Molière - The Bores (Les Fâcheux)

The Bores is a character-comedy; but the peculiarities taken as the text of the play, instead of being confined to one or two of the leading personages, are exhibited in different forms by a succession of characters, introduced one after the other in rapid course, and disappearing after the brief performance of their rôles. We do not find an evolution of natural situations, proceeding from the harmonious conduct of two or three individuals, but rather a disjointed series of tableaux—little more than a collection of monologues strung together on a weak thread of explanatory comments, enunciated by an unwilling listener.

  The method is less artistic, if not less natural; less productive of situations, if capable of greater variety of illustrations. The circumstances under which Molière undertook to compose the play explain his resort to the weaker manner of analysis. The Superintendent-General of finance, [Footnote: In Sir James Stephen's Lectures on the History of France, vol. ii. page 22, I find: "Still further to centralize the fiscal economy of France, Philippe le Bel created a new ministry. At the head of it he placed an officer of high rank, entitled the Superintendent-General of Finance, and, in subordination to him, he appointed other officers designated as Treasurers."] Nicolas Fouquet desiring to entertain the King, Queen, and court at his mansion of Vaux-le-Vicomte, asked for a comedy at the hands of the Palais-Royal company, who had discovered the secret of pleasing the Grand Monarque. Molière had but a fortnight's notice; and he was expected, moreover, to accommodate his muse to various prescribed styles of entertainment.

  Fouquet wanted a cue for a dance by Beauchamp, for a picture by Lebrun, for stage devices by Torelli. Molière was equal to the emergency. Never, perhaps, was a literary work written to order so worthy of being preserved for future generations. Not only were the intermediate ballets made sufficiently elastic to give scope for the ingenuity of the poet's auxiliaries, but the written scenes themselves were admirably contrived to display all the varied talent of his troupe.

  The success of the piece on its first representation, which took place on the 17th of August, 1661, was unequivocal; and the King summoned the author before him in order personally to express his satisfaction. It is related that, the Marquis de Soyecourt passing by at the time, the King said to Molière, "There is an original character which you have not yet copied." The suggestion was enough. The result was that, at the next representation, Dorante the hunter, a new bore, took his place in the comedy.

  Louis XIV. thought he had discovered in Molière a convenient mouthpiece for his dislikes. The selfish king was no lover of the nobility, and was short-sighted enough not to perceive that the author's attacks on the nobles paved the way for doubts on the divine right of kings themselves. Hence he protected Molière, and entrusted to him the care of writing plays for his entertainments; the public did not, however, see The Bores until the 4th of November of the same year; and then it met with great success.

  The bore is ubiquitous, on the stage as in everyday life. Horace painted him in his famous passage commencing Ibam forte via Sacrâ, and the French satirist, Regnier, has depicted him in his eighth satire.

  Molière had no doubt seen the Italian farce, "Le Case svaliggiate ovvera gli Interrompimenti di Pantalone," which appears to have directly provided him with the thread of his comedy. This is the gist of it. A girl, courted by Pantaloon, gives him a rendezvous in order to escape from his importunities; whilst a cunning knave sends across his path a medley of persons to delay his approach, and cause him to break his appointment. This delay, however, is about the only point of resemblance between the Italian play and the French comedy.