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 is offering to 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)
I’m ready to post La Comtesse d’Escarbagnas, a fine little comedy of manners and comédie-ballet also entitled le Ballet des ballets. It was performed 580 times before the French Revolution.[1]The main character, la Comtesse, is besotted by rank. She is a widowed personne de qualité, her spouse was a count, who is seeking a second husband. She does not marry an aristocrat, but a bourgeois who loves her and looks upon her as une personne de qualité. Monsieur Tibaudier is very frank, but he loves the Comtesse and she will remain a Comtesse. When the curtain lifts, she has just returned Paris. The dénouement is a happy one. It is an “all’s well that ends well,” Molière champions the happiness of loving couples.
Ourdramatis personæis:
LA COMTESSE D’ESCARBAGNAS.
LE COMTE, son fils (son).
LE VICOMTE, amant (in love with) de 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 (tutor) de Monsieur le Comte.
ANDRÉE, suivante de la Comtesse.
JEANNOT, laquais de Monsieur Tibaudier.
CRIQUET, laquais de la Comtesse.
La scène est à Angoulême.
The Suitors: Tibaudier and Harpin
La Comtesse is courted by three men:
Monsieur Tibaudier,
Monsieur Harpin, and
le Vicomte.
When the Vicomte starts courting the Comtesse, Monsieur Tibaudier and Monsieur Harpin do no think they have a chance. The Viscount has a rank and the Comtesse is obsessed with rank. Two of her suitors are bourgeois and do not like having a rival who is Vicomte. Monsieur Harpin becomes a jaloux and rudely interrupts a comédie le Vicomte is offering la Comtesse. Monsieur Harpin’s jealousy is not revealed until the very end of the comedy, when he barges in on le vicomte‘s comédie.
However, Monsieur Tibaudier and Monsieur Harpin do not know le Vicomte is not their rival. Le Vicomte is in love with Julie, but they cannot marry until his father and her brothers approve the marriage. In fact, the Comtesse‘s only available suitors are Monsieur Tibaudier and Monsieur Harpin, one of whom is un jaloux, who enters late and disgraces himself.
When the inner comedy begins, the Vicomte’s gift to the comtesse, all has been arranged. La Comtesse will marry Monsieur Tibaudier. Monsieur Harpin is a jaloux whom we do not see until it’s too late. So, as events unfold, Monsieur Harpin having stayed away, the only suitor seeking the Comtesse‘s affection is Monsieur Tibaudier who dearly loves the Comtesse.
Monsieur Thibaudier
However, when invited to attend the comédie, Monsieur Tibaudier will not go the Comtesse‘s house until Jeannot has carried a gift of pears to which a message is attached. The messages is clear. He has been waiting for too long.
Madame, je n’aurais pas pu vous faire le présent que je vous envoie, si je ne recueillais pas plus de fruit de mon jardin, que j’en recueille de mon amour. Monsieur Tibaudier (Scene IV) [Madam, I could not have made you the present which I send you, if, I gathered as little fruit from my garden as I gather from my love.] Monsieur Tibaudier (Scene Fifteen)
Monsieur Tibaudier has written:
Les poires ne sont pas encore bien mûres, mais elles en cadrent mieux, avec la dureté de votre âme, qui par ses continuels dédains, ne me promet pas poires molles. Trouvez bon, Madame, que sans m’engager dans une énumération de vos perfections, et charmes, qui me jetterait dans un progrès à l’infini, je conclue ce mot, en vous faisant considérer que je suis d’un aussi franc chrétien, que les poires que je vous envoie, puisque je rends le bien pour le mal, c’est-à-dire, Madame, pour m’expliquer plus intelligiblement, puisque je vous présente des poires de bon-chrétien, pour des poires d’angoisse,[2] que vos cruautés me font avaler tous les jours. Tibaudier, votre esclave indigne (Scène V)
[The pears are not yet very ripe; but they will go all the better with the hardness of your heart, which, by its continuous disdain, does not promise me anything soft. Permit me. Madam, without entering upon an enumeration of your perfections and charms which would betray me in a never ending progress, to conclude this note by calling your attention to the fact that I am as good a Christian as the pears which I send you, since I return good for evil; which means, Madam, to express myself more intelligibly, that I offer you pears of bon-chrétien for choke-pears[3] which your cruelty makes me swallow every day.
