MONSIEUR DE POURCEAUGNAC.
ORONTE.
JULIE, fille d’Oronte.
NÉRINE, femme d’intrigue (schemer).
LUCETTE, feinte (false) Gasconne.
ÉRASTE, amant de (in love with) Julie.
SBRIGANI, Napolitain, homme d’intrigue (schemer).
PREMIER MÉDECIN.
SECOND MÉDECIN.
L’APOTHICAIRE.
UN PAYSAN.
UNE PAYSANNE.
PREMIER MUSICIEN.
SECOND MUSICIEN.
PREMIER AVOCAT.
SECOND AVOCAT.
PREMIER SUISSE.
SECOND SUISSE.
UN EXEMPT.
DEUX ARCHERS.
PLUSIEURS MUSICIENS, JOUEURS D’INSTRUMENTS, ET DANSEURS.
La scène est à Paris
Monsieur de Pourceaugnac
a scapegoat
aesthetically in the wrong
a comedy in reverse
an on-stage dramatist
pour rire / for the fun of it
A scapegoat
I have already noted that Monsieur de Pourceaugnac seems a scapegoat, or pharmakós. which is not inconsistent with the role pharmakoi play in tragedies and comedies. Northrop Frye writes that the scapegoats, the pharmakós is “neither innocent nor guilty.”[1]
Aesthetically in the wrong
There is no reason why Monsieur de Pourceaugnac should be victimised in Paris, “this country,” or elsewhere. Arranged marriages were common in 17th-century France. Besides, had Julie found Monsieur de Pourceaugnac repulsive, he may not have married her. Monsieur de Pourceaugnac’s only problem is his name and/or looks, which has to do with aesthetics. Let us read Nérine:
S’il a envie de se marier, que ne prend-il une Limosine, et ne laisse-t-il en repos les chrétiens ? Le seul nom de Monsieur de Pourceaugnac m’a mis dans une colère effroyable. J’enrage de Monsieur de Pourceaugnac. Quand il n’y aurait que ce nom-là, Monsieur de Pourceaugnac, j’y brûlerai mes livres, ou je romprai ce mariage, et vous ne serez point Madame de Pourceaugnac. Pourceaugnac ! Cela se peut-il souffrir ? Non, Pourceaugnac est une chose que je ne saurais supporter, et nous lui jouerons tant de pièces, nous lui ferons tant de niches sur niches, que nous renverrons à Limoges Monsieur de Pourceaugnac. Nérine à Julie et Éraste (I. scène première)
[If he wishes to get married why does he not take a lady born at Limoges for a wife, instead of troubling decent Christians? The name alone of Monsieur de Pourceaugnac has put me in a frightful passion. I am in a rage about Monsieur de Pourceaugnac If it were nothing but his name, this Monsieur de Pourceaugnac, I would do everything to succeed in breaking off this marriage, rather than that you should be Madam de Pourceaugnac. Pourceaugnac! is it bearable? No, Pourceaugnac is something which I cannot tolerate; and we shall play him so many tricks, we shall practice so many jokes upon jokes upon him, that we shall soon send Monsieur de Pourceaugnac back to Limoges again.] Nérine to Julie and Éraste (II. 3, p. 94)
In his analysis of Le Misanthrope and Dom Juan, Professor Jules Brody concluded that Alceste and Dom Juan were “aesthetically in the wrong, but morally in the right” or vice versa. I am paraphrasing Professor Brody.[2] Arranged marriages were relatively common in 17th-century France, so Monsieur de Pourceaugnac cannot be faulted for “buying” a bride who will be provided with a generous dowry.
We should also note that, in Scene Two, Julie is not ready to oppose her father’s choice of a groom beyond entering a convent.
Je le menacerais de me jeter dans un convent Julie à Éraste (I. ii)
[I would threaten him to bury myself in a convent.] Julie to Éraste (I. 4, p. 95)
Éraste requests greater proof of her love, but Julie tells him she must await the course of events before allowing further opposition.
Mon Dieu, Éraste, contentez-vous de ce que je fais maintenant, et n’allez point tenter sur l’avenir les résolutions de mon cœur; ne fatiguez point mon devoir par les propositions d’une fâcheuse extrémité dont peut-être n’aurons-nous pas besoin; et s’il y faut venir, souffrez au moins que j’y sois entraînée par la suite des choses. Julie à Éraste (I. ii)
[Good Heavens! Eraste, content yourself with what I am doing now; and do not tempt the resolutions of my heart upon what may happen in the future; do not make my duty more painful with proposals of annoying rashness, of which, perhaps, we may not be in need; and if we are to come to it, let me, at least be driven to it by the turn of affairs.] Julie to Éraste (I. 4, p. 96)
Julie is quite right. She has agreed to batteries and machines that will allow people, schemers, to promote her marriage to act, but no one was to go to far. However, it turns out measures taken to let her be Éraste’s wife are too drastic. When Sbrigani is done, Monsieur de Pourceaugnac will stand accused of bigamy and, unless a schemer saves him, Sbrigani, he may be hanged. In Oronte eyes, having abandoned Lucette, Monsieur de Pourceaugnac is a méchant homme. Upon learning that Pourceaugnac abandoned Lucette, Oronte, Julie’s father, cannot prevent himself from crying. What irony!
Je ne saurais m’empêcher de pleurer. Allez, vous êtes un méchant homme. Oronte (II. vii)
[I cannot help crying. (To Monsieur de Pourceaugnac). Go, you are a wicked man.] Oronte (II. 8, p. 123)
When Pourceaugnac is being led away Oronte suggests that Pourceaugnac be hanged:
Allez, vous ferez bien de le faire punir, et il mérite d’être pendu. Oronte (II. viii)
[Come, you will do well to have him punished; and he deserves to be hanged.] Oronte (II. 10, p. 125)
A comedy in reverse
Not only is Monsieur de Pourceaugnac humiliated because of his name, but Molière also rearranged the usual cast of comedies so that Monsieur de Pourceaugnac is treated like a tyrannical pater familias, Oronte’s role. As for the eirôn, the threatened lovers and their usual supporters: laquais, valet, suivante, confidante, an uncle or avuncular figure, such as Le Maladeimaginaire’s Béralde, Argan’s brother, they are pitiless tricksters: Sbrigani and his crew who unleash uninterrupted attacks on an innocent man. The person who will marry his daughter to a man she may be attracted to or find repulsive, is Oronte. Oronte, therefore, is the blocking-character or alazṓn. However, the man who is left in the hands of doctors threatening enemas and other procedures, the man whose creditors will be repaid by Oronte, the bigamist or polygamist who should be hanged, is Monsieur de Pourceaugnac, Oronte’s prospective son-in-law. The first doctor claims Pourceaugnac as un meuble, his property. Moreover, we are in Paris, where the accused is hanged before the trial. The play is such a charivari, hullabaloo, that Julie, Éraste’s innamorata, finds Monsieur de Pourceaugnac attractive and follows him as he is led out of “this country,” which is seen as an enlèvement, by Oronte.
Ah ! Monsieur, ce perfide de Limosin, ce traître de Monsieur de Pourceaugnac vous enlève votre fille. Sbrigani à Oronte (III. vi)
[Ah, Sir! this perfidious Limousin, this wretch of a Monsieur de Pourceaugnac abducts your daughter!] Sbrigani à Oronte (III. 8, p. 133)
She who would not be forced into a marriage, must marry Éraste, whom, she suspects, created all these pièces, comedies:
Ce sont sans doute des pièces qu’on lui fait, et c’est peut-être lui [Éraste] qui a trouvé cet artifice pour vous en dégoûter. Julie à Oronte (III. vii)
[They are, no doubt, tricks which have been played upon him, and (Pointing to Eraste) it is perhaps he who invented this artifice to disgust you with him.] Julie to Oronte and Éraste (III. ix, p. 135)
An on-stage dramatist
Yes and no. Éraste did not oppose Sbrigani’s unacceptable tricks. Monsieur de Pourceaugnac is not a théâtre dans le théâtre, but one could suggest that the dramatist is on stage and the play abundantly self-referential:
Je conduis de l’œil toutes choses, et tout ceci ne va pas mal. Nous fatiguerons tant notre provincial, qu’il faudra, ma foi, qu’il déguerpisse. Sbrigani (II. vii)
[I am managing these things very nicely, and everything goes well as yet. We shall tire our provincial to such an extent that upon my word, he will be obliged to decamp.] Sbrigani (II. 11, p. 125)
Julie knowsabout Éraste’s involvement in and provides a redressing of the comedy. She is the dutiful daughter who takes the husband her father chose for her:
They are no doubt tricks which have been played upon him, and (Pointing to Eraste) it is perhaps he who invented this artifice to disgust you with him. Julie to Oronte (III. 9, p. 135)
Pour rire / for the fun of it
Although Monsieur de Pourceaugnac is cruel and machiavellian, it is for the main part an “all’s well that ends well.” But there are gradations within comedy. Monsieur de Pourceaugnac is a pour rire: for laughs, concocted one of the best among zanni: Sbrigani. In Monsieur de Pourceaugnac, wit prevails, and wit is ruthless. It is carnivalesque. My thesis director, Dr Harold C. Knutson, wrote a book entitled: The Triumph of Wit: Molière and Restoration Comedy. I could not end on a better note.[3]
_____________________ [1] Northrop Frye, Anatomy of Criticism (Princeton: Princeton University Press, 1973 [1957]), p. 41. [2]Brody, Jules. “Dom Juan and Le Misanthrope, or the Esthetics of Individualism inMolière, ” PMLA, 84, 1969. [3] Knutson, Harold C. The Triumph of Wit: Molière and Restoration Comedy, Ohio State University Pres, 1988)
Love to everyone 💕
Sincere apologies for rebuilding my post. In theory, this computer was repaired, but it wasn’t. A friend and technician will take me to a store. We will buy the computer and he will set it up.
