Mr. Markheim's first argument may, we think, be dismissed, as the conversation in Grimarest would appear to be nothing more than a not too skilful imitation of that in the _Fameuse Comédienne_; but the second is deserving of more attention. The similarity between the several passages Mr. Markheim cites is certainly too striking to be explained away on the ground of mere coincidence; yet, so far from proving his contention, it makes, in our opinion, for a diametrically opposite conclusion. Let us listen to what M. Larroumet, the best-informed and most impartial of all the recent biographers of Molière, has to say upon the matter: "If we admit that the _Fameuse Comédienne_, in spite of its detestable inspiration, is not the work of a beginner, but of an actress endowed with the talent of a natural style, the simplest course would be to admit further that this fragment is as much her work as the rest of the book. Trained to the practice of the theatre, she combines certain portions of her story with as many little plays. Here she will have perceived the scene to construct and the pathetic tirade to write. Is not the situation one to inspire and stimulate? Sustained then by her recollections of the _Misanthrope_, her imagination stirred by the passionate complaints of Alceste, her hatred of Armande coming to her assistance, she has been successful in the scene and the tirade."[29] In a word, the whole Auteuil episode is pure fiction; yet fiction of such a kind--"one of the choicest morsels of French prose in its most glorious epoch"--as may well arouse a regret that the writer did not turn her undoubted talents to some worthier purpose than the composition of scandalous libels. * * * * * In the isolation in which he now found himself, Molière, who was one of those who cannot live without woman's affection, turned for comfort to Mlle. de Brie, his former providence, who, it may be mentioned, had in the _Misanthrope_ played the part of Éliante, the lady who endeavours to console Alceste for the caprices of Célimène. Her intervention, however, was of a less irreproachable kind than Éliante's, and she appears to have passed a considerable portion of her time at Auteuil. The poet's friends remonstrated, pointing out that, by renewing his intimacy with Mlle. de Brie, he was giving his wife but too much excuse for her own conduct, and endeavoured to persuade him to break with her. "Is it for virtue, beauty, or intelligence that you love this woman?" one of them is said to have asked him. "You know that Florimont and Le Barre are her lovers, that she is not beautiful, that she is a perfect skeleton, and that she has no common sense." "I know all that," replied Molière; "but I am accustomed to her faults; for me to accommodate myself to the imperfections of another would be a task beyond my powers; I have neither the time nor the patience."