Aris. Certainly, your prudence is excessively rare. Are you not ashamed of your want of firmness? and is it possible for a man to be so weak as to leave his wife absolute power, and not dare to attack what she has resolved upon? Ch. Good Heavens! brother, you speak very easily of it, but you do not know how noise troubles me. I am very fond of rest, peace, and tranquillity, and my wife is terrible in her tempers.

ELMIRE. But they affright us so with Heaven's commands! TARTUFFE. I can dispel these foolish fears, dear madam; I know the art of pacifying scruples Heaven forbids, 'tis true, some satisfactions; But we find means to make things right with Heaven.

Géronte
Monsieur, c'est là sa maladie. Elle est devenue muette, sans que jusques ici on en ait pu savoir la cause : et c'est un accident qui a fait reculer son mariage.
Sganarelle
Et pourquoi ?
Géronte
Celui qu'elle doit épouser veut attendre sa guérison pour conclure les choses.
Sganarelle
Et qui est ce sot-là, qui ne veut pas que sa femme soit muette ? Plût à Dieu que la mienne eût cette maladie ! je me garderais bien de la vouloir guérir.

THE SCHOOL FOR Wives criticised was first brought out at the theatre of the Palais Royal, on the 1st of June, 1663. It can scarcely be called a play, for it is entirely destitute of action. It is simply a reported conversation of “friends in council; but we cannot be surprised that it had a temporary success on the stage. It was acted as a pendant to The School for Wives, and the two were played together, with much profit to the company, thirty-two consecutive times. Molière, in the Preface to The School for Wives, mentions that the idea of writing The School for Wives criticised was suggested to him by a person of quality, who, it is said, was the Abbé Dubuisson, the grand introducteur des ruelles or, in other words, the Master of the Ceremonies to the Précieuses. Our author had also just been inscribed on the list of pensions which Louis XIV. allowed to eminent literary men, for a sum of a thousand livres.