Harry and Meghan are in Canada and no one was disturbing them, which is no longer the case. The paparazzi have crossed the pond. This is an update.
They are considering purchasing a house located on Vancouver’s Point Grey Road. Point Grey Road is the street where my husband and I lived when we returned from Wickaninnish Inn, the secluded inn where we spent our honeymoon.
On our return to Vancouver, we settled in a delightful attic apartment located in a waterfront house. It was a lovely apartment and we had a deck. We enjoyed the location. We were about halfway between the University and downtown, but the finer houses were located closer to the University. There were lovely little houses where we lived, but I don’t remember mansions. We enjoyed watching the little sail boats on English Bay. We could also see snow-capped mountains. Raccoons were forever trying to get into the apartment, which scared Chamiche, our cat, but we protected him. These are very happy memories.
Prince Harry and Meghan’s house, if they purchase it, is very expensive, but in the early 1970’s, our rent was very low. If my memory serves me well, renting the apartment cost approximately $300.00 per month, furnished.
We were students and it was an era when ordinary people could live in a waterfront house. Vancouver is now too expensive a location.
So, although I feel that Harry and Meghan are following us, they’re not. The location is the same, but Vancouver has changed. The waterfront apartment was our first home.
As a Royal, Prince Harry didn’t have to attend a university. However, he could overcome this shortcoming by taking courses at the University of British Columbia (UBC). I doubt that he is employable. UBC is a short drive from the mansion Meghan spotted and wishes to purchase, if the couple can afford it.
MONSIEUR DE POURCEAUGNAC.
ORONTE. JULIE, (daughter of) fille d’Oronte.
NÉRINE, (a schemer) femme d’intrigue, (false) feinte Picarde.
LUCETTE, (false) feinte Gasconne.
ÉRASTE, (in love with) amant de Julie.
SBRIGANI, Napolitain, (a schemer) homme d’intrigue.
PREMIER MÉDECIN (doctor). SECOND MÉDECIN. L’APOTHICAIRE. UN PAYSAN (peasant). UNE PAYSANNE. PREMIER MUSICIEN (musician). SECOND MUSICIEN. PREMIER AVOCAT (lawyer). SECOND AVOCAT. PREMIER SUISSE (Swiss). SECOND SUISSE. UN EXEMPT. DEUX ARCHERS. PLUSIEURS MUSICIENS, JOUEURS D’INSTRUMENTS, ET DANSEURS.
La scène est à Paris
Act Two
SCENE ONE / Scène première ORONTE, PREMIER MÉDECIN.
Monsieur de Pourceaugnac escapes the doctor’s house carrying a chair. The first doctor thinks that Monsieur de Pourceaugnac must be treated:
Marque d’un cerveau démonté, et d’une raison dépravée, que de ne vouloir pas guérir. Premier médecin à Sbrigani (II. i)
[It is a sign of a disordered brain, and of a corrupted reason, not to wish to be cured.] 1st doctor to Sbrigani (II. 1)
Sbrigani tells the 1st doctor that M de Pourceaugnac may be at Oronto’s house. He, Sbrigani, will prepare a new batterie a trick:
Je vais de mon côté dresser une autre batterie, et le beau-père est aussi dupe que le gendre. Sbrigani au premier médecin (II. i)
I, on my part, will go and bring another battery into play; and the father-in-law shall be duped as much as the son-in-law. Sbribani to 1st doctor (II. 1, p. 114)
SCENE TWO ORONTE, PREMIER MÉDECIN.
According to the 1st doctor, Monsieur de Pourceaugnac belongs to him.
Votre prétendu gendre a été constitué mon malade: sa maladie qu’on m’adonné à guérir, est un meuble qui m’appartient, et que je compte entre mes effets; et je vous déclare que je ne prétends point qu’il se marie, qu’au préalable il n’ait satisfait à la médecine, et subi les remèdes que je lui ai ordonnés. Premier médecin à Oronte (II. ii) [Your intended son-in-law has been constituted my patient; his disease, which I have been told to cure, is property which belongs to me, and which I reckon among my possessions; and I declare to you that I will not suffer him to marry before he has given satisfaction to the medical Faculty, and taken the remedies which I have prescribed for him.] 1st doctor to Oronte (II. 2, p. 114)
If Monsieur de Pourceaugnac is ill, Oronte will cancel the wedding.
Je n’ai garde, si cela est, de faire le mariage. Oronte au premier médecin (II. ii)
[If that is the case, I do not intend to conclude this match.] Pourceaugnac to 1st doctor (II. 2, p. 115)
SCENE THREE SBRIGANI, en marchand flamand, ORONTE.
Sbrigani goes to Oronte’s house wearing Flemish clothes and says that Monsieur de Pourceaugnac owes a great deal of money:
Et sti Montsir de Pourcegnac, Montsir, l’est un homme que doivre beaucoup grandement à dix ou douze marchanne flamane qui estre venu ici. Sbrigani to Oronte (II. iii)
[And this Monsieur de Pourceaugnac, Sir, is a man who owes a great deal to ten or twelve Flemish merchants who have come hither.] Sbrigani to Oronte (II. 3, p. 116)
This Flemish gentleman is awaiting the wedding because Oronte will pay his creditors (ses créanciers).
Oui, Montsir obtenir, et depuis huite mois, nous afoir obtenir une petite sentence contre lui, et lui à remettre à payer tou ce créanciers de sti mariage que sti Montsir Oronte donne pour son fille. Sbrigani (II. iii)
[Yes, Sir; and eight months ago, we have obtained a little judgment against him; and he has put off paying all his creditors until this marriage, if this Mr. Oronte gives him his daughter.] Sbrigani dressed in Flemish clothes to Oronte (II. 3, p. 116) Sbrigani habillé en marchand flamand à Oronte (II. iii).
Oronte thinks that this information is not bad.
L’avis n’est pas mauvais. Je vous donne le bonjour. Oronte (II. iii)
(Aside). This is not a bad warning. (Aloud). I wish you good day. Oronte (II. 3, p. 116)
Sbrigani bumps into Monsieur de Pourceaugnac who tells him that he thought he would dine and sleep, but fell into the hands of doctors. He escaped carrying a chair.
Tout ce que je vois, me semble lavement. Pourceaugnac à Sbrigani (II. iv)
Everything which I see appears an enemy [enema] to me. Pourceaugnac to Sbrigani (II. 4, p. 117)
Monsieur de Pourceaugnac remembers his being handed over to doctors and apothecaries. He repeats their words and Sbrigani’s.
Je vous laisse entre les mains de Monsieur. Des médecins habillés de noir. Dans une chaise. Tâter le pouls. Comme ainsi soit. Il est fou. Deux gros joufflus. Grands chapeaux. Bon di, bon di. Six pantalons. Ta, ra, ta, ta: Ta, ra, ta, ta. Alegramente Monsu Pourceaugnac. Apothicaire. Lavement. Prenez, Monsieur, prenez, prenez. Il est bénin, bénin, bénin. C’est pour déterger, pour déterger, déterger. Piglia-lo sù, Signor Monsu, piglia-lo, piglia-lo, piglia-lo sù. Jamais je n’ai été si soûl de sottises. Pourceaugnac à Sbrigani (II. iv)
[I leave you in the hands of this gentleman. Doctors dressed in black. In a chair. Feel the pulse. That it be so. He is mad. Two stout boobies. Big hats. Buon di. buon di. Six pantaloons. Ta, ra, ta, ta ; ta, ra, ta, ta. Allegramente, monsu Pourceaugnac. An apothecary. Injection. Take it, Sir; take it, take it. It is gentle, gentle, gentle. It is to loosen, to loosen, loosen. Piglialo su, signor Monsu; piglialo, piglialo, pigliao su. Never have I been so crammed with silliness.] Pourceaugnac to Sbrigani (II. 4, p. 117)
Ironically, Monsieur de Pourceaugnac tells his woes to the confidence trickster who is engineering his demise. One is reminded of Horace confiding in Arnolphe (The School for Wives). Sbrigani’s next trick is to question Julie’s virtue. She would be a coquette.
SCENE FIVE ORONTE, POURCEAUGNAC.
When they first meet, Oronte and Pourceaugnac behave like enemies.
Croyez-vous, Monsieur Oronte, que les Limosins soient des sots? Pourceaugnac (II. v) Croyez-vous, Monsieur de Pourceaugnac, que les Parisiens soient des bêtes? Oronte (II. v) Vous imaginez-vous, Monsieur Oronte, qu’un homme comme moi soit affamé de femme? Pourceaugnac (II. v) Vous imaginez-vous, Monsieur de Pourceaugnac, qu’une fille comme la mienne soit si affamée de mari? Oronte (II. v) [Think you, Mr. Oronte, that the Limousins are fools? Pourceaugnac (II. 5, p.119-120)
Think you, Monsieur de Pourceaugnac, that the Parisians are idiots. Oronte (II. 5, p. 120)
Do you imagine, Mr. Oronte, that a man like me is so hungry after a woman ? Pourceaugnac (II. 5, p. 120) Do you imagine, Monsieur de Pourceaugnac, that a girl like mine is so hungry after a husband ?] Oronte (II. 5, p. 120)
SCENE SIX JULIE, ORONTE, MONSIEUR DE POURCEAUGNAC.
Julie joins her father and Monsieur de Pourceaugnac. She makes believe that she can’t wait to be Monsieur de Pourceaugnac’s wife.
