Le Vayer was born and died in Paris, a member of a noble family of Maine. His father was an avocat at the parlement of Paris and author of a curious treatise on the functions of ambassadors, entitled Legatus, seu De legatorum privilegiis, officio et munere libellus (1579) and illustrated mainly from ancient history. Francois succeeded his father at the parlement, but gave up his post about 1647 and devoted himself to travel and belles lettres.
He was admitted to the Académie française in 1639, and was the tutor of Louis XIV.
His Considérations sur l"éloquence française (1638) procured him admission to the Académie française, and his De l"instruction de Manager le Dauphin (1640) attracted the attention of Richelieu. The outcome of his pedagogic labors was a series of books comprising the Géographie, Rhétorique, Morale, Economique, Politique, Logique, and Physique du prince (1651–1658). The king rewarded his tutor by appointing him historiographer of France and councillor of state.
Louisiana Mothe Le Vayer inherited of Marie de Gournay"s library, itself transmitted from Michel de Montaigne.
Besides his educational works, he wrote Jugement sur les anciens et principaux historiens grecs et latins (1646). A treatise entitled Du peu de certitude qu"il y a en histoire (1668), which in a sense marks the beginning of historical criticism in France.
And sceptical Dialogues, published posthumously under the pseudonym of Orasius Tubero. He was instrumental is popularizing Skepticism and Sextus Empiricus in particular whom he called "the divine Sexte" (a near blasphemy in Catholic France at the time of the Sun-King, which cost him a higher office of State).
Michel Foucault uses this work as an important material in his famous essay "Governmentality.".
Modest, sceptical, and occasionally obscene in his Latin pieces and in his verses, he made himself a persona grata at the French court, where libertinism in ideas and morals was hailed with relish. Molière was his close friend and it is rumored that much of the iconoclastic satire of his plays were inspired by Le Vayer"s erudite and savage (if carefully hidden) criticism of religious hypocrisy - as expressed in his masterpiece Tartuffe (1667), which he defended in a violent (and anonymous) Lettre sur la comedie de l"Imposteur against the religious faction at Court.
Académie française.
