop" to her.]^ Here. COLINGE Hurry on ; that's your cue. [The Actress Who Plays Toinette ex- its.] La Forest As though he poured his life into it. She does not know what she is saying. Listen, go to the win- dow. Isn't that a coach stopping at the door? COLINGE I hear nothing. La Forest Go see. COLINGE [At the window, looking out.] You are right. It is Armande; she has come back. Act III] MOLIERE 221 La Forest She has come back. To what, Colinge? Now go ; he may need you. [And Colinge exits to the stage. Then she draws the curtain across the door and turns to face Armande.] La Forest Madame, madame. [A pause. Armande is standing furtively on the threshold, uncertain what to do, what to say.] La Forest Armande, come to me. Have you forgotten that I have been your nurse? Armande [In her arms.] La Forest! La Forest! La Forest There, there, now you're a little girl again. Armande Does he know that I am here? La Forest Later, after the play, we will tell him. 222 MOLIERE [Act III Armande I have ridden twice to the theatre and then turned back. I have been afraid. I stood on the quays down at the river. For a moment it seemed as though that would be best. Everything was drift- ing away to forgetfulness. I went nearer. I leaned over and then suddenly in one of the barges a woman began to sing and then life struck in at my heart all red and warm and the desire to live was more terrible than the will to die. I have been walking for an hour, back and forth, up and down, up and down, through the streets and then I found myself in a church somewhere across the river and suddenly the words of a prayer came to me and I thanked God for the song of the barge woman and then I came here. La Forest Madame. Armande Let me go to him. La Forest In a little while now the play will be over. Armande Jean, Jean. Why, see; everything is as it used to be. ]She is at his table.^ Look, a comedy. Act III] MOLIERE 223 His quill. [She takes up some of the sheets of the manuscript.] The ink is hardly dry. La Forest Madame, those are the little things, the little quiet things that save and steady the crazy world when men, their hearts gone mad, rush about like frightened children in a shower. , Armande That is how you used to speak to me long ago. It is good to be back. Just to hear his voice again, to feel his presence everywhere. Why, look; even his broth is waiting for him when the play is over. La Forest It should be nearly finished now. [She goes over to the door and stands for a moment listening. Then the door opens and instinctively Armande steps back behind the fireplace. The Actress Who Plays Toi- NETTE enters, taking off the Doctor's robe.] The Actress who plays Toinette It's hard to keep pace with him now. He's play- ing with such spirit. Where are the props for the baUet? La Forest Here. [And she hands the woman a bundle of 224 MOLIERE [Act III books and some tall black hats.^ See if there isn't some way to cut the business short; he seems tired. The Actress who plays Toinette No, he's all right. [And she exits Ji^ Armande La Forest, when that door opened I was fright- ened. It might be better if — if — {^She has taken a step toward the door to the street.^ Now that I have come I am frightened. I will not be able to tell him all. La Forest After a while perhaps, Madame, little by little. Armande Every night I have been on my knees praying for God's forgiveness and for his. Is there a hope, La Forest, that he will take me back? La Forest Though he has not spoken your name I think he has been waiting for your coming. Armande Jean, Jean. La Forest But you must be weary, Armande. You have ridden all the day. Come here; sit by the fire. Act III] MOLIERE 225 [A moment after The Actress Who Plays ToiNETTE enters.] The Actress who plays Toinette [Not seeing Armande.] La Forest, help me off with this. La Forest [Low, to the woman.] How is he? The Actress who plays Toinette I cannot make it out. Sometimes the scene goes swiftly, sometimes slow. Quick, I have another entrance now. [She exits.] Armande Are there many out in front? La Forest Not many and in the old days all Paris waited, eager for his comedies, but now — Armande Things have gone badly? La Forest For months, Madame. Not once in all the time you've been gone has he been summoned to the 226 MOLIERE [Act III Palace. Some quarrel, Madame, something of which we do not know. Those happy days are over. Armande You are wrong. La Forest What, Madame? Armande Those days will come back. La Forest How, when we are forgotten at the Louvre? Armande Soon, La Forest. I have seen the King. La Forest [In amazement.