On vient de me dire, mon père, que Monsieur de Pourceaugnac est arrivé. Ah le voilà sans doute, et mon cœur me le dit. Qu’il est bien fait! qu’il a bon air! et que je suis contente d’avoir un tel époux! Souffrez que je l’embrasse, et que je lui témoigne… Julie (II. vi)
[They have just told me, father, that Monsieur de Pourceaugnac has arrived. Ah! this is he no doubt, and my heart tells me so. How well he is built! how well he looks! and how glad I am to have such a husband! Permit me to embrace him, and to show him that . . .] Julie (II. 6, p. 120)
She would like to caress him, but Oronte will not allow her to touch Pourceaugnac.
Ne voulez-vous pas que je caresse l’époux que vous m’avez choisi? Julie (II. vi)
[May I not caress the husband whom you have chosen for me?] Julie (II. 6, p. 120)
Oronte tells Monsieur de Pourceaugnac that he has debts to repay that he is expected to pay debts, which eliminates Monsieur de Pourceaugnac.
La feinte ici est inutile, et j’ai vu le marchand flamand, qui, avec les autres créanciers, a obtenu depuis huit mois sentence contre vous. Oronte (II. vi)
[The pretence is useless; and I have seen the Flemish merchant, who, with other creditors, obtained judgment against you eight months ago.] Oronte to Pourceaugnac (II. 7)
Quel marchand flamand? quels créanciers? quelle sentence obtenue contre moi? Pourceaugnac (II. vi)
[What Flemish merchant? What creditors? What judgment obtained against me?] Pourceaugnac (II. 7, p. 122)
SCENE SEVEN
LUCETTE, ORONTE, MONSIEUR DE POURCEAUGNAC.
Next, Monsieur de Pourceaugnac is confronted by two women, Lucette and Nérine, both of whom claim they were married to Pourceaugnac and that he abandoned them. Beware, Nérine is a trickster, or femme d’intrigue. As for Lucette, she is learning the craft quickly. Lucette says she married in Pézenas and Nérine, in Chin-Quentin. Everyone was in attendance
Ah! tu es assy, et à la fy yeu te trobi aprés abé fait tant de passés. Podes-tu, scélérat, podes tu sousteni ma bisto? Lucette à Pourceaugnac (II. vii)
[Ah! you are here, and I find you at last, after my many journeys in search of you. Can you bear to look me in the face, you scoundrel?] Lucette to Pourceaugnac (II. 8, p. 122)
Qu’est-ce veut cette femme-là? Pourceaugnac (II. vii)
[What does this woman want?] Pourceaugnac (II. 8, p. 122)
Que te boli, infame! Tu fas semblan de nou me pas connouysse, et nou rougisses pas, impudent que tu sios, tu ne rougisses pas de me beyre? Nou sabi pas, Moussur, saquos bous dont m’an dit que bouillo espousa la fillo; may yeu bous declari que yeu soun safenno, et que y a set ans, Moussur, qu’en passan à Pezenas el auguet l’adresse dambé sas mignardisos, commo sap tapla fayre, de me gaigna lou cor, et m’oubligel praquel mouyen à y douna la man per l’espousa. Lucette à Pourceaugnac (II. vii)
[What do I want, you infamous wretch! You pretend not to know me; and you do not blush, rogue that you are, you do not blush to see me. (To Oronte). I do not know, Sir, whether it is you, as I have been told, whose daughter he wants to marry; but I declare to you that I am his wife, and that seven years ago, when he was passing through Pézenas,[1] he was artful enough, with his pretty speeches in which he is so clever, to gain my heart, and, by these means, persuaded me to give him my hand in marriage. Lucette to Pourceaugnac (II. 8, p. 122)
Oh ! Oh ! Oronte (II. vii) Que diable est-ce ci ? [What the devil is this [the syringe]? Pourceaugnac (II. 8, p. 123)
Lou trayté me quitel trés ans aprés, sul preteste de qualques affayres que l’apelabon dins soun païs, et despey noun ly resçauput quaso de noubelo ; may dins lou tens qui soungeabi lou mens, m’an dounat abist, que begnio dins aquesto bilo, per se remarida danbé un autro jouena fillo, que sous parens ly an proucurado, sensse saupré res de sou prumié mariatge. Yeu ay tout quitat en diligensso, et me souy rendudo dins aqueste loc lou pu leau qu’ay pouscut , per m’oupousa en aquel criminel mariatge, et confondre as elys de tout le mounde lou plus méchant day homme. Lucette à Pourceaugnac (I. vii) [The wretch left me three years afterwards, under the pretext of some business which took him to his country; and since then I have had no tidings from him ; but when I was least thinking about it, they warned me that he was coming into this town to marry again another young girl which her parents had promised him, without knowing anything of his first marriage. I immediately left everything, and I have come hither as quickly as I could, to oppose this criminal union, and to unmask the most wicked of men before the eyes of the world.] Lucette to Pourceaugnac (II. 8, p. 152)
SCENE EIGHT NÉRINE en Picarde, LUCETTE, ORONTE, MONSIEUR DE POURCEAUGNAC.
At first, Scene Eight seems a copy of Scene Seven, because a second woman, Nérine, claims that she married Monsieur de Pourceaugnac. She is from Picardy and speak a dialectical French. Both women quarrel.
Quaign’inpudensso! Et coussy, miserable, nou te soubenes plus de la pauro Françon, et del paure Jeanet, que soun lous fruits de nostre mariatge? Lucette à Pourceaugnac (II. viii)
[What impudence! How now, you wretch, you remember no longer poor little Francois, and poor Jeannette, who are the fruits of our union?] Lucette à Pourceaugnac (II. 9, p. 155)
Bayez un peu l’insolence. Quoy? tu ne te souviens mie de chette pauvre ainfain, no petite Madelaine, que tu m’as laichée pour gaige de ta foy? Nérine à Pourceaugnac (II. viii)
[Just look at the insolence! What! you do not remember that poor child, our little Madelaine, which you left me as a pledge of your fidelity?] Nérine to Pourceaugnac (II. ix, p. 155)
Beny Françon, beny, Jeanet, beny, toustou, beny, toustoune, benre à un payre dénaturat la duretat qu’el a per nautres. Lucette aux enfants (II. viii)
[Come here Francois, come here Jeannette, come all of you, come and show an unnatural father his want of feeling for us all.] Lucette to the children (II. ix, p. 124)
Ah, papa ! papa ! papa ! Les enfants [the children] (II. viii)
Diantre soit des petits fils de putains ! Pourceaugnac (II. viii)
[The devil take the strumpet’s brats!] Pourceaugnac (II. 10, p. 125)
Lucette says that everyone in Pézenas saw her marry Pourceaugnac and Nérine reports that all Chin-Quentin saw her wed Pourceaugnac. Tout Pézenas a bist nostre mariatge. Lucette (II. viii) Tout Chin-Quentin [St-Quentin] a assisté à no noche. Nérine (II. viii)
Monsieur de Pourceaugnac is exhausted and screams for help.
Au secours ! au secours ! où fuirai-je ? Je n’en puis plus. Pourceaugnac (II. viii) [Help! help! where shall fly? I can bear this no longer] Pourceaugnac (II. 10, 125)
As Monsieur de Pourceaugnac leaves, frightened, Oronte says that he should be hanged. That is our “cas pendable.” This expression is a favourite among students of Molière and moliéristes. Pendable comes from pendre, to hang.
SCENE NINE MONSIEUR DE POURCEAUGNAC, SBRIGANI.
Sbrigani emerges victorious. He has orchestrated all of Monsieur de Pourceaugnac’s setbacks, while asking that no one go too far. Sbrigani can fool anyone. He is one of French literature’s finest tricksters, after Renart (Reynard the Fox).
Je conduis de l’œil toutes choses, et tout ceci ne va pas mal. Nous fatiguerons tant notre provincial, qu’il faudra, ma foi, qu’il déguerpisse.
Sbrigani (II. ix)
[I am managing these things very nicely, and everything goes well as yet. We shall tire our provincial to such an extent that upon my word, he will be obliged to decamp.]
Sbrigani (II. 11, p. 125)
SCENE TEN MONSIEUR DE POURCEAUGNAC, SBRIGANI.
Monsieur de Pourceaugnac continues to believe Sbrigani is a friend, which is not altogether wrong, yet wrong. Above all, Sbrigani is a consummate con-man, or confidence trickster.
Pourceaugnac tells Sbrigani that it rains women and enema in this land.
Oui. Il pleut en ce pays des femmes et des lavements. Pourceaugnac (II. x)
[Yes. It rains syringes and women in this country.] Pourceaugnac (II. 12, p. 124)
Afterwards, they discuss legal help. He could be arrested for polygamy. Sbrigani knows exactly whom to pick.
Je le veux, et vais vous conduire chez deux hommes fort habiles; mais j’ai auparavant à vous avertir de n’être point surpris de leur manière de parler; ils ont contracté du barreau certaine habitude de déclamation, qui fait que l’on dirait qu’ils chantent, et vous prendrez pour musique tout ce qu’ils vous diront. Sbrigani à Pourceaugnac(II. x)
I shall do so, and shall take you to two very able men; but I must warn you beforehand not to be surprised at their way of speaking. They have contracted from the bar a certain habit of declamation which would lead one to suppose that they were singing, and you might mistake everything they say for music. Sbrigani to Pourceaugnac (II. 12, p. 126)
SCENE ELEVEN
SBRIGANI, MONSIEUR DE POURCEAUGNAC, DEUX AVOCATS musiciens, dont l’un parle fort lentement, et l’autre fort vite, accompagnés de DEUX PROCUREURS et de DEUX SERGENTS.
Scene eleven is an interlude. Two lawyers recite or sing that Monsieur de Pourceaugnac will pay for his “crimes.” Two public prosecutors (procureurs) and sergeants beat them up.
