Donneau de Visé was not only a journalist; he was a dramatic author, and as a dramatic author he was, as he was in journalism, very modern. He had found means of achieving a noisy notoriety by beginning with an extremely violent attack on Corneille and Molière. Against the latter he composed his comedy _Zélinde, ou la véritable critique de l'Echole des Femmes et la critique de la critique_, in which he has left a portrait of the poet that has become famous, and which is, in our eyes, not a criticism but a splendid eulogy. 'I came down,' says a lace merchant; 'Elomire [an anagram on Molière] did not say a single word. I found him leaning up against my shop in the attitude of a man in a dream. He had his eyes fixed on three or four persons of quality who were bargaining for lace; he appeared attentive to their words, and seemed by the movement of his eyes to be scanning the depths of their souls to see there what they did not say.' La Reynie thought of utilising the talent and the notoriety of the dramatic author, and, not satisfied with granting him what he asked in regard to the title of Boursault's comedy, he gave him in addition the subject for a piece which was destined to obtain the greatest success. To prove to demonstration in Paris, by means of a play to which the public, excited by the great poison case, would flock in crowds, that the pretended skill of magicians and sorceresses was only deception and trickery, seemed assuredly the best way to dissuade the ingenuous mob from dealing with them. From this idea issued _La Devineresse ou les Faux enchantements_, a comedy represented for the first time in Paris by the king's company on November 19, 1679, and published in the following February. We have mentioned that Donneau de Visé was one of the pioneers of the modern literary life, and _La Devineresse_ will be a fresh proof of the assertion. Let us note first that Visé was the father of a literary custom which is in these days highly popular, collaboration. One of the masters of dramatic criticism, Edouard Thierry, writes on this subject: 'Collaboration, an unfamiliar term which existed at most as a term in jurisprudence, was nevertheless not absolutely unknown at the theatre. There had been the _Psyche_ at the Palais-Royal, completed by Pierre Corneille on the plan and under the direction of Molière; but this was considered only as work done to order; it belonged in the end to the person who hired the worker. There had been the _Plaideurs_ of Racine, and some other successful parodies, composed by several hands, it was said; but this was only an amusement, a literary picnic of gay wits who stimulated each other to satire; nobody up to that time had thought of raising the game to the level of an industry.' From the very first, collaboration as a business gave results which exceeded the most sanguine hopes. Visé, who had made his peace with the elder Corneille, entered into partnership with his younger brother. This Thomas