This copy is lacking the commentaries on the plays, ending at l.346. It includes variants not found in other manuscript copies or the 1739 editions of the text at ll.73-75, 98, 115-116, 166-167, 170-172, 210-211, 243-245, 251-257, 278-279, 287, 307-308, and 312-319.

The manuscript is a lettre en vers, accommodating four poems. The letter reflects on medical care and creative pursuits, alluding to Molière’s literary engagement with doctors and medicine, citing the previous correspondence between Voltaire and d’Aquin and supplying informal medical guidance to Voltaire.

In a letter to Jean Baptiste Nicolas Formont dated 14 February 1734, Voltaire writes that Formont is to announce again to Cideville that he will have La vie de Molière and a historical and critical abstract of his plays, by order of Mr. the Keeper of the Seals, to put at the head of the 4o edition of Molière, noting that these texts will be produced ‘le tout de ma façon’. The manuscript begins with a summary of Molière’s life. Voltaire then lists his plays, describing in brief what they were and when and where they were staged, and offering a brief critical analysis. The plays included are:

L’etourdy ou les contrtemps. A comedy in verse and in 5 acts. First performed in Lyon in 1653. Later performed in Paris in December 1658 at the Theatre du petit Bourbon.
Le Depit amoureux. Performed at the Theatre du petit Bourbon.
Le pretieuses Ridicules. A comedy in prose first performed in Provence and later performed in Paris in November 1659 at the Theatre du petit Bourbon.
Le cocu imaginaire. A comedy in 3 acts in verse. Performed in Paris on 28 May 1660.
Dom garcie de navare, ou Le Prince jaloux. A heroic comedy in verse and in 5 acts presented for the first time on 4 February 1661.
L’ecole des maris. A comedy in verse and in 3 acts performed in Paris on 24 June 1661.
Les Facheux. A comedy in verse and in 3 acts performed before the King in August 1661 and in Paris at the Theatre du Palais Roial on 4 November of the same year.
L’Ecole des Femmes. A comedy in verse and in 5 acts performed at Paris at the Theatre du Palais Roial on 26 December 1662.
La Critique de l’Ecole Des Femmes. A small piece in prose and in 1 act performed in Paris at the Theatre du Palais Roial on 1 June 1663.
L’Impromptu de Versailles. A small piece in prose and in 1 act performed at Versailles on 14 October 1663 and in Paris on 4 November of the same year.
La Princesse d’Elide ou les plaisirs de l’isle enchantée. Performed on 7 MArch 1664 at Versailles at the great feast that the King gave to the Queens.
Le mariage forcé. A small piece in prose and in one act performed at the Louvre on 29 January 1664 and at the Theatre du Palais Roial on 15 November of the same year.
l’Amour Medecin. A small comedy in prose and in 1 act performed at Versailles on 15 September 1665 and at the Theatre du Palais Roial on 22 September of the same year.
Dom Juan ou Le Festin de Pierre. A comedy in prose and in 5 acts performed at the Theatre du Palais Roial on 15 February 1665.
Le Sicilien ou l’amour peintre. A comedy in prose and in 1 act performed in St. Germain en Laye in 1667 and at the Theatre du Palais Roial on 10 June of the same year.
Melicerte. A heroic pastoral performed at St Germain en Laye for the King at Balet des muses in December 1666.
Le misantrope. A comedy in verse and in 5 acts performed at the Theatre du Palais Roial on 4 June 1666.
Le Medecin malgre lui. A comedy in prose and in 3 acts performed at the Theatre du Palais Roial on 6 August 1666.
Amphitrion. Performed at the Theatre du Palais Roial on 13 January 1668.
Les Tourberies de scapin Jouées.
l’Avare. A comedy in prose and in 5 acts performed in Paris at the Theatre du Palais Roiale on 9 September 1668.
George Dandin ou Le mari confondu.
L’Imposteur ou Le Tartuffe. Performed without interruption in public on 5 February 1669.
Monsieur de Pourceaugnac. A comedy ballet in prose and in 3 acts performed in Chambord for the King in September 1669 and at the Theatre du Palais Roial on 15 November of the same year.
Le Bourgeois gentilhomme. A comedy ballet in prose and in 5 acts performed in Chambord in December 1670 and in Paris on the 23rd of the same month.
Psiché Tragedie. A ballet in free verse and in 5 acts performed before the King in the Salle des machines du palais des Thuilleries in January and during the carnival in 1670. Later performed in front of the public at the Theatre du Palais Roial in 1671.
Les Femmes scavantes. A comedy in verse and in 5 acts performed at the Theatre du Palais Roial on 11 March 1672.
Les amants magnifiques. A comedy ballet in prose and in 5 acts performed before the King in St Germain in February 1670.
La comtesse d’Escarbagnas. A small comedy in prose and in 1 act performed before the King in St Germain in February 1672 and in Paris at the Theatre du Palais Roial on 8 July of the same year.

Pyat suggests parallels between art and politics, and he references several of his own works (Une révolution d’autrefois, Ango, Le brigand et le philosophe, Les deux serruriers, Mathilde, Diogène, Le chiffonnier de Paris). Mentions the 1848 revolution and the Paris Commune. Includes references to Goethe, Shakespeare, Molière, Voltaire, and others. Harshly criticizes the vicomte de Chateaubriand and Victor Hugo.

Voltaire discusses Molière and Shakespeare. Voltaire writes that everything that de Champfort has written about Molière is worthy of him and the fine century in which he lived. He notes that de Champfort has rightly shown the injustices that were shown towards this ‘philosopher of the theatre’ and that de Champfort has skilfully passed over the obstinancy with which a débauché refused to bury a wise man. He adds that Archbishop Chamvalon dies soon after Molière and was buried pompously to the sound of bells and with beautiful ceremonies but that Louis XIV had great difficulty in preventing Molière’s body being thrown in the garbage. He notes that there was a comparable English scenario a hundred years before whereby the English constructed a magnificent monument in Stratford to Shakespeare, who Voltaire denigrates as being incomparable to Molière in both art and manners. He says that games in honour of Shakespeare have just been established in England and celebrated with extreme magnificence, with there being tables to seat a thousand people. Voltaire complains that genius is not encouraged in France with such profusion, noting that those that have sought to enlighten France have been greeted with persecution. He makes brief mention of Martin Fréron and Pierre Corneille before thanking de Champfort for sending him his work and concluding that it deserved the prize it had won. The letter is addressed to Mr. Renard, bookseller at the palace, for him to give to de Champfort.

Voltaire begins by saying that since he saw the new edition by Etienne Ledet he is more determined than ever to provide Prault with a copy that will be useful and honourable to him. He adds that Prault can depend on the protection of d’Argenson, and on his own zeal, noting that he would be angry if only foreigners benefitted from his works and if the Paris bookseller whom he esteems the most has only useless offers of service from him. Voltaire then discusses his essay on Molière, before asking if it is true that his epistles and the beginning of his Siècle de Louis XIV have been published. He notes that he would like to be sent copies if this is the case.