La polygamie est un cas pendable, Est un cas pendable. Lawyers (II. xi)
Polygamy is a business,
Is a hanging business. Lawyers (II.12, p. 126)
In Act Three, Scene One, Sbrigani describes justice as it is carried out in Paris. The trial takes place after the man who has been arrested was been hanged. There is no trial. That country is one where one likes to see a Limosin, hanged.
N’importe, ils ne s’enquêtent point de cela; et puis ils ont en cette ville une haine effroyable pour les gens de votre pays, et ils ne sont point plus ravis que de voir pendre un Limosin. Sbrigani à Pourceaugnac (III. ii)
[It matters not; they do not inquire into that; and besides, they have got a terrible hatres in this town for people from your country; and nothing gives them greater delight than to see a Limousin hanged.] Scribani to Pourceaugnac (III. 2, p. 161)
Pourceaugnac, disguised as a woman, meets two Suisses (guards) who want to make love to Monsieur de Pourceaugnac who seems une femme de qualité. They are stopped by police officers.
In Scene III, Pourceaugnac is arrested by an Exempt, a police officer whom Sbrigani will bribe using Monsieur de Pourceaugnac’s money. The Exempt leads Monsieur de Pourceaugnac out of Paris.
In Scene Six, Sbrigani has news for Oronte. Julie followed Monsieur de Pourceaugnac. In Scene Seven, Éraste takes her back to her father. Oronte is so pleased that he gives his daughter in marriage to Éraste
Je vous suis beaucoup obligé; et j’augmente de dix mille écus le mariage de ma fille. Allons, qu’on fasse venir le notaire pour dresser le contrat.
Oronte (III. ix)
[I am much obliged to you, and I add ten thousand crowns to the marriage portion of my daughter. Come, let them a notary to draw up the contract.]
(III. 9, p. 169)
In Scene Eight, as all wait for the the lawyer, an interlude entertains everyone.
—ooo—
I will close here because of fatigue. However, I will attempt to publish a short conclusion tomorrow, if possible. My first post has commentaries. Monsieur de Pourceaugnac is a pharmakós, a scapegoat. Although it has many shades, comedy is comedy. It is home to laughter. Our young lovers will marry, but I doubt Monsieur de Pourceaugnac will ever return to Paris. Sbrigani is the zanni of the commedia dell’arte.
Monsieur de Pourceaugnac is a three-act comédie-ballet Molière wrote for the royal family’s hunting season. He was asked to write it on 17 September 1669 and spent five weeks at Chambord where living conditions were difficult for Molière. He was sick and he was cold. Jean-Baptiste Lully, composed the music for this comédie-ballet and played a role, that of an Italian musician disguised as a doctor. The comedy was choreographed by Pierre Beauchamp and Carlo Vigarani built the sets.
Monsieur de Pourceaugnac was first performed for Louis XIV and the court, at the Château de Chambord, on 6 October 1669.
According to Georges Forestier,[1] Scene Eight of Act Three is enchassée or embedded. However, Sbrigani, “un homme d’intrigue,” a schemer, seems a director within the play. He orchestrates the various “machines”designed to make Monsieur de Pourceaugnac unfit to marry Julie, Oronte’s daughter.
Polichinelle, ca. 1680 by French artist Nicolas Bonnart. The first of a set of five etchings entitled Five Characters from the Commedia dell’Arte. Etching with hand coloring on laid paper (Photo credit: wiki2.org)
The source of this comedy may be the anonymous, Pulcinella pazzo per forza of the commedia dell’arte. Its ancestry would also include Polichinella Burlato. Polichinelle is blamed and could be the commedia dell’arte‘s pharmakós. The play also has French antecedents. Mocking doctors was a favourite theme of the French farce and other comic plays. Molière himself had already ridiculed doctors.
Monsieur de Pourceaugnac’s scenario is an all’s that ends well, a “tout est bien qui finit bien,” but Monsieur de Pourceaugnac’s very name, ‘pourc’ from ‘porc’ (pig), suggests a sorry fate for our Limosin (from Limoges).
Quand il n’y aurait que ce nom-là, Monsieur de Pourceaugnac, j’y brûlerai mes livres, ou je romprai ce mariage, et vous ne serez point Madame de Pourceaugnac. Pourceaugnac! Cela se peut-il souffrir? Non, Pourceaugnac est une chose que je ne saurais supporter, et nous lui jouerons tant de pièces, nous lui ferons tant de niches sur niches, que nous renverrons à Limoges Monsieur de Pourceaugnac. Nérine à tous (I. i)
[If it were nothing but his name, this Monsieur de Pourceaugnac, I would do everything to succeed in breaking off this marriage, rather than that you should be Madam de Pourceaugnac. Pourceaugnac! is it bearable? No, Pourceaugnac is something which I cannot tolerate; and we shall play him so many tricks, we shall practice so many jokes upon jokes upon him, that we shall soon send Monsieur de Pourceaugnac back to Limoges again. Nérine to all (I. 3, p. 94)
It should be noted that Monsieur de Pourceaugnac’s doctors and apothecaries are very aggressive. They try to force several interventions on Monsieur de Pourceaugnac, who travelled by coach, a carriage, from Limoges, to marry Oronte’s daughter Julie. Éraste takes him to a place where he will dine and sleep. It’s a fourberie. He finds himself the captive of doctors.
The play contains so many rather cruel tricks: fourberies, that at times, one is tempted to pity Monsieur de Pourceaugnac. He has come to Paris to marry Julie, but the blocking-character (le barbon) is Oronte, Julie’s father. Oronte has chosen to marry his daughter to a man she doesn’t even know. But the person who is fooled is a neither innocent nor guilty, mostly innocent Pourceaugnac.
Therefore, Monsieur de Pourceaugnac seems a scapegoat, a pharmakós. To a large extent, Monsieur de Pourceaugnac is a trickster play. Such comedies can be associated with cartoons. Body parts grow back after being removed painlessly. Victims do not hurt. However, Monsieur de Pourceaugnac is genuinely threatened and hurts. He has to flee.
First, he will have an illness and creditors. At the end of Act One, femmes d’intrigues (schemers), false wives will emerge. That is bigamy and punishable. Lucette and Nérine will both claim Pourceaugnac married them, which makes him one of Molière’s cas pendables, a case where one could be hanged.
But Molière uses two women who claim Monsieur de Pourceaugnac married them, feign provincial roots, and speak dialectal French, which is a comedic element. Molière toured the provincial, but Pézenas was his base. He was exposed to dialects.
The doctors, however, speak la langue macaronique, latinised Italian.
MONSIEUR DE POURCEAUGNAC.
ORONTE. JULIE, (daughter of) fille d‘Oronte. NÉRINE, (a schemer) femme d’intrigue, (false) feinte Picarde.
LUCETTE, (false) feinte Gasconne.
ÉRASTE, (in love with) amant de Julie.
SBRIGANI, Napolitain, (a schemer) homme d’intrigue. PREMIER MÉDECIN (doctor). SECOND MÉDECIN. L’APOTHICAIRE. UN PAYSAN (peasant). UNE PAYSANNE. PREMIER MUSICIEN (musician). SECOND MUSICIEN. PREMIER AVOCAT (lawyer). SECOND AVOCAT. PREMIER SUISSE (Swiss). SECOND SUISSE. UN EXEMPT. DEUX ARCHERS. PLUSIEURS MUSICIENS, JOUEURS D’INSTRUMENTS, ET DANSEURS.
ACT ONE
In Act One, Scene One, Julie and Éraste, our young lovers, are together. Nérine, a schemer, is to keep an eye out to make sure Oronte, Julie’s father, does not see them. Moreover, our young loves are well prepared.
Oui, belle Julie, nous avons dressé pour cela quantité de machines, et nous ne feignons point de mettre tout en usage, sur la permission que vous m’avez donnée. Ne nous demandez point tous les ressorts que nous ferons jouer, vous en aurez le divertissement; et comme aux comédies, il est bon de vous laisser le plaisir de la surprise, et de ne vous avertir point de tout ce qu’on vous fera voir; c’est assez de vous dire que nous avons en main divers stratagèmes tous prêts à produire dans l’occasion, et que l’ingénieuse Nérine et l’adroit Sbrigani entreprennent l’affaire. Éraste à Julie (I. i)
[Yes, charming Julia, we have in readiness a quantity of engines for this purpose; and now that you have given me permission, we shall not scruple to use them all. Do not ask us all the contrivances which we shall bring into play; you will be amused by them; and it is better to leave you the pleasure of surprise, as they do in comedies, and to warn you of nothing which we mean to show you. Let it be sufficient to tell you that we have various stratagems in hand to be produced at the fit moment, and that the ingenious Nerine and the skilful Sbrigani have undertaken the affair.] Eraste to Julia (I. 3, p. 93)
Nérine is so ingénieuse that Molière invites a comparison with the commedia dell’arte’s zanni. Sbrigani is the main schemer. He is from Naples.
In Scene Two, Julia is asked to make believe she agrees with her father’s decisions. She does to the point of leaving with Monsieur de Pourceaugnac. But Oronte forces her to marry Éraste, whom she loves. Oronte uses the word sotte (silly) when speaking of his daughter.
Au moins, Madame, souvenez-vous de votre rôle; et pour mieux couvrir notre jeu, feignez, comme on vous a dit, d’être la plus contente du monde des résolutions de votre père. Éraste à Julie (I. ii) [At least, Madam, remember your part ; and, the better to hide our game, pretend, as you have been told, to be thoroughly satisfied with your father’s plans.] Eraste to Julia (I. 4, p. 95)
Monsieur de Pourceaugnac is spotted in Act One, Scene Two. In Scene Three, he is greeted very politely by Sbrigani. The “Ah, ah !” are contrived, but comical. Sbrigani claims he is speaking from the bottom of [his] heart:
C’est du fond du cœur que je parle. Sbrigani à Monsieur de Pourceaugnac (I. iii) (I. 5)
Sbrigani then asks Monsieur de Pourceaugnac if he has lodgings for the night at which point Scene Four Éraste then enters the stage claiming he knows all the Pourceaugnacs in Limoges. However, he is getting his information from Monsieur de Pourceaugnac himself. This scene is also very comical.
