While I do not go so far as to assert positively that Abbe Soulavie has once for all lifted the veil which hid the truth, I am yet persuaded that no other system of research is superior to his, and that no other suggested solution has so many presumptions in its favour.  I have not reached this firm conviction on account of the great and prolonged success of our drama, but because of the ease with which all the opinions adverse to those of the abbe may be annihilated by pitting them one against the other.

The qualities that make for success being quite different in a novel and in a drama, I could easily have founded a romance on the fictitious loves of Buckingham and the queen, or on a supposed secret marriage between her and Cardinal Mazarin, calling to my aid a work by Saint-Mihiel which the bibliophile declares he has never read, although it is assuredly neither rare nor difficult of access.  I might also have merely expanded my drama, restoring to the personages therein their true names and relative positions, both of which the exigencies of the stage had sometimes obliged me to alter, and while allowing them to fill the same parts, making them act more in accordance with historical fact.  No fable however far-fetched, no grouping of characters however improbable, can, however, destroy the interest which the innumerable writings about the Iron Mask excite, although no two agree in details, and although each author and each witness declares himself in possession of complete knowledge.  No work, however mediocre, however worthless even, which has appeared on this subject has ever failed of success, not even, for example, the strange jumble of Chevalier de Mouhy, a kind of literary braggart, who was in the pay of Voltaire, and whose work was published anonymously in 1746 by Pierre de Hondt of The Hague.  It is divided into six short parts, and bears the title, ’Le Masque de Fer, ou les Aventures admirables du Prre et du Fils’.  An absurd romance by Regnault Warin, and one at least equally absurd by Madame Guenard, met with a like favourable reception.  In writing for the theatre, an author must choose one view of a dramatic situation to the exclusion of all others, and in following out this central idea is obliged by the inexorable laws of logic to push aside everything that interferes with its development.  A book, on the contrary, is written to be discussed; it brings under the notice of the reader all the evidence produced at a trial which has as yet not reached a definite conclusion, and which in the case before us will never reach it, unless, which is most improbable, some lucky chance should lead to some new discovery.

The first mention of the prisoner is to be found in the ’Memoires secrets pour servir a l’Histoire de Perse’ in one 12mo volume, by an anonymous author, published by the ‘Compagnie des Libraires Associes d’Amsterdam’ in 1745.