Tibaudier, your unworthy slave.]
(Scene Fifteen)
La Comtesse is not offended. She welcomes Monsieur Thibaudier has a stool[4] brought for him and the Vicomte reads his poetry.
Une personne de qualité Ravit mon âme, Elle a de la beauté, J’ai de la flamme; Mais je la blâme D’avoir de la fierté. (Scène V)
[A lady of quality
Ravishes my soul:
She has beauty,
I have love;
But I blame her
For having pride.]
(Scene Sixteen)
He doesn’t think of his rank, except to say that he has been supplanted or outranked.
Me voilà supplanté, moi, par Monsieur Tibaudier. Le Vicomte (Scene V)
[Here I am supplanted [outranked] by Mr. Tibaudier.] The Viscount (Scene Eleven)
Outranked he is. La Comtesse cannot find anything wrong with Monsieur Tibaudier. So, when it is revealed — the péripétie, that the Vicomte can marry Julie, the Viscount himself gives la Comtesse to Monsieur Tibaudier as a husband. Monsieur Harpin has disgraced himself, and, he, the Viscount, loves Julie.
Le Vicomte knows that Monsieur Tibaudier truly loves la Comtesse, whom he will always consider “une personne de qualité.”
As for Julie, she has made le Vicomte wait, but has she been cruel?
C’est trop lontemps, Iris, me mettre à la torture [.] Le Vicomte Scène première
[Too long, Iris, have you put me to the torture[.]] The Viscount (Scene One)
But le Vicomte replaces Julie’s name with the name Iris in the poem he recites. The name Iris belongs to John Lyly‘s euphuism. He complains Iris is making him wait too long, but he has distanced Julie by naming her Iris. Julie protests. Why should women be depicted as a man’s torturer. It has seemed long. Julie and the Vicomte want to marry, but their families are objecting. It must seem an endless wait, but what could she do?
However, suddenly, everything turns around. It’s a péripétie. Le Vicomte tells la Comtesse what it means:
Cela veut dire, Madame, que j’épouse Julie, et si vous m’en croyez, pour rendre la comédie complète de tout point, vous épouserez Monsieur Tibaudier, et donnerez Mademoiselle Andrée à son laquais dont il fera son valet de chambre. Le Vicomte à la Comtesse (Scène dernière)
[This means, Madam, that I marry Julia ; and if you believe me, to render the comedy more complete in all points, you will marry Mr. Tibaudier, and give Miss Andrée to his lacquey, of whom he shall make his valet.][3] The Viscount to the Countesse(Scene Twenty-Two)
The Comtesse feels, briefly, that this is offensive
Quoi, jouer de la sorte une personne de ma qualité? La Comtesse (Scène dernière)
[What ! to hoodwink a person of my rank thus?] The Comtesse (Scene Twenty-Two)
Le Vicomte tells her that he has not offended her. This is the Will of comedy, or an “all’s well that ends well.”
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)
Therefore, the Comtesse tells monsieur Tibaudier that she will marry him. The Countess to Monsieur Thibaudier (Scene Twenty-Two)
Oui, Monsieur Tibaudier, je vous épouse, pour faire enrager tout le monde. La Comtesse à Monsieur Thibaudier (Scène dernière)
[Yes, Mr. Tibaudier, I marry you in order to put the whole world in a rage.] The Countess to Mr Tibaudier (Scene Twenty-Two)
He thinks it is a very great honour:
Ce m’est bien de l’honneur, Madame. Monsieur Tibaudier à la Comtesse (Scène dernière) [It is a great honour to me, Madam.] Monsieur Tibaudier to the Countess (Scene Twenty Two)
All then go to see the end of the comédie the Vicomte was giving to Julie under the name of the Comtesse. Monsieur Harpin barges in, speaking impolitely, and is removed.