In Scene Five, Éraste takes Monsieur de Pourceaugnac to the home where he will dine and spend the night. However, the home is a doctor’s home. They are greeted by an apothecary who is told by Éraste that Pourceaugnac is a relative who “has been attacked by a fit of madness:”
… c’est pour lui mettre entre les mains certain parent que nous avons, dont on lui a parlé, et qui se trouve attaqué de quelque folie, (…) Éraste à l’apothicaire (I. v)
[It is to place under his care a certain relation of ours, of whom we spoke, and who has been attacked by a fit of madness, which we should be very glad to have cured before he is married.] Eraste to the Apothecary (I. 7)
The apothecary praises the doctor in the following and astounding terms:
Voilà déjà trois de mes enfants dont il m’a fait l’honneur de conduire la maladie, qui sont morts en moins de quatre jours, et qui entre les mains d’un autre, auraient langui plus de trois mois. L’Apothicaire à Éraste (I. v)
[Already there are three of my children whose complaints he has done me the honor to treat, who have died in less than four days, and who in some one else’s hands would have languished for three months or more.]
Enters the first doctor who says that a sick peasant whose headaches are very painful should suffer “from the spleen:”
Le malade est un sot, d’autant plus que dans la maladie dont il est attaqué, ce n’est pas la tête, selon Galien, mais la rate, qui lui doit faire mal. Premier médecin au paysan (I. vi)
The patient is a fool: seeing that, in the complaint with which he is attacked he ought not, according to Galen, to suffer from the head at all, but from the spleen. First doctor to peasant (I. 8)
Éraste says that the patient, Pourceaugnac, should not be out of the doctors hands.
Je vous recommande surtout de ne le point laisser sortir de vos mains, car parfois il veut s’échapper. Éraste au premier médecin (I. vii)
I recommend you above all not to let him slip out of your hands ; for he sometimes attempts to escape. Eraste to the 1st doctor (I. 10, p. 106)
In Scene Eight, a second doctor joins the first doctor. The two doctors take his pulse and ask questions about the food he eats, whether he sleeps well, whether he dreams, and also ask about his dejections. The doctors decide to “raisonner,” or discuss matters, together, and do so at length, interjecting Latin phrases and citing authorities. Treatment is determined. It is extensive, but they will start with un petit lavement, an enema.
Having listened to them for an hour, Monsieur de Pourceaugnac wonders if a comedy is being played:
Messieurs, il y a une heure que je vous écoute. Est-ce que nous jouons ici une comédie? Monsieur de Pourceaugnac (I. viii)
[Gentlemen, I have been listening to you for this hour. Are we playing a comedy here?] (I. 11)
Just before an interlude begins, Monsieur de Pourceaugnac insists that he feels well: Je me porte bien.
Nous savons mieux que vous comment vous vous portez, et nous sommes médecins, qui voyons clair dans votre constitution. Premier médecin (I. viii)
We know better than you how you are ; and we are physicians who see clearly into your constitution. First doctor (I. 11)
Si vous êtes médecins, je n’ai que faire de vous; et je me moque de la médecine. Pourceaugnac (I. viii)
[If you are physicians, I have no business with you; and I do not care a straw for physic.] Pourceaugnac (I. 11)
Monsieur de Pourceaugnac declares that his parents never took medicine and that both died “sans l’assistance des médecins.”
[My father and mother would never take medicine, and they both died without doctor’s assistance.] Pourceaugnac (I. 11, p. 110)
Je ne m’étonne pas s’ils ont engendré un fils qui est insensé. Premier médecin au second (I. viii)
[They therefore produced a son who is bereft of his senses.]
The doctors are about to go ahead with an enema:
Que diable est-ce là? Les gens de ce pays-ci sont-ils insensés? Je n’ai jamais rien vu de tel, et je n’y comprends rien du tout. Pourceaugnac (I. ix)
[What the devil is this? Have the people of these parts taken leave of their wits? I have never seen anything like it, and I understand nothing about it.] Pourceaugnac (I. 12)
Before our wedding and our idyllic honeymoon at Wickanninish Inn, my future husband and I had to attend a rehearsal for the wedding ceremony. We loved one another, but to a certain extent, I married to please my mother. She would have been very disappointed, had I lived with a man without first marrying him.
As we were driving to a rehearsal of the wedding ceremony, my future husband told me, out of the blue, that there was a condition attached to his marrying me. He said he would leave me if I ever put on weight. I realised that the wedding ceremony would be a comedy and that the marriage would not be valid in the eyes of the Catholic Church. I therefore contemplated cancelling the wedding, but it was late and I was very confused.
Ryerson University
downtown Toronto
a secure position
a secure marriage
Canada’s best research environment
A year later, David started to work in Toronto, where I also found a position. I taught French at Ryerson Polytechnical University, in downtown Toronto.[1] I had to teach eighteen hours a week, but I was teaching French as a second language, nothing more, and I could devote the four Spring/Summer months to research. As well, I was in Canada’s best research environment. I worked near the University of Toronto and its research library.
In other words, I was secure and nothing threatened my marriage and health, except being too thin. However, my husband wanted me to resign. He so insisted that I did resign. I changed my mind during the night, but when I phoned Ryerson, I was told I had already been replaced. I started teaching French as a second language to government of Ontario civil servants.
McMaster University
a fragile career
a fragile marriage
illness
A year later, after he read Open Marriage, my husband asked me to apply for a position at McMaster University, in Hamilton. He would stay in our house and I would rent an apartment in Hamilton. In my eyes, this wasn’t a marriage, but a mere arrangement.
One day, I was asked to see the Chair of my department who told me that the following year, I would teach courses in linguistics: theoretical and foreign-language didactics. I told the Chair that I had never studied linguistics and that preparing the courses might preclude my publishing papers on Molière and related topics. He, the Chair, made it very clear that if I refused to teach linguistics, I would have to leave the university. That is intimidation. I therefore learned and taught linguistics, but, as I feared, my contract was not renewed. I had written a fine article on Molière, but that did not suffice.
My marriage had ended, I no longer had a position, and my health had deteriorated. For the following months, I worked as public relations and admissions’ officer in a college affiliated with the University of Regina. I had to travel throughout the province, which I could not do for long.
But I had caught a virus and had lost a great deal of energy, so I was fragile. When a departmental war erupted (they are a common affliction), I fell ill (crippling fatigue) and decided to seek a diagnostic and treatment. A SPECT scan revealed myalgic encephalomyelitis. My neurologist told me that the damage was extensive and that he doubted I could return to work. There was no cure.
I had to earn a living, so I returned to work on a part-time basis. However, a new Chair decided to avenge a colleague whose contract was not renewed and would not allow me to work on a full-time basis. I re-entered the classroom on a full-time basis, when this Chair left the University to accept a position elsewhere. For four years, I was the victim of obstructionism.
The Moral
The moral of this story is complex, but quite obvious. All I will say is, first, that, although it was very late, I should have cancelled the wedding. Second, I will say that when I worked at Ryerson, I could combine a career and a marriage. That never happened again. While studying linguistics, I caught an invisible, but chronic and incurable illness. I managed to keep my position at StFX for several years because my workload was normal. I bought a house across the street from campus to simplify my life. But if my workload grew too heavy and my working environment was vitiated, I was at risk. My workload grew to include the creation of language lab components, and the preparation of courses one of which was a course in an area of knowledge I knew little about: Animals in Literature. These courses were prepared during a sabbatical leave. I could not refuse because I was afraid. I fell ill and extremely vulnerable.
At that point in its history, my university’s policy was to eliminate from its Faculty persons who might fall ill. This is what a vice-president told me, which raises bigger questions that I will not address.
But it would be my opinion that there are times when one should listen to one’s instinct and stay where one is safe and happy. I resigned from a good position without making sure there was a way back to safety. I lost my marriage, harmed my health, and put my career in jeopardy. But I’m a survivor and I’m happy where I am.
Woman Reading by François de Troy (Photo credit: wiki2.org)
I returned to Molière, but I could not concentrate until now. Yesterday was a very sad day.
The Social Media
In fact, current events are leading me to question the appropriateness and validity of statements made on Instagram, or Twitter, or other social media. Among elements militating against social media is timing. Persons are not forever sitting at their computer. In the case of an important statement, should the world know before the addressee.
I would be inclined to question the legality of statements made on Twitter or Instagram. It seems the truth, but the medium is the message.
I’m a blogger, but I seldom “like” or “dislike” something on the social media. Experience has taught me to be careful. For instance, every time I have been quoted by the press, I was quoted erroneously.
As for our Royals, reportedly, persons attending yesterday’s meeting were calm. To my knowledge, there was no firm approval nor was there a firm disapproval of changes in status. So, there is room for everyone to think. Prince Harry talked with his beloved grandmother before the meeting. Moreover William and Harry agreed, in writing, that there was no bullying. Let’s hope everything will remain civilised.
Love to everyone 💕
Marin Marais: Chaconne (Livre V) Josh Cheatham (viola da gamba), Julien Léonard (viola da gamba), Skip Sempé (harpsichord)
Declaration of Love par François de Troy (Photo credit: wiki2.org)
At the end of an earlier post, I wrote that I would not discuss the Royals again. I realised that there were very few reliable sources of information.
However, I am saddened by the latest and real news of Harry’s possible “abdication.” I know that commentators, tabloids and social media have not been kind to Meghan, on the contrary, but abdication could be a mistake. It may be judicious on the part of the Royal family, as a whole, to seek greater privacy and fewer engagements. Such matters can be negotiated. Harry and Meghan have taken legal action, but they have acted as individual members of the Royal family. Moreover, it may be harmful for members of the Royal family to continue to “tell all” publicly. A “tell all” may be considered an invitation to the scrutiny they wish to avoid.
