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Abstract
IT is a curious if not ironic reflexion that the last words spoken on the stage by the greatest of all French comic writers were not in his own language. If we accept the story that first appeared in the preface to the 1682 edition of his works, that Moliere managed only with difficulty to complete the fourth performance of Le Malade imaginaire on 17 February 1673, the corollary is that in the last scene that he ever played he and his fellow actors were not speaking their native French, but macaronic jargon. The final speech of thanks from the bachelierus or candidate, who of course is Argan-Moliere himself, opens with the following preposterous farrago of gallicised Latin and latinised French:
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