That is by M. Taschereau, whose opinion, let us hasten to say, is worth nothing in the letter to Charles X., but which is of great weight in the fine study he has published upon Molière. But here is what M. Étienne says, the author of _Deux Gendres,_ a comedy made in collaboration with Shakespeare and the Jesuit Conaxa: "The word _truffes_, says M. Étienne, of the French Academy, comes, then, from _tartufferie_, and perhaps it is not because they are difficult to find that this name was given them but because they are a powerful means of seduction, and the object of seduction is deception. Thus, in accordance with an ancient tradition, great dinner-parties, which exercise to-day such a profound influence in affairs of State, should be composed of Tartuffes. There are many more irrational derivations than this." Really, my critical friend, or, rather, my enemy--would it not be better if you were a little less flattering to the dead and a little more tolerant towards the living? You would not then have on your conscience the suicide of Escousse, and of Lebras, the drowning of Gros and the _suspension_ of _Antony._ [1] _Maximes et Réflexions sur la comédie._ [2] _Lettre à d'Alembert sur les spectacles._ [3] _Lettre à d'Alembert stir les spectacles._ CHAPTER VIII Thermometer of Social Crises--Interview with M. Thiers--His intentions with regard to the Théâtre-Français--Our conventions--_Antony_ comes back to the rue de Richelieu--_The Constitutionnel_--Its leader against Romanticism in general, and against my drama in particular--Morality of the ancient theatre--Parallel between the Théâtre-Français and that of the Porte-Saint-Martin--First suspension of _Antony_ The last chapter ended with these words: "And the suspension of _Antony."_ What suspension? my reader may, perhaps, ask: that ordered by M. Thiers? or the one confirmed by M. Duchâtel? or that which M. de Persigny had just ordered? _Antony_, as M. Lesur aptly put it, is an abnormal being--_un monstre_; it was created in one of those crises of extravagant emotion which ensue after revolutions, when that moral institution called the censorship had not yet had time to be settled and in working order; so that whenever society was being shaken to its foundations, _Antony_ was played; but directly society was settled, and stocks went up and morality triumphed, _Antony_ was suppressed. I had taken advantage of the moment when society was topsy-turvy to get _Antony_ put on the stage, as I was wise; for, if I had not done so, the moral government which was crucified between the Cubières trial and the Praslin assassination would, most certainly, never have allowed the representation.