The Consequences
It seems Meghan is homesick. She has friends in Canada and the United States. But are they true friends? Meghan is a duchess. But it is not impossible to have excellent friends in Britain. There are very good people in Britain. I miss my former community, little Antigonish, Nova Scotia. I left listening to the worst possible advice, and there have been sad consequences. But I have long forgiven everyone and I live comfortably in a lovely apartment.
Frogmore, etc.
I should add that, although Frogmore is called a cottage, it is a mansion compared to the homes most people live in. Some people do not have a roof over their head. It could be that Harry is extremely rich. If not, is it realistic, on his part and on Meghan’s, to believe they can earn the amount of money that affords them Frogmore Cottage, a staff, good food, designer clothes for Meghan, excellent cars, and expensive holidays on the West Coast of Vancouver Island or elsewhere, etc.
My worst fear is that, on a dark day, former and beloved Prince Harry may think that he has made a mistake, and blame Meghan. Does she want to take that risk, and does he want to be fighting for custody of their son? Archie is a Royal.
The Paparazzi
The tabloids are the very devil and so are the paparazzi. I am told paparazzi were pursuing the limousine that crashed in 1997, taking three lives, including Harry’s mother. However, I am also told that the driver was speeding away and that some, perhaps all, passengers had not buckled up.
Therefore, my advice to Harry and Meghan would be to slow down and buckle up. Severing some ties with the Palace at this moment may prove necessary, but abdication is a drastic step that can wait.
Archie did not return to Britain. He was left in Canada after the family’s vacations. Meghan is also in Canada.
Back to Molière…
Love to everyone 💕
I wrote this post yesterday and feared publishing it. But I’m not judging; I am simply advising caution.
Vadim Chaimovich plays Henry Purcell:
Abdelazer Suite: II. Rondeau in D minor (piano version)
I have added a short conclusion to my last post, Molière’s Comtesse d’Escarbagnas, and have referred to allusions to comedy as self-referential. As for the comedy the Vicomte is offering the Comtesse, it is not a play-within-a-play (unthéâtre dans le théâtre). We do not see the play and it is not over when the curtain falls. However, allusions to this comedy do take us from one scene to another. In other words, they function as a fil conducteur, or leading thread, thereby contributing to the coherence of the play. Guests arrive one at a time: Jeannot carrying pears on behalf of Monsieur Tibaudier, Monsieur Tibaudier himself, Monsieur Bobinet and, when the play-as-gift has begun, Monsieur Harpin.
The editor of my very 1956 Pléiade edition of Molière points to four main types constituting La Comtesse d’Escarbagnas: Monsieur Bobinet, Monsieur Tibaudier, Monsieur Harpin, a tax-farmer, and la Comtesse: Monsieur Bobinet is described as an out-and-out prig: “cuistre fieffé.” Monsieur Tibaudier, a councellor-at-law, is a “robin pédant et galant,” a pedantic noble of the robe. Monsieur Harpin swears and does not know that le Vicomte is no longer a rival. As for the Comtesse, she has been described or has described herself in her conversation with Julie, which takes place in Scene II. However, in as light a comedy as La Comtesse d’Escarbagnas, Messieurs Tibaudier, Bobinet, and Harpin are mostly sketched. None are a Tartuffe.
The Épigrammes & poet Martial
This scene is precious. Monsieur Tibaudier has written épigrammesfor the Comtesse. This form was popular in 17th-century French salons.
When the Vicomte admires Monsieur Tibaudier’s poetry and says that he, a Vicomte, has been outranked, supplanté, the Comtesse suspects he is mocking Monsieur Tibaudier whom she admires and will marry.
Comment, Madame, me moquer ? Quoique son rival, je trouve ces vers admirables, et ne les appelle pas seulement deux strophes, comme vous, mais deux épigrammes, aussi bonnes que toutes celles de Martial. Le Vicomte à la Comtesse (Scene V) [How, Madam, to sneer? Though his rival, I think these verses admirable, and not only call them two strophes, but two epigrams, as good as all those of Martial.] The Viscount to the Countess (Scene Sixteen, 76)
The Comtesse thinks Martial is a local person who makes gloves:
Quoi, Martial fait-il des vers, je pensais qu’il ne fît que des gants? La Comtesse au Vicomte à la Comtesse (Scene V) [What! does Martial make verses? I thought he made nothing but gloves.] The Countess to the Viscount (Scene Sixteen, p. 76)
Monsieur Tibaudier corrects her gently. It is not that Martial, says Monsieur Tibaudier, but a man who lived thirty to forty years ago.
Ce n’est pas ce Martial-là, Madame, c’est un auteur qui vivait il y a trente ou quarante ans. Monsieur Tibaudier à la Comtesse (Scene V) [It is not that Martial, Madam; it is an author who lived about thirty or forty years ago.] Monsieur Tibaudier to the Countess (Scene Sixteen, p. 77)
That is another mistake. Latin poet Martial (see Épigrammes) lived in the 2nd-century CE. Poet Martial wrote fifteen books of Épigrammes. So, both the Comtesse and Monsieur Tibaudier are wrong, but should Le Vicomte correct Monsieur Tibaudier, the man who so praises la Comtesse and whom she loves? No, Monsieur Tibaudier would be humiliated and the riposte would not be consistent with the spirit of La Comtesse d’Escarbagnas.
La Comtesse d’Escarbagnas was part of the Ballet des ballets. The music, by Marc-Antoine Charpentier, has come down to us, and so have the nine scenes of a short comedy of manners. In a comedy of manners, one interjects elements that will keep the spectators laughing. However, La Comtesse d’Escarbagnas is a very light comedy of manners and part of a divertissement (entertainment) called Le Ballet des ballets. Monsieur Tibaudier is a counsellor-at-law and he grows pears. So, it is unlikely that he would know much about Latin poets, but Molière is rather kind to his characters. However, it is true that the Martial le Vicomte mentions does not make gloves.
Molière did enter his comedies. I think several moliéristes would agree that the Vicomte’s description of the play can be seen as a brief intrusion by the dramatist of his Comtesse d’Escarbagnas. As well, one wonders why so much of Scene One is devoted to a depiction of a fâcheux(a bore). My readers who know French will find the Notice to La Comtesse d’Escarbagnas very informative. For instance, the description of a fâcheux (a bore), at the very beginning of the play, is looked upon as “fort curieuse,” very curious (see Notice).
Georges Forestier, the current authority on this subject, does not list LaComtesse d’Escarbagnas as a théâtre dans le théâtre, at least not as a whole. The théâtre dans le théâtre [1]would have been inserted in the missing Pastoral, between Scenes VIII and IX.
____________________ [1] Georges Forestier, Le Théâtre dans le théâtre (Genève: Librairie Droz, 1996), p. 353.
With kind regards 💕
We are nearly finished reading Molière. Some of these posts took days to prepare. So, I am switching to shorter posts. I’m exhausted.
Woman reading par Jean François de Troy (wiki2.org)
Molière’s La Comtesse d’Escarbagnas was first performed in February 1672 at Saint-Germain-en-Laye, where royal divertissements often took place. (See toumoliere.net) Its first public performance took place on 8 July 1672 at the Théâtre du Palais-Royal. The play’s source is Greek author Theophrastus (Characters), who is also one of Molière’s sources for Les Fâcheux. Théophraste wrote portraits.
The date shown in this image is inaccurate. It should read February 1672. (toumoliere.net)
Le Ballet des ballets
The nine scenes of our current play were to constitute a one-act comedy of manners, followed by a pastorale, now lost, and an intermède from Psyché. The divertissement would therefore be a comédie-ballet entitled Le Ballet des ballets. It was written by Molière, composed by Marc-Antoine Charpentier, and choreographed by Pierre Beauchamp. In 1671, Molière had fallen out with Lully. When the play was performed for the public, on 8 July 1672, the pastoral was replaced by Molière’s Le Mariage forcé, to which intermèdes were added. These are included at the foot of this post.
LA COMTESSE D’ESCARBAGNAS.
LE COMTE, son fils (her son).
LE VICOMTE, amant de (in love with) Julie.
JULIE, amante du Vicomte.
MONSIEUR TIBAUDIER, conseiller, amant de la Comtesse.
MONSIEUR HARPIN, receveur des tailles (tax farmer), autre amant de la Comtesse.
MONSIEUR BOBINET, précepteur de (tutor to) Monsieur le Comte.
ANDRÉE, suivante de la Comtesse.
JEANNOT, laquais de Monsieur Tibaudier.
CRIQUET, laquais de la Comtesse.
Most of Scene One is a conversation between Julie and le Vicomte, the comedy’s young lovers. First, the Vicomte tells Julie that he bumped into a fâcheux, which delayed him. He then goes on to say that he doesn’t like making believe he is in love with the Comtesse. He laments his role. It is a “comedy.”
Que cette feinte où je me force n’étant que pour vous plaire, j’ai lieu de ne vouloir en souffrir la contrainte, que devant les yeux qui s’en divertissent. Que j’évite le tête-à-tête avec cette comtesse ridicule, dont vous m’embarrassez, et en un mot que ne venant ici que pour vous, j’ai toutes les raisons du monde d’attendre que vous y soyez. Le Vicomte à Julie (Scène première)
[[…] I am induced not to wish to suffer the annoyance of it, except in the presence of her who is amused by it; that I avoid the tête-à-tête with this ridiculous Countess, with whom you hamper me; and, in one word that, coming here but for you, I have all the reasons possible to await until you are here.] The Vicount Julie (Scene One, p. 64)
The Comtesse is besotted with rank and has just returned from Paris where she was surrounded by aristocrats. This, no doubt, has further consolidated her conviction that aristocrats are personnes de qualité. Julie reports to the Vicomte, the man she loves, that glittering Paris has besotted the Comtesse.
