impress of ideal magnificence to the pleasures of Louis XIV. On this occasion Molière ventured to bring out the three first acts of the "Tartuffe," hoping to gain the king's favourable ear at such a moment. But it was ticklish ground; and Louis, while he declared that he appreciated the good intentions of the author, forbade its being acted, under the fear that it might bring real devotion into discredit. The "Tartuffe" was a favourite with Molière, who, degraded by the clergy on account of his profession, and aware that virtue and vice were neither inherent in priest nor actor according to the garb, was naturally very inimical to false devotion. He still hoped to gain leave to represent his satire on hypocrites. He knew the king in his heart approved the scope of his play, and was pleased that his own wit should have been considered worthy of transfer to Molière's scenes--Molière himself venturing to remind him of the incident, which occurred during a journey to Lorraine, when Molière accompanied the monarch as his valet. When travelling, Louis was accustomed to make his supper his best meal, to which, of course, he brought a good appetite: one afternoon he invited his former preceptor, Perefixe, bishop of Rhodes, to join him; but the prelate, with affected sanctity, declined, as he had dined, and never ate a second meal on a fast-day. The king saw a smile on a bystander's face at this answer, and asked the cause. In reply, the courtier said, that it arose from his sense of the bishop's self-denial, considering the dinner he enjoyed. The detail of the dinner followed, dish after dish in long succession; and the king, as each viand was named, exclaimed, _le pauvre homme!_ with such comic variety of voice and look, that Molière, who was present, felt the wit conveyed, and transferred it to his play, in which _Orgon_, in the simplicity of his heart, repeats this exclamation when the creature-comforts in which _Tartuffe_ indulges are detailed to him. But though this compliment was not lost on the king, he did not yield; and Molière was obliged to content himself--after acting it at Rainey, the country house of the prince of Condé--by reading it in society, and thus giving opportunity for it to awaken the most lively curiosity in Paris. There is a well-known print of his reading it to the celebrated Ninon de l'Enclos, whose talents and wonderful tact for seizing the ridiculous he appreciated highly; and to whom he partly owed the idea of the play, from an occurrence that befel her.[40] Yet he was not consoled by these private readings and the sort of applause he thus gained, and he grew more bitter against the devotees for their opposition: in his play on the subject of Don Juan, "Le Festin de Saint Pierre," brought out soon after, he alludes bitterly to the interdiction laid on his favourite work. "All other vices," he says, "are held up to public censure; but hypocrisy is privileged to place the