of young men who acted together for the amusement of
their friends, were so successful that they resolved to take to the
public stage; and as was the custom, each took an assumed name.
Poguelin assumed the name of Moliere, a name which he immortalized, and
by which he was ever afterward known.

His father was very much displeased with his course, and sent a friend
to persuade him to relinquish it, but the deputy was so fascinated by
Poguelin's acting, that he became a convert to him, and was not fitted
to urge the arguments of the father. The family for a time refused in a
manner to acknowledge their son, being ashamed of his new profession;
but they are now known only through him.

The masters under whom Moliere principally studied were Italians, and he
imbibed a love for the Italian comic art. He also read the Spanish
comedies, and learned to admire them.

Moliere and his little band left Paris for the provinces. The times were
unpropitious, for the wars of the Fronde at that time made the whole
country a scene of confusion and danger. They had visited Bordeaux, and
were protected by the governor of Guienne. While here, Moliere wrote and
brought out a tragedy, which had so poor a success that he gave up
tragedy. After a short provincial tour he returned to Paris, and renewed
the acquaintance of the prince of Conti. The latter caused Moliere and
his fellows to bring out plays at his palace. But Paris was too full of
strife, and Moliere went to Lyons, where he wrote and brought out his
first comedy, "_L'Etouedi_." It met with a great success. There is an
English translation, entitled "Sir Martin Marplot." The next piece was
entitled "_Depit Amourex_," and its genuine humor gave it a fine
reputation.

The moral character of Moliere at this time was exceedingly bad. The
times were such that a band of players found every temptation before
them. The French biographers give an account of some of his
"gallantries," but they only lead the reader to feel disgust rather than
admiration. That plays written by such a man, and during times which
corrupted the whole people, should be pure, one could not expect.
Moliere's plays, therefore, bear the same character, in this respect, as
all the great performances of authors of France in those and succeeding
times. They were altogether loose in their morals.

The company of players were invited to Paynas by the prince of Conti,
who was staying there at the time. They acted before hi