The critic is a part of every artist's life that cannot be ignored. Most actors memorize their best reviews; some memorize their worst reviews and will recite them with blood vessels swelling and much editorial comment. The desire to answer back is maddeningly strong. For Molière the nasty criticism grew louder and more personal as references to his marriage mounted and even charges of incest were openly discussed. Molière answered with fighting words in the most public way at his disposal: by writing the two short plays discussed in this chapter. His first attack is indirect.

After the production of L'École des Femmes, which may have been the greatest success of the seventeenth century, controversies over the play swirled around the city and the court. After the run of performances in theaters and in the homes of the aristocracy during the winter season, Molière decided to bring back the play accompanied with a one-act called La Critique de l'École des Femmes (The Critique of the School for Wives), which was performed following the five-act play starting in June of 1663.

For this piece he wrote his first role for Armande. She played the supporting role of Élise opposite Mlle Béjart and Mlle Du Parc. As a shrewd producer, Molière kept his star, Catherine de Brie, in the role of Agnès.