During the same year the "Médecin malgré Lui" was brought out; whose wit and comedy stamps it as one of his best: other minor pieces, by command, occupied his time, without increasing his fame. His mind was set on bringing out the "Tartuffe." The king had yielded to the outcry against it; but in his heart he was very desirous of having it acted. On occasion of a piece being played, called "Scaramouche Hermite," which also delineated immorality cloaked by religion; the king said to the great Coudé, "I should like to know why those who are so scandalised by Molière's play, say nothing against that of _Scaramouche_?" The prince replied. "The reason is, that _Scaramouche_ makes game of heaven and religion, which these people care nothing for; but Molière satirises them themselves, and this they cannot bear."[41] Confident in the king's support, and anxious to bring out his play, Molière entertained the hope of mollifying his opponents by concessions: he altered his piece, expunged the parts most disliked, and changed the name _Tartuffe_, already become odious to bigot ears, to the _Imposteur_. In this new shape his comedy was acted once; but, on the following day the first president, Lamoignon, forbade it. Molière dispatched two principal actors to the king, then in Flanders, to obtain permission; but Louis only promised that the play should be re-examined on his return. Thus, once more, the piece was laid aside; and Molière forced to content himself with private readings, and the universal interest excited on the subject. Meanwhile he brought out "Amphitryon," "L'Avare," and "George Dandin" all of which rank among his best plays. The first has a more fanciful and playful spirit added to its comedy than any other of his productions, and displays more elegance and a more subtle wit. As a specimen of mingled wit and humour, let us take the scene between Sosia and Mercury, when the latter, assuming his name and appearance, attempts to deprive him of his identity by force of blows. Sosia exclaims,--