SCARRON, Paul (1610-1660), poet, dramatist, novelist, and husband of Madame de Maintenon, was born or at least baptized on the 4th July 1610. His father, of the same name, was a man of position, and a member of the parlement of Paris. Paul the younger (who is said to have quarrelled with his stepmother) became an abbé, was not ill-allowanced, and travelled to Rome in 1634. Ho returned and became a well-known figure in literary and fashionable society. A wild story used to be told of his having (when in residence at his canonry of Le Mans) tarred and feathered himself as a carnival freak, of his having been obliged to take refuge from popular wrath in a swamp, and of his consequent deformity from rheumatism. The simple fact seems to be that in 1637 he had an attack of fever with the usual sequelae of rheumatic attacks, and that he put himself into the hands of a quack doctor. This at least is how Tallemant tells the story, though he substitutes a less creditable disease for fever. What is certain is that Scarron, after having been in perfect health for nearly thirty years, passed twenty more in a state of miserable deformity and pain. His head and body were twisted, and his legs became useless. Nevertheless he bore up against his sufferings with invincible courage, though they were complicated by his inheriting nothing from his father, and by the poverty and miscouduct of his sisters, whom he supported. For a few years he really held a benefice at Le Mans, but was then in no case to play pranks. It is said, however, that here he conceived the idea of the Roman Comique and wrote the drama of Jodelet, which gave a nickname to the actor who performed it. In 1646 he returned to Paris and worked hard for the booksellers, from the name of one of whom he is said to have called ...literature pleasantly his " marquisat de Quinet.” He had also a pension from Mazarin and one from the queen, but lost both from being accused of “Frondeur” sentiments. The most singular action of his life remains to be told. In his early years he had been, as hinted, something of a libertine, and a young lady of some family, Céleste Palaiseau, had openly lived with him. But in 1652, sixteen years after he had become almost entirely paralysed, he married a girl of much beauty and no fortune, Françoise or Francine d’Aubigné, granddaughter of Agrippa d’Aubigné, afterwards famous as Madame de Maintenon. Scarron’s house was, both before and after the marriage, a great centre of society, despite his narrow means. Yet only the most malignant and unscrupulous libellers of the future favourite accuse her of light conduct during the eight years of her marriage to this strange husband, and the well-informed author of the Historiettes distinctly acquits her of any such. But Scarron, who had long been able to endure life only by the aid of constant doses of opium, was at length worn out, and died on the 6th October 1660.
Scarron’s work is very abundant, and, written as it was under pressure of want and pain, it is very unequal. The piece most famous in his own day, his Virgile Travesti (1648-53), is now thought, and not unjustly, a somewhat ignoble and unprofitable waste of singular powers for burlesque. But the Roman Comique (1651) is a work the merit of which can be denied by no competent judge who has read it. Unfinished, and a little desultory, this history of a troop of strolling actors is almost the first French novel, in point of date, which shows real power of painting manners and character, and is singularly vivid. It furnished Théophile Gautier with the idea and with some of the details of his Capitaine Fracasse. Scarron also wrote some shorter novels of merit, which arc thought to have inspired Molière and Sedaine. Of his plays Jodelet (1645) and Don Japhet d'Arménie (1653) are the best. Both these and the others which he wrote are of course somewhat antiquated in style, but with Corneille’s Menteur they stand above everything else in comedy before Molière. He also produced many miscellaneous pieces.
Scarron is generally spoken of and thought of as a representative writer of burlesque, but in reality he possessed in abundance the faculty of true comedy. The most complete edition of his works is held tobe that of 1737 (10 vols., Amsterdam), but his more celebrated pieces, including all those mentioned above, have been frequently reprinted.
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