Published online by Cambridge University Press: 03 February 2022
In writing this preface, my purpose is not to conduct a futile investigation to determine whether I have written a good play or a bad one. It is too late for that. Rather, it is scrupulously to subject it to examination (and I should do this under any circumstances), in order to discover whether I have written a blameworthy piece of work.
Since no one is obliged to write a comedy in strict imitation of other comedies, if I have strayed from the well beaten path for reasons I felt to be sound ones, am I to be judged, as the Messrs. so & so have judged me, by rules which are not my rules? Or, as they fatuously proclaim in print, for taking art back to its infancy, because I am attempting to blaze a new trail for that art whose first, perhaps whose only law, is to entertain while instructing? But that is not the question.
1 In the Preface to The Barber of Seville
2 Epistle VII, Sur l’utilité des ennemis(1677).
3 Verses 23 to 32.
4 Friend and editor of Beaumarchais.
5 Heureusement, by Chabannes, Rochon de (1762). A source for The Marriage of Figaro.Google Scholar
6 , Voltaire: le Monde comme il va. Vision de Babouc écrite parlui-meme. (1746).Google Scholar
7 The reputation of this convent, as well as of some of the others, was slightly disreputable at that time.
8 From Joconde, 1665.
9 The very terms used by Jean-Baptiste Suard, government censor, and Beaumarchais’ most hostile critic.