Alain-René Lesage hailed from a once prosperous Breton lineage, yet his early life took a tragic turn, shaping his literary journey. The deaths of both parents during his formative years left him under the care of uncles who stripped him of his inheritance, compelling him into financial hardship. This adversity, however, catalyzed his eventual pursuit of a career in writing and the arts.

Early Life and Legal Pursuits

Born in 1668, Lesage's early childhood was marked by comfort until the deaths of his parents led to his adoption by uncles who deprived him of his family fortune. Despite these challenges, Lesage endeavored to honor his family's legacy by pursuing a legal career. He began his education at the Jesuit collège in Vannes, where Father Baschard introduced him to the theater, sparking a lifelong passion. Despite being admitted to the bar in Paris, he found himself confined to the lower echelons of the legal field. Nonetheless, he mingled in high society and literary circles, making connections with literary figures like Dancourt, who nurtured his theatrical interests. In 1694, Lesage married Marie-Élisabeth Huyard, whose unwavering devotion provided him with lasting stability and happiness. Together, they had three sons and a daughter, with two sons pursuing acting careers—the eldest becoming renowned at the Comédie-Française—and the third joining the clergy.

Initial Foray into Literature

Lesage's literary journey commenced in 1695 with a translation of letters from a Greek Sophist, yet the work garnered little recognition. His fortunes shifted when he encountered the Abbé de Lyonne, who became his patron and urged him to learn Spanish to translate works by distinguished playwrights Pedro Calderón de la Barca and Lope de Vega Carpio. By 1700, Lesage had successfully published his first Spanish translations. His adaptation of Francisco de Rojas Zorrilla's No hay amigo para amigo into Le Point d’honneur was staged by the Comédie-Française in 1702 but was met with disapproval and quickly withdrawn. Undeterred, Lesage continued his theatrical ventures, experiencing both failures and triumphs.

Early Theatrical Efforts and Breakthroughs

Lesage faced initial setbacks with his adaptations, but his fortunes began changing in 1707 with the Comédie-Française's performance of Don César Ursin—an adaptation of Calderón's play—which, despite its failure, was accompanied by the successful Crispin, Rival of His Master. The latter received a favorable reception in Paris, contrasting with its lackluster presentation at court. Later that year, his novel, The Devil upon Two Sticks, captivated audiences and overshadowed his theatrical endeavors.

Struggles and Triumphs at the Foire

In 1708, Lesage's one-act comedy La Tontine was rejected by the Comédie-Française, yet it found a stage with the Foire actors in 1714 as Arlequin colonel. Unwavering in his pursuit, Lesage offered his masterpiece Turcaret to the Comédie-Française, meeting resistance yet ultimately succeeding after leveraging influential contacts. The play's brief run, curtailed by opposing financier interests, left Lesage embittered, prompting his permanent pivot to the Foire for his theatrical work.

Success with Gil Blas and Court Patronage

1715 marked a significant year as Lesage unveiled the first six books of Gil Blas, garnering critical acclaim. The death of Louis XIV that same year ushered in a new era, with the Regent extending patronage to the Foire players, enhancing their legitimacy and reducing artistic constraints. This newfound freedom spurred Lesage to satirize his previous collaborators at the Comédie in witty works like La Querelle des théâtres and La Fausse Foire. Additionally, the publication of Le Théâtre de la Foire volumes showcased his creative output, coinciding with the continuation of the Gil Blas series.

Family Reconciliation and Late Literary Works

The revival of Turcaret in...