Argan thought he was sick, and to conjure his fear of death, he made medicine his religion and entertainment. Molière did not believe in medicine: he believed in theatre. Died of a chest flow on February 17, 1673, on the evening of the fourth performance, he left the scene with a total show, a manifesto for youth, a final tribute to the force of truth of the theatre, a final pirouette d ́actor. We will never know what definitive form he would have given to the published version of his play. The confrontation of the versions published in 1675 and 1682, which we give to read in this edition, invites us to take a new look at this heritage work, whose seed made Molière's dramatic will. It also allows us to enter the factory of a resolutely living text – which still retains its shadowy part.