Conclusion
Molière has created a comedy where there is only one genuine suitor to la Comtesse. We suspect this is the case when le Vicomte tells Julie that she is making play a role in a comedy and complains that this has gone on for too long. She is not responsible for the delay. Cléante’s father and her brothers oppose her marriage to Cléante, the Vicomte. He protests because it has gone on too long and reads a poem where he depicts his plight as a “double martyrdom.” Time is relative. If one has a poire d’angoisse inserted in one’s mouth, time lasts forever. If one is happy, time flies.
C’est trop longtemps, Iris, me mettre à la torture, Et si je suis vos lois, je les blâme tout bas, De me forcer à taire un tourment que j’endure Pour déclarer un mal que je ne ressens pas. Faut-il que vos beaux yeux à qui je rends les armes, Veuillent se divertir de mes tristes soupirs, Et n’est-ce pas assez de souffrir pour vos charmes, Sans me faire souffrir encor pour vos plaisirs? Le Vicomte à Julie (Scène première) [Too long, Iris, have you put me to the torture, And if I obey your laws, I blame them silently For forcing me to conceal the torment which I endure, To confess a pain which I do not feel.
(…) This double martyrdom is too much at one time;
(…)
And if by pity you are not overcome,
I die both by the feint and by the truth. The Viscount to Julie (Scene One)]
Le Vicomte and Julie are typical young lovers who face blocking characters. Cléante’s father would be a heavy father, but Julie does not agree that the Vicomte is a double martyrdom. However, she wants a copy of the letter. It is reverse flattery, but flattery.
Je vois que vous vous faites là bien plus maltraité que vous n’êtes; mais c’est une licence que prennent messieurs les poètes, de mentir de gaieté de cœur, et de donner à leurs maîtresses des cruautés qu’elles n’ont pas, pour s’accommoder aux pensées qui leur peuvent venir. Cependant je serai bien aise que vous me donniez ces vers par écrit. Julie au Vicomte (Scène première)
I see that you make yourself out to be more ill-treated than you are; but to tell falsehoods wantonly, to attribute to their mistresses cruelties which they do not
feel, is a license which gentlemen poets take, to accommodate themselves to the ideas with which they may be inspired. I should, however, be very glad, if you would give me these verses in writing.] Julie to the Viscount (Scene One)
The Vicomte makes believe he is in love with the Comtesse, and he cannot tell that Julie is the woman he loves. But he provides a rival to Monsieur Tibaudier and to Monsieur Harpin, which he doesn’t like.
But he calls Julie Iris. This language is akin to John Lyly‘s euphuism, a witty, courtly style that distances Julie.
Love to all of you💕 This post is not complete, but it can stand alone. I will publish whatever is missing, excluding quotations used in this post.
_____________________ [1] toutmoliere.net [2] A pear-shaped instrument to keep the mouth open. One could not scream when thieves took everything. [3] I believe this could also be translated as “who will be her lackey.” [4]At Court, a lower rank individual was not allowed to sit in an armchair. The stool was a pliant. It could fold.
La Comtesse d’Escarbagnas by François Boucher (drawing) (sitelully.free.fr)
I may not be able to post Les Fâcheux today. It would be too long a post. But I could indicate that in Les Fâcheux, first performed on 17 August 1661, at Vaux-le-Vicomte, Nicolas Fouquet‘s magnificent castle, the spectator/reader goes from bore to bore, all of whom want to talk to our hero, Éraste, a marquis who loves Orphise to whom he seems unable to catch up. He does catch up to her in an unexpected dénouement.
The play is therefore repetitive. Éraste is forever interrupted by bores. But one of the episodes, Act Two, Scene Four, features Éraste who is asked by Clymène and Orante, to play umpire, adjudicator, in a debate on whether jealousy is a sign of love.
