In his Négligent (1692), Charles Dufresny has an aspiring playwright exclaim: ‘Molière has spoiled the theatre all right. Follow his example and immediately critics cry out that you pilfered his work; deviate from it in the slightest, and they complain that you are not staying close enough to Molière!’ – an ironic but fitting encapsulation of the ‘post-moliéresque’ era, when authors, facing increasingly challenging conditions, still somehow managed to reinvent comedy. The growing aura of commedia dell’arte and opera influenced productions of the newly formed Théâtre-Français, which for almost twenty years struggled in the shadow of the hugely successful Théâtre-Italien, then allowed to stage plays partly in French. When the latter was shut down by royal decree in 1697, the taste for ‘irregular’ comedy remained dominant, ultimately leading to the emergence of a new venue – the fairgrounds – and a new genre: the opéra-comique. Contrary to a long-standing negative vision, the Fin de Règne (1680–1715), with dramatists like Dancourt, Dufresny, Regnard and Lesage, was an apex of comedic innovation that never forgot or betrayed what Molière had accomplished.