The refusal on the part of academic critics to recognize the
primacy of farce in Moliere's theatre is contradicted by wide
spread theatrical pracitce. These essays develop the argument that
Moliere needs to be rescued from the pantheon of classical
literature and put back on the Pont-Neuf with the strolling
players, low-life rogues, cut-purses and clowns with whom he filled
his theatre.
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