This book is the first full-length study to examine Molière's evolving
(and at times contradictory) authorial strategies, as evidenced both by
his portrayal of authors and publication within the plays and by his own
interactions with the seventeenth-century Parisian publishing industry.
Historians of the book have described the time period that coincides
with Molière's theatrical activity as centrally important to the
development of authors' rights and to the professionalization of the
literary field. A seventeenth-century author, however, was not so much
born as negotiated through often acrimonious relations in a world of new
and dizzying possibilities.The learning curve was at times steep and
unpleasant, as Molière discovered when his first Parisian play was
stolen by a rogue publisher. Nevertheless, the dramatist proved to be a
quick learner; from his first published play in 1660 until his death in
1673, Molière changed from a reluctant and victimized author to an
innovator (or, according to his enemies, even a swindler) who
aggressively secured the rights to his plays, stealing them back when
necessary. Through such shrewdness, he acquired for himself publication
privileges and conditions relatively unknown in an era before copyright.
As Molière himself wrote, making people laugh was "une étrange
entreprise" (La Critique de L'École des femmes, 1663). To an even
greater degree, comedic authorship for the playwright was a constant
work in progress, and in this sense, "Molière," the stage name that
became a pen name, represents the most carefully elaborated of
Jean-Baptiste Poquelin's invented characters.