Notre comtesse d’Escarbagnas, avec son perpétuel entêtement de qualité, est un aussi bon personnage qu’on en puisse mettre sur le théâtre. Le petit voyage qu’elle a fait à Paris, l’a ramenée dans Angoulême, plus achevée qu’elle n’était. L’approche de l’air de la cour a donné à son ridicule de nouveaux agréments, et sa sottise tous les jours ne fait que croître et embellir. Julie au Vicomte (Scène première)
[Our Countess of Escarbagnas, with her perpetual hobby of quality, is as good a character as one could put on the stage. The little excursion which she has made to Paris has brought her back to Angoulême more perfect than she was. The proximity of the court-air has given new charms to her absurdity, and her silliness does but grow and become more beautiful every day.] Julie to the Viscount (Scene One, p. 65)
We know why the Vicomte has entered the fray. How can two bourgeois compete with a person of rank? In fact, our bourgeois are somewhat tired of courting the Comtesse. It is hoped that a petite comédie, le Vicomte as suitor, will make Monsieur Tibaudier and Monsieur Harpin press their suit. Le Vicomte, a real aristocrat is about to treat the Comtesse with a comédie. Le Vicomte‘s bourgeois rivals have been invited to attend.
SCENE TWO
We meet the Comtesse in Scene Two. She has caught a glimpse of the Vicomte leaving through a back door. She is alarmed, but Julie, her suivante, reassures her:
Non, Madame, et il a voulu témoigner par là qu’il est tout entier à vos charmes. Julie à la Comtesse (Scène II)
[No, Madam, and by this he wished to show that he is entirely to your charms.] Julie to the Countess (Scene Two, p. 67)
The Comtesse‘s haughty behaviour is mostly objectionable. She scolds Andrée for using the word armoire, instead of garde-robe (closet). She scolds both Andrée and Criquet, for not knowing the word soucoupe, saucer. In fact, Criquet doesn’t know the word écuyer (equerry). We also have the matter of wax candles. They may have disappeared. Andrée has suif candles, tallow candles. Finally, Andrée gets so nervous that she drops a glass sitting on a tray and breaks it. The image at the top of this post shows Andrée dropping a glass. However, SceneTwo contains an extremely revealing conversation between la Comtesse and Julie, which will be discussed.
SCENE THREE
Before he arrives, Monsieur Thibaudier, one of the Comtesse‘s bourgeois suitors has Jeannot take pears to the Comtesse, to which a note is attached. The note will be read by the Vicomte to everyone in Scene Four. However, the Comtesse surprises us. As Scene Three is closing, she praises Monsieur Tibaudier:
Ce qui me plaît de ce Monsieur, c’est qu’il sait vivre avec les personnes de ma qualité, et qu’il est fort respectueux. La Comtesse à tous (Scene III)
[What pleases me in this Mr. Tibaudier is, that he knows how to behave with persons of my rank, and that he is very respectful.] The Countess to all (Scene Fourteen, p. 74)
SCENE FOUR
In Scene Four, le Vicomte tells the Comtesse that the comedians are ready and that, in a quarter of an hour, they should all leave for the large room, la salle. The Countess warns that she does not want une cohue, a crush.
Je ne veux point de cohue au moins. Que l’on dise à mon suisse qu’il ne laisse entrer personne. La Comtesse au Vicomte (Scène IV)
I will have no crush at least. (To Criquet). Tell my porter to let no one enter. The Countess to the Viscount (Scene Fifteen, p. 74)
So the Vicomte, who is treating la Comtesse to a comedy, is ready to cancel the performance. One cannot let in the whole town, but spectators are needed.
En ce cas, Madame, je vous déclare que je renonce à la comédie, et je n’y saurais prendre de plaisir, lorsque la compagnie n’est pas nombreuse. Croyez-moi, si vous voulez vous bien divertir, qu’on dise à vos gens de laisser entrer toute la ville. Le Vicomte à la Comtesse (Scène IV)
[In this case, Madam, I must inform you that I shall abandon the comedy; and I cannot take any pleasure in it, if the company be not numerous. Believe me, that if you wish to amuse yourself well, you should tell your people to let the whole town come in.] The Viscount to the Countess (Scene Fifteen, p. 74)
The Viscount then reads the note Monsieur Tibaudier has sent with the pears. Monsieur Tibaudier has made it clear that the Comtesse has been cruel, so we expect the Comtesse to be to react angrily, but she doesn’t. Some académicien might find fault with the note, but she likes it.
Il y a peut-être quelque mot qui n’est pas de l’Académie; mais j’y remarque un certain respect qui me plaît beaucoup. La Comtesse à tous (Scène II)
[There may, perhaps, be some word in it which does not belong to the Academy; but I can read a certain respect in it which pleases me much.] The Countess to all (Scene Fifteen.75)
Julie says:
Vous avez raison, Madame, et Monsieur le Vicomte dût-il s’en offenser, j’aimerais un homme qui m’écrirait comme cela. Julie à la Comtesse (Scene IV)
[You are quite right, Madam, and, at the risk of offending the Viscount, I should love a man who wrote to me in this way.] Julie to the Countess (Scene Fifteen, p. 75)
SCENE FIVE
In Scene Five, the Comtesse welcomes Monsieur Tibaudier rather warmly and the Viscount reads aloud Monsieur Tibaudier’s poems. They are so lovely that the Viscount says to himself that he has been outranked by Monsieur Thibaudier.
The Comtesse enjoys being courted by a Viscount, which we have seen in Scene Two, but she likes Monsieur Tibaudier’s note.
Self-interest and Jealousy
Scene Two is most revealing. It points to the organising principles of the play. Self-interest informs the behaviour of the Countess, and so does vanity. She may first appear obsessed with rank, but she is guided by vanity, and fear of losing the Comtesse‘s affection keeps her suitors vying for her affection.
Scene Two: Julie wonders how, having just travelled to Paris, the Comtesse can manage lowly Angoulême. She has been at Court where she met le beau monde (celebrities). Can she return to the company of a Counsellor at Law, Monsieur Tibaudier, and a tax farmer, Monsieur Harpin. They do not have a title.
Je m’étonne, Madame, que de tous ces grands noms que je devine, vous ayez pu redescendre à un monsieur Tibaudier, le conseiller, et à un monsieur Harpin, le receveur des tailles. La chute est grande, je vous l’avoue. Car pour Monsieur votre vicomte, quoique vicomte de province, c’est toujours un vicomte, et il peut faire un voyage à Paris, s’il n’en a point fait; mais un conseiller, et un receveur, sont des amants un peu bien minces [thin], pour une grande comtesse comme vous. Julie à la Comtesse (Scène II)
[I am surprised, Madam, that after all these great names at which I guess, you have been able to come down again to a Mr. Tibaudier, a counsellor at law, and to a Mr. Harpin, a receiver of taxes. The fall is great, I confess; for, as for your Viscount, though but a country Viscount, he is at any rate a Viscount, and may make a journey to Paris, if he have not already done so: but a counsellor at law, and a receiver of taxes are somewhat inferior lovers for a grand Countess like you.] Julie to the Countess (Scene Eleven, p. 71)
There can be no doubt that the Comtesse inhabits the world La Rochefoucauld described. Self-interest makes it necessary for her to accommodate her bourgeois suitors who must be rivals.
Ce sont gens qu’on ménage dans les provinces pour le besoin qu’on en peut avoir, ils servent au moins à remplir les vides de la galanterie, à faire nombre de soupirants; et il est bon, Madame, de ne pas laisser un amant seul maître du terrain, de peur que faute de rivaux, son amour ne s’endorme sur trop de confiance. La Comtesse à Julie (Scène II)
[They are people whom we conciliate in the provinces for the need we may have of them; they serve at least to fill up the vacancies of gallantry; to increase the number of suitors; and it is well, Madam, not to let one lover be sole master, for fear, that, failing rivals, his love may go to sleep through too much confidence.] The Countess to Julie (Scene Eleven, p. 72)
The Countess is the widowed mother of three sons, one of whom, le Comte, still has a tutor, Monsieur Bobinet. In Scene Eight, Monsieur Harpin, who enters the stage tardily and rather tempestuously, intimates that he has been a donneur. Might the Countess need money and have accepted money?
Monsieur Tibaudier en use comme il lui plaît, je ne sais pas de quelle façon monsieur Tibaudier a été avec vous, mais Monsieur Tibaudier n’est pas un exemple pour moi, et je ne suis point d’humeur à payer les violons pour faire danser les autres. Monsieur Harpin (Scène VIII)
[Mr. Tibaudier behaves as it pleases him: I do not know on what footing he is with you; but Mr. Tibaudier is not an example for me, and I am not disposed to pay the violins to let others dance.] Monsieur Harpin (Scene Twenty-One, p. 81)
Her relationships with Messieurs Tibaudier and Harpin were waning. Hence a recourse to jealousy. Monsieur Tibaudier presses his suit successfully. His verses and true love eliminate le Vicomte.
SCENE VI
Monsieur Bobinet has arrived. He is the tutor to the Countess’ son, the Count. He reports on the Count and also brings news of the Comtesse’s two other sons:
Comment se portent mes deux autres fils, le Marquis et le Commandeur? La Comtesse à Monsieur Bobinet (Scene VI)
How fare my two other sons, the Marquis and the Commander? The Countess to Monsieur Bobinet (Scene Seventeen, p. 77)
She wants to know where the Count is and what he is doing. Monsieur Bobinet replies that the Count is in her “beautiful apartment with the alcove” working.