^ What, Madame? Armande This morning. Boileau gained me admittance, to His Majesty. I have craved his pardon. Old memories were awakened. He has forgiven Mo- liere. He is coming to the play. La Forest Madame, when, when? Armande This afternoon. Act III] MOLIERE 227 La Forest Oh, God be praised. Armande, you've not come empty-handed. You've brought your love back, to the master and the favour of the King. God grant he come in time. [She rushes over to the door to the stage and stands listening. From the front comes the confused murmur of voices.] Oh, Ma- dame, if it could all be as it used to be! [Sud- denly she starts back.] Madame, Madame! Armande What is it, La Forest? La Forest [Her voice trembling.] Some one has missed a cue. Now it is all right again. [She has turned and has swiftly shut the door as Armande comes toward her.] Sit down, Madame; no, there by the fire. Armande La Forest, what is it; your face is suddenly so white? La Forest Nothing; we are worried. People do not come and the master — ^he — he — must rest. This endless playing — 228 MOLIERE [Act III Armande We will care for him, you and I. [From the front sounds the din of voices.] It is going well. [She steps nearer the door.] La Forest Madame, do not open that door. Armande Why, how strange you act. I've often watched the plays from here. La Forest The master has given orders. No one is to come or go. Armande From here we can catch a glimpse. La Forest Madame, Madame! Armande Why, what's the matter? [She has passed La Forest.] La Forest Do as you will. Words cannot alter what is to be. Act III] MOLIERE 229 Armande [Nearer the door.] I will open it only a little, La Forest. No light will strike him. La Forest Madame, Madame! Armande What is it, La Forest? [The voices beyond grow louder. Ar- mande rushes to the door.] La Forest [Stopping her.] Madame, don't, don't. Why not? He— What? Armande La Forest Armande La Forest Oh, God! it's as I feared. I thought there might be some hope, Madame; that is why I said nothing. But now, now — 230 MOLIERE [Act III Armande [Almost fiercely, catching her by the wrists.] What? What? Look at me. I am no longer little Armande. La Forest [And her voice is hardly audible.] Armande — the Master — Armande [Stumbling back weakly against the table.] Is it that — that? La Forest Yes. It is the last scene he will ever act. He is playing with his life. Armande [Sinking into Moliere's chair at the table.] Jean! Jean! [Chapelle and La Fontaine enter from the street. At first they do not see Armande.] La Fontaine Jean is very weak. The play cannot go on. Armande [Stepping forward.] Tell them to draw the curtain. Act III] MOLIERE 231 La Fontaine You have come back, Armande? Armande Yes, La Fontaine, but too late, — too late. COLINGE [Entering from the stage. ^ I can watch no longer. They think he's acting. They shriek with laughter and when he falters for his lines they jeer at him. Ring down the curtain; it's the end, the end. La Forest [Flinging open the door to the stage.] Master! Master! Listen, the people are an- gry; they are shouting. He's coming. Master, master! La Fontaine [Gently to Armande.] The shock may be too sudden if he sees you now. Wait in there; we will call you. [Armande exits into Moliere's dressing- room and the next moment Moliere enters leaning on the arm of the Doctor and The Actress Wh6 Plays Toinette. The other actors, in the fantastic costumes of the ballet, crowd into the entrance from the stage.] 232 MOLIERE [Act III MOLIERE [Staggering on the steps.^ See, see; I'm better. I knew there was no dan- ger in my comedy in counterfeiting death. There, I'm better. Did it go well? [They have led him to his chair at the table.] La Forest Lie back, master. [She wraps the robe about him.] The Doctor [Quietly to the others.] Stand back, all of you. Colinge, quickly, that stdol for his feet, and now some water. MOLIERE La Forest, tell them we rehearse at ten tomorrow; remember — ten. [And now he lies back weakly in his chair, his hand moving vaguely in front of him.] That scene in my new comedy would be better thus. [He feels in the air about him. At a sign from the Doctor, La Forest brings him some sheets of his manuscript and his quill.] Yes, better thus. [For a moment he sits in thought, then a smile comes into his eye and he writes a word or two.] What do you think, La Forest? It's nearer life like this, isn't it? Listen. [And Act III] MOLIERE 233 with a trembling voice he reads what he has writ- ten.