“An ignorant pack of clods,” sneered Leandre, with a toss of his handsome head.
“You are wrong,” quoth Harlequin. “You were born for love, my dear, not criticism.”
Leandre—a dull dog, as you will have conceived—looked contemptuously down upon the little man. “And you, what were you born for?” he wondered.
“Nobody knows,” was the candid admission. “Nor yet why. It is the case of many of us, my dear, believe me.”
“But why”—M. Binet took him up, and thus spoilt the beginnings of a very pretty quarrel—“why do you say that Leandre is wrong?”
“To be general, because he is always wrong. To be particular, because I judge the audience of Guichen to be too sophisticated for The Heartless Father.”
“You would put it more happily,” interposed André-Louis—who was the cause of this discussion—“if you said that The Heartless Father is too unsophisticated for the audience of Guichen.”
“Why, what’s the difference?” asked Leandre.
“I didn’t imply a difference. I merely suggested that it is a happier way to express the fact.”
“The gentleman is being subtle,” sneered Binet.
“Why happier?” Harlequin demanded.
“Because it is easier to bring The Heartless Father to the sophistication of the Guichen audience, than the Guichen audience to the unsophistication of The Heartless Father.”
“Let me think it out,” groaned Polichinelle, and he took his head in his hands.
But from the tail of the table André-Louis was challenged by Climène who sat there between Columbine and Madame.
“You would alter the comedy, would you, M. Parvissimus?” she cried.
He turned to parry her malice.
“I would suggest that it be altered,” he corrected, inclining his head.
“And how would you alter it, monsieur?”
“I? Oh, for the better.”
“But of course!” She was sleekest sarcasm. “And how would you do it?”
“Aye, tell us that,” roared M. Binet, and added: “Silence, I pray you, gentlemen and ladies. Silence for M. Parvissimus.”
André-Louis looked from father to daughter, and smiled. “Pardi!” said he. “I am between bludgeon and dagger. If I escape with my life, I shall be fortunate. Why, then, since you pin me to the very wall, I’ll tell you what I should do. I should go back to the original and help myself more freely from it.”
“The original?” questioned M. Binet—the author.
“It is called, I believe, Monsieur de Pourceaugnac, and was written by Molière.”
Somebody tittered, but that somebody was not M. Binet. He had been touched on the raw, and the look in his little eyes betrayed the fact that his bonhomme exterior covered anything but a bonhomme.
“You charge me with plagiarism,” he said at last; “with filching the ideas of Molière.”
“There is always, of course,” said André-Louis, unruffled, “the alternative possibility of two great minds working upon parallel lines.”
M. Binet studied the young man attentively a moment. He found him bland and inscrutable, and decided to pin him down.
“Then you do not imply that I have been stealing from Molière?”
“I advise you to do so, monsieur,” was the disconcerting reply.
M. Binet was shocked.
“You advise me to do so! You advise me, me, Antoine Binet, to turn thief at my age!”
“He is outrageous,” said mademoiselle, indignantly.
“Outrageous is the word. I thank you for it, my dear. I take you on trust, sir. You sit at my table, you have the honour to be included in my company, and to my face you have the audacity to advise me to become a thief—the worst kind of thief that is conceivable, a thief of spiritual things, a thief of ideas! It is insufferable, intolerable! I have been, I fear, deeply mistaken in you, monsieur; just as you appear to have been mistaken in me. I am not the scoundrel you suppose me, sir, and I will not number in my company a man who dares to suggest that I should become one. Outrageous!”
He was very angry. His voice boomed through the little room, and the company sat hushed and something scared, their eyes upon André-Louis, who was the only one entirely unmoved by this outburst of virtuous indignation.
“You realize, monsieur,” he said, very quietly, “that you are insulting the memory of the illustrious dead?”
“Eh?” said Binet.
André-Louis developed his sophistries.
“You insult the memory of Molière, the greatest ornament of our stage, one of the greatest ornaments of our nation, when you suggest that there is vileness in doing that which he never hesitated to do, which no great author yet has hesitated to do. You cannot suppose that Molière ever troubled himself to be original in the matter of ideas. You cannot suppose that the stories he tells in his plays have never been told before. They were culled, as you very well know—though you seem momentarily to have forgotten it, and it is therefore necessary that I should remind you—they were culled, many of them, from the Italian authors, who themselves had culled them Heaven alone knows where. Molière took those old stories and retold them in his own language. That is precisely what I am suggesting that you should do. Your company is a company of improvisers. You supply the dialogue as you proceed, which is rather more than Molière ever attempted. You may, if you prefer it—though it would seem to me to be yielding to an excess of scruple—go straight to Boccaccio or Sacchetti. But even then you cannot be sure that you have reached the sources.”
André-Louis came off with flying colours after that. You see what a debater was lost in him; how nimble he was in the art of making white look black. The company was impressed, and no one more that M. Binet, who found himself supplied with a crushing argument against those who in future might tax him with the impudent plagiarisms which he undoubtedly perpetrated. He retired in the best order he could from the position he had taken up at the outset.
“So that you
