INTRODUCTION IX

proposed to turn to the popular Théâtre de la Foire and dévote his talents to the writing of vaudeville.^

It has also been suggested by M. Brunetière, in explanation of why Lesage deserted a dramatic career, that the spirit of the time was against comedy of manners of the type of Turcaretj and that the species of comedy that was coming into fashion was the délicate psychological play of Marivaux.^ But [jwhat sub-liminal influence this may hâve had on the praçtical mind of the independent Breton is perhaps problematical. '

Lesage was, however, by no means done with hi^ criticisîji, of Society, and was to continue it in Gil Blas^ using no longer the tneatre, but the novel, as the vehicle of his satire.

I / Turcaret is a comedy of manners. \ In this respect Lesage ^ ' difîers from his great master, Molière, who was above ail a painter of character.

! Lesage indeed shows but little power of psychological analy- <

sis. Tn^\<:^^J^^^'rrir'A\\^ nf M--Tnrnrfî't nr ç>f t\\c BnrfriTTir llic '»v

author gives pfeof" of l'iO pfOfpund knowledge nf the humafl ,;;;heartptliere is no skilful dissection of the motives of conduct.^ [Tujrare^ does, however, offer a wonderfully colored picture of «: the manners of the time. \ ^ '''-

We hâve already noted the efforts of the financiers to pre vent the staging of Turcaret^ and their probable share in forcing its withdrawal. Their anxiety is rather surprising; for, after ail, the satire is not very ferocious. / M. Turcaret is a dupe and /L, by no means the most despicable inâTvîïïïïâT in the pla^. I There ^ is only one scène, too, in which the methods of tîie partisans

^ Cf. Lesage's interesting Critique de Ttircaret : Œuvres, vol. XI, p. 510, where the author hints at his course of action.

2 V. Brinetière: Epoques dii Théâtre Français^ p. 199, ff.

^ Perhaps M. Brunetière goes a Uttle too far in his criticism of Lesage in this direction : cf. Etudes Critiques, III, p. "]"].