_Le Malade Imaginaire_ was written when Moliere was suffering from illness; but his energy remained indomitable. The comedy continued that long polemic against the medical faculty which he had sustained in _L'Amour Medecin_, _Monsieur de Pourceaugnac_, and other plays. Moliere had little faith in any art which professes to mend nature; the physicians were the impostors of a learned hygiene. It was the dramatist's last jest at the profession. While playing the part of Argan on February 17, 1673, the "Malade Imaginaire" fell dying on the stage; he forced a laugh, but could not continue his part; at ten o'clock he was no more. Through the exertions of his widow a religious funeral was permitted to an actor who had died unfortified by the rites of the Church. Many admirable though slighter pieces served as the relief of his mind between the effort of his chief works. In all, gaiety and good sense interpenetrate each other. Kindly natured and generous, Moliere, a great observer, who looked through the deeds of men, was often taciturn--_le contemplateur_ of Boileau--and seemingly self-absorbed. Like many persons of artistic temperament, he loved splendour of life; but he was liberal in his largess to those who claimed his help. He brought comedy to nature, and made it a study of human life. His warfare was against all that is unreal and unnatural. He preached the worth of human happiness, good sense, moderation, humorous tolerance. He does not indulge in heroics, and yet there is heroism in his courageous outlook upon things. The disciple of Moliere cannot idealise the world into a scene of fairyland; he will conceive man as far from perfect, perhaps as far from perfectible; but the world is our habitation; let us make it a cheerful one with the aid of a sane temper and an energetic will. As a writer, Moliere is not free from faults; but his defects of style are like the accidents that happen within the bounds of a wide empire. His stature is not diminished when he is placed among the greatest European figures. "I read some pieces of Moliere's every year," said Goethe, "just as from time to time I contemplate the engravings after the great Italian masters. For we little men are not able to retain the greatness of such things within ourselves." To study the contemporaries and immediate successors of Moliere in comedy--Thomas Corneille, Quinault, Montfleury, Boursault, Baron--would be to show how his genius dominates that of all his fellows. The reader may well take this fact for granted.[1] [Footnote 1: An excellent guide will be found in Victor Fournel's _Le Theatre au xvii. Siecle, La Comedie_.] II