A commentary on Plato's Timaeus, by A.E. Taylor

By A.E. Taylor

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Look at you standing there like a tent-pole with eyes, waiting for your chance. I won’t have a spy in the house, watching, waiting, sizing everything up and making lists of what he can rob. LA FLÈCHE. How the hell can anyone rob you? You’re not robbable. You lock all your things away and stand guard over them twenty-four hours a day. HARPAGON. I’ll lock to my heart’s content, I’ll stand guard as and when I choose. I can do it as well as any police informer. ) I’m terrified that he knows about my money.

Twenty pistoles, that would bring in eighteen livres, six sous, eight deniers per annum, assuming interest at only eight per cent. CLÉANTE. I’m sure you’re right. HARPAGON. Enough said for now. Eh? ) They’re making signs, they want to steal my purse. ) What do those signals mean? ÉLISE. We’re not sure which of us should go first. We’ve both got something to tell you. CLÉANTE. Yes, we want to discuss marriage. HARPAGON. So do I. ÉLISE. Oh Father! HARPAGON. What’s that ‘Oh Father’ for, Élise? Is it the idea or the thing itself that frightens you?

The Miser : Original Staging The Miser was given its first production on Sunday 9 September 1668 in the theatre of the Palais Royal, Paris, home of Molière’s troupe at that time. Harpagon was played by Molière himself, and details of the costume he was wearing have come down to us – black velvet cloak, doublet and breeches trimmed with black silk, wig, hat, shoes. The role of La Flèche was given to Louis Béjart, the uncle of Molière’s wife. Beyond these two, the cast list is unknown. This first production was relatively unsuccessful, and the play was withdrawn after a mere nine performances.

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