French drama (Comedy) -- Translations into English; Molière, 1622-1673 -- Translations into English
in a mood to listen to the piece which I had heard praised by so many.
The actors began; everyone kept silence; when with a good deal of noise
and in a ridiculous manner, a man with large rolls entered abruptly,
crying out "Hulloa, there, a seat directly!" and, disturbing the
audience with his uproar, interrupted the play in its finest passage.
Heavens! will Frenchmen, altho' so often corrected, never behave
themselves like men of common-sense? Must we, in a public theatre, show
ourselves with our worst faults, and so confirm, by our foolish
outbursts what our neighbours everywhere say of us? Thus I spoke; and
whilst I was shrugging my shoulders, the actors attempted to continue
their parts. But the man made a fresh disturbance in seating himself,
and again crossing the stage with long strides, although he might have
been quite comfortable at the wings, he planted his chair full in front,
and, defying the audience by his broad back, hid the actors from
three-fourths of the pit. A murmur arose, at which anyone else would
have felt ashamed; but he, firm and resolute, took no notice of it, and
would have remained just as he had placed himself, if, to my misfortune,
he had not cast his eyes on me. "Ah, Marquis!" he said, taking a seat
near me, "how dost thou do? Let me embrace thee." Immediately my face
was covered with blushes that people should see I was acquainted with
such a giddy fellow. I was but slightly known to him for all that: but
so it is with these men, who assume an acquaintance on nothing, whose
embraces we are obliged to endure when we meet them, and who are so
familiar with us as to thou and thee us. He began by asking me a hundred
frivolous questions, raising his voice higher than the actors.
Everyone was cursing him; and in order to check him I said, "I should
like to listen to the play." "Hast thou not seen it, Marquis? Oh, on my
soul, I think it very funny, and I am no fool in these matters. I know
the canons of perfection, and Corneille reads to me all that he writes."
Thereupon he gave me a summary of the piece, informing me scene after
scene of what was about to happen; and when we came to any lines which
he knew by heart, he recited them aloud before the actor could say them.
It was in vain for me to resist; he continued his recitations, and
towards the end rose a good while before the rest. For these fashionable
fellows, in order to behave gallantly, especially avoid listening to the
conclusion. I thanked Heaven, and naturally thought that, with the
comedy, my misery was ended. But as though this were too good to be
expected, my gentleman fastened on me again, recounted his exploits, his
uncommon virtues, spoke of his horses, of his love-affairs, of his
influence at court, and heartily offered me his services. I politely
bowed my thanks, all the time devising some way of escape. But he,
seeing me eager to depart, said, "Let us leave; everyone is gone." And
Public-domain text, read in full here on John Shaqi.
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