Il compose un thème, Madame, que je viens de lui dicter, sur une épître de Cicéron. La Comtesse à monsieur Bobinet (Scene VI)
He is composing an exercise, Madam, which I have just dictated to him upon an epistle of Cicero. La Comtesse à monsieur Bobinet (Scene Seventeen, p.77)
SCENE VII
Given that the Vicomte has been more or less eliminated, the Comtesse wishes for her son to greet Monsieur Tibaudier. Monsieur Tibaudier is delighted, thereby pleasing the Comtesse. She is a Comtesse, which is rank, but this comtesse thrives on being admired.
Je suis ravi, Madame, que vous me concédiez la grâce d’embrasser Monsieur le Comte votre fils. On ne peut pas aimer le tronc, qu’on n’aime aussi les branches. Monsieur Tibaudier à la Comtesse (Scène VII)
[I am enchanted, Madam, that you concede me the favour of embracing the Count, your son. One cannot love the trunk without also loving the branches.] Monsieur Tibaudier to the Countess (Scene Fourteen, p. 78)
We also learn that although she has three grown (or almost) sons, she still looks young.
Hélas! quand je le fis, j’étais si jeune que je me jouais encore avec une poupée. La Comtesse à Julie (Scène VII) [Alas! when he was born, I was so young that I was still playing with a doll.] The Countessto Julie (Scene Eighteen, p. 78)
She is floating in mid-air when we hear that the comedians are ready.
Les comédiens envoient dire qu’ils sont tout prêts. Criquet (Scène VII)
The actors send me to say that they are quite ready. Criquet (Scene Twenty, p. 79)
Le Vicomte reflects that:
Il est nécessaire de dire, que cette comédie n’a été faite que pour lier ensemble les différents morceaux de musique, et de danse, dont on a voulu composer ce divertissement, et que… Le Vicomte à tous (Scene VII) [It is necessary to say that this comedy has been written only to connect together the different pieces of music and dancing of which they wished to compose this entertainment, and that…] The Viscount to all (Scene Twenty, p. 79)
Is the dramatist within his play and is this play a théâtre dans le théâtre? I believe he is.
SCENE EIGHT
Monsieur Harpin joins everyone when the comedy has already started. He is a fâcheux.
Parbleu la chose est belle, et je me réjouis de voir ce que je vois. Monsieur Harpin (Scène VIII)
Zounds! that is a pretty set out, and I rejoice to see what I do see. Monsieur Harpin (Scene Twenty-One, p. 79)
Eh têtebleu la véritable comédie qui se fait ici, c’est celle que vous jouez, et si je vous trouble, c’est de quoi je me soucie peu. Monsieur Harpin (Scène VIII)
Eh! the deuce! The real comedy which is performed here, is played by you; and if I do trouble you, I care very little about it. Monsieur Harpin (Scene Twenty-One, p. 80)
Monsieur Harpin thinks the Vicomte is his rival.
Eh ventrebleu, s’il y a ici quelque chose de vilain, ce ne sont point mes jurements, ce sont vos actions, et il vaudrait bien mieux que vous jurassiez, vous, la tête, la mort et la sang, que de faire ce que vous faites avec Monsieur le Vicomte. Monsieur Harpin (Scène VIII)
Eh! Odds bobs! if there be anything nasty, it is not my swearing, but your goings on; and it would be better for you to swear, heads, ‘s deaths, and blood, than to do what you are doing with the Viscount. Monsieur Harpin (Scene Twenty-One, p. 80)
The Vicomte does not understand what is going on.
Je ne sais pas, Monsieur le Receveur, de quoi vous vous plaignez, et si... Le Vicomte à Monsieur Harpin (Scene VIII)
I do not know, Mr. Receiver, of what you have to complain; and if… The Viscount to Monsieur Harpin (Scene Twenty-One, p. 80)
And the Comtesse doesn’t know why Monsieur Harpin speaks to everyone.
Quand on a des chagrins jaloux, on n’en use point de la sorte, et l’on vient doucement se plaindre à la personne que l’on aime. La Comtesse à Monsieur Harpin (Scene VIII)
When one has jealous cares, one ought not to behave in this manner; but to come and complain gently to the person one loves. The Countess to Monsieur Harpin (Scene Twenty-One, p. 80)
Contrary to Monsieur Tibaudier, Monsieur Harpin has not gone to visit the Countess and complain. He has chosen instead to accuse the Viscount and to make a mockery of himself. In fact, Monsieur Harpin becomes quite offensive. Once again, he alludes to giving/receiving money.
Je veux dire, que je ne trouve point étrange que vous vous rendiez au mérite de Monsieur le Vicomte, vous n’êtes pas la première femme qui joue dans le monde de ces sortes de caractères, et qui ait auprès d’elle un Monsieur le Receveur, dont on lui voit trahir, et la passion, et la bourse pour le premier venu qui lui donnera dans la vue ; mais ne trouvez point étrange aussi que je ne sois point la dupe d’une infidélité si ordinaire aux coquettes du temps, et que je vienne vous assurer devant bonne compagnie, que je romps commerce avec vous, et que Monsieur le Receveur ne sera plus pour vous Monsieur le Donneur. Monsieur Harpin (Scene VIII)
[I mean that I find nothing strange in it that you should give way to the merits of the Viscount; you are not the first woman who plays that sort of character in society, and who has a Receiver after her, whose affection and purse one finds her betray for the first comer who suits her views. But do not think it strange that I am not the dupe of an infidelity so common to the coquettes of the present day, and that I come to assure you before decent company, that I break off all connection with you, and that Mr. Receiver shall no longer be Mr.Giver to you.] Monsieur Harpin (Scene Twenty-0ne, p. 81)
We know already that in Scene Nine, la scène dernière, le vicomte and Julie will learn that their families will allow them to marry and that le Vicomte will tell the Comtesse to marry Monsieur Tibaudier. She will resist a little, but ask Monsieur Tibaudier to marry her.
C’est sans vous offenser, Madame, et les comédies veulent de ces sortes de choses. Le Vicomte à la Comtesse (Scène dernière)
It was meant without offence, Madam; comedies require these sorts of things. The Viscount to the Countess (Scene Twenty-Two, p. 81)
Julie has been fully “schooled.”
Je vous avoue, madame, qu’il y a merveilleusement à profiter de tout ce que vous dites, c’est une école que votre conversation, et j’y viens tous les jours attraper quelque chose. Julie à la Comtesse (Scène II)
[I confess to you, Madam, that there is a marvellous deal to learn by what you say; your conversation is a school, and every day I get hold of something in it.] Julie to the Countess (Scene Fourteen, p. 72)
Conclusion
In this comedy, jealousy is used to overcome obstacles to the marriage of the Comtesse. Monsieur Tibaudier presses his suit when a Vicomte is courting the Comtesse. On the other hand, Monsieur Harpin becomes jealous and his own worst enemy. This obstacle is to the Comtesse‘s marriage is mostly vanity on her part, which can translate as rank, but not necessarily. The Comtesse acts in her best interest. In 17th-century France, the bourgeoisie was growing and many bourgeois were rich.
However, we have a doubling or two couples. Le Vicomte and Julie face a more traditional obstacle. His father and her brothers oppose the Vicomte‘s marriage to Julie. A billet is delivered to the Vicomte. He may marry Julie. Comedy demands a fortunate péripétie, or turn of events. La Comtesse d’Escarbagnas is an “all’s that ends well” comedy. But first, all will watch the end of the comedy within the comedy. LeBallet des ballets was a divertissement.
I have read Lucien Dallenbach’s Récit spéculaire and I am reading Georges Forestier’s Le Théâtre dans le Théâtre. Years ago, I read Jean Rousset’s books. According to Georges Forestier, the embedded (enchâssé-e) element is the missing Pastoral, situated between Scenes Eight and Nine (p. 353).[1] I would call other allusions to comedy “self-referential.”
Love to everyone 💕 ____________________ [1] Georges Forestier Le Théâtre dans le théâtre (Genève: Droz, 1966), p. 353.
Antoine Boësset — À la fin cette bergère…
Claire Lefilliâtre (soprano), Bruno Le Levreur, Jean-François Novelli, Arnaud Marzorati Le Poème Harmonique — Vincent Dumestre
La Comtesse d’Escarbagnas, le Mariage forcé – Marc Antoine Charpentier La Simphonie du Marais
Lyrics: Le Mariage forcé and added interludes
The Indian Church by Emily Carr, 1928 (Photo credit: Wiki2.org)
I want to wish you all a Happy New Year. May it be generous and kind.
A Coincidence
Ironically, the Duke and Duchess of Sussex spent their holidays on the west coast of Vancouver Island, which brought back gilded images from the past. My husband and I spent our honeymoon on the west coast of Vancouver Island, but north of the area the Royals chose for their holidays. We were at Wickanninish Inn, before the Trans-Canada Highway reached that far. Therefore, it was the end of an era. Hundreds of people now travel to a formerly desert beach.
We had Long Beach to ourselves: 13.6 kilometers, but much longer… The only live beings we met were sea lions and a dog.
Other guests had flown in, but we had used loggers’ roads. It was a bumpy, but relatively short ride, and well worth the inconvenience. The chef was from New York and the food, excellent.
The Inn was beautiful and smaller than it is today, but it was Paradise. At night we could see an impressive display of stars.
Emily Carr, Blunden Harbour, 1930
Emily Carr, Kitwancool, 1928
Artist Emily Carr (1871 – 1945) had spent time in that area. We explored in the hope of finding signs of her presence. She was everywhere.
Some of you may remember who gave his name to the Inn. It was Amerindian Chief Wickanninish who destroyed the Tonquin, a boat built for John Jacob Astor, the owner of the American Fur Trade Company. It carried voyageurs from New York to the “Oregon country.”