^ "Madame, do you think it matters how many lovers you may have had?" [Then the quill falls from his hand and the papers flutter to the floor.] How cold, how cold it is ! La Forest Master, your broth is waiting. MOLIERE [His hand stretching out to reach it.] Yes, give it to me. She makes her soup as strong as brandy, Claude ; you best remember that, as strong as brandy. The Doctor [Pouring something from a little flask into the water which Colinge has brought him.] Here, sir, drink this. Moliere What? You would keep me living, sir? There's some quaint contradiction in it all. How often have I killed you doctors in my plays and now you'd have me live, now when I am ready to play the last great role which has no lines nor any business in it. How cold it is! I'm dying of the cold. 234 MOLIERE [Act III La Forest No, master, by tomorrow — [Armande is in the door behind him, un- seen, her arms stretched out to him.] MOLIERE By tomorrow. La Forest, — do you remember all those tomorrows of the long ago? Listen; that's the switch of the whip. How sweet the air is on the high-roads! We are going on, on. Look, the broad, white, swaying backs of the oxen — and over there, over there, Colinge, in the valley is the tower in the market-place. Don't worry, Colinge; it isn't going to rain. See, the clouds are blowing over. There'll be a crowd and we'll do business. The Doctor Sir, you're very weak. Lie back. MOLIERE [His voice for a moment stern as though he were addressing his company.] My friends, act your best today. The troupe of Moliere is playing at the Louvre. [And then sud- denly he has straightened in his chair.] What, Sire, it's this command that matters? I'll no longer be a lackey to your laughter. For now — the truth — the truth — but what matter all of that? [And his voice is hardly audible.] Armande, Armande! Act III] MOLIERE 235 [And Armande breaks from La Fontaine who is trying to restrain her and rushes over and throws herself at Moliere's feet. Armande Jean, Jean! Moliere [His hand before him as though to prove to his dying mind that it is she.] Armande, is it you? Madame, it is time to dress. The play is beginning. Armande Jean, Jean, see I have come back to you, to you and to your love. Moliere [Suddenly the truth comes to him and he bends forward and clasps her in his arms.] Armande, Armande, only for this little moment in eternity. Armande, Armande ! [Then for a little space there is silence which is broken by the rumbling of a coach across the cobbles.] Chapelle [At the window.] Jean, the King, the King! Moliere Armande, — Armande — ;; 236 MOLIERE [Act III COLINGE Master, if you love us do not speak. MOLIERE Listen, now I hear their laughter. [And with his last strength he has risen.] See, all of them out there, all of them for ever. [And he steadies himself as though to take his curtain call.] I hear their laughter, their gay — bright — laugh — [And as he falls back dead in his chair, his arm strikes the table next to him and from it rattle to the floor his mirror and his box of make-up.] La Forest [Throwing herself on her knees before him.] Master, master! [And at this moment the King's Chamber- lain enters pompously and noisily to an- nounce His Majesty.] The King's Chamberlain His Majesty the King. Make way for the King! [The people standing near the entrance to the stage fall back and the next minute Louis stands between the curtains.] Louis Moliere — Act III] MOLIERE 237 La Fontaine Sire, you have come too late. Louis Sir, I am the King of France. La Fontaine [Quietly, with lifted hand.] Too late — for death, the King of Kings, is here. [And as La Fontaine steps back all the people on the stage fall to their knees and Louis alone stands facing the chair where Moliere lies.] Louis Moliere is dead? COLINGE Master, master — Armande Jean, Jean! [And his dead arms are closed about her.] Louis [Lifting his hat for the first time in the theatre of Moliere.] Moliere is dead but in his name will live for ever the gay spirit, the brave laughter and the uncon- quered heart of France. [And as he bends before the dead body of Moliere the curtain falls.] the end