C’est une question à vider difficile,/ Et vous devez chercher un juge plus habile Éraste à Clymène et Orante (II. iv) [That is a question difficult to settle; you had best look for a more skilful judge.] Éraste to Clymène and Orante (II. 4)
Pour moi de son esprit j’ai trop bon témoignage,/ 400Pour craindre qu’il prononce à mon désavantage./ Enfin ce grand débat qui s’allume entre nous,/ Est de savoir s’il faut qu’un amantsoit jaloux. Orante à Éraste (II. iv) [For my part, I am too much assured of his sense to fear that he will decide against me. Well, this great contest which rages between us is to know whether a lover should be jealous.] Orante to Éraste (II. 4)
Ou, pour mieux expliquer ma pensée et la vôtre,/ Lequel doit plaire plus d’un jaloux ou d’un autre. Orante à Éraste (II. iv)
[Or, the better to explain my opinion and yours, which ought to please most, a jealous man or one that is not so?] Orante to Éraste (II. 4)
405Pour moi, sans contredit, je suis pour le dernier. Clymène à tous (II. iv)
[For my part, I am clearly for the last.] Clymène to all (II. 4)
Et dans mon sentiment je tiens pour le premier. Orante à tous (II. iv)
[As for me, I stand up for the first.] Orante to all (II. 4)
Je crois que notre cœur doit donner son suffrage,/ À qui fait éclater du respect davantage. Orante à tous (II. iv)
445 Et je veux, qu’un amant pour me prouver sa flamme, Sur d’éternels soupçons laisse flotter son âme,/ Et par de prompts transports, donne un signe éclatant/ De l’estime qu’il fait de celle qu’il prétend./ On s’applaudit alors de son inquiétude,/ Et s’il nous fait parfois un traitement trop rude,/ Le plaisir de le voir soumis à nos genoux,/450 S’excuser de l’éclat qu’il a fait contre nous,/ Ses pleurs, son désespoir d’avoir pu nous déplaire, /Est un charme à calmer toute notre colère. Orante à tous (II. iv)
[I would that a lover, in order to prove his flame, should have his mind shaken by eternal suspicions, and, by sudden outbursts, show clearly the value he sets upon her to whose hand he aspires. Then his restlessness is applauded; and, if he sometimes treats us a little roughly, the value he sets upon her to whose hand he aspires. Then his restlessness is applauded; and, if he sometimes treats us a little roughly, the pleasure of seeing him, penitent at our feet, to excuse himself for the outbreak of which he has been guilty, his tears, his despair at having been capable of displeasing us, are a charm to soothe all our anger.] Clymène to all (II. 4)
Si pour vous plaire il faut beaucoup d’emportement,/ Je sais qui vous pourrait donner contentement;/ 455Et je connais des gens dans Paris plus de quatre,/ Qui comme ils le font voir, aiment jusques à battre. Orante à tous (II. iv) [If much violence is necessary to please you, I know who would satisfy you; I am acquainted with several men in Paris who love well enough to beat their fair ones openly.] Orante to all (IV. 4)
Éraste’s answer is:
Puisqu’à moins d’un arrêt je ne m’en puis défaire,
Toutes deux à la fois je vous veux satisfaire; 465 Et pour ne point blâmer ce qui plaît à vos yeux,
Le jaloux aime plus, et l’autre aime bien mieux. Éraste to all (II. iv)
[Since I cannot avoid giving judgment, I mean to satisfy you both at once; and, in order, not to blame that which is pleasing in your eyes, the jealous man loves more, but the other loves more wisely.]. Éraste to all (IV. 4)
Who would appreciate reducing a man to sudden outbursts, applauding a man’s restlessness?Who would wish to be treated a little roughly and enjoy seeing the penitent at one’s feet, witness his tears and his despair?
If Clymène enjoys the pain she inflicts, we could perhaps put her on the same footing as our tormented and jaloux, or on the other side of the same coin. This is not love.
Provided to YouTube by CDBaby Courante De Mr. Lully · David Rogers, Joanna Blendulf & Laura Zaerr ℗ 2014 Daniel Stephens Released on: 2014-01-01 Auto-generated by YouTube.
I am not writing a post today. During the month of November, I had no access to a computer and could not read your posts. I ordered a new computer, but after waiting for nearly a month, I cancelled my purchase. For the time being, I am using my older and restored computer. It was returned to the company and contains my complete files. A knowledgeable person will help me choose a new computer.
In short, I had no access to a computer during most of the month of November and did not read posts. I will now try to make up for this long absence.
A Last Quotation
I added, discretely, a quotation to my Dom Garcie posts. Quoting Molière in both French and English can be confusing. This quotation is confirmation on the part of Dom Garcie himself that, due to a “merciless fatality,” he is his own “worst enemy.” Given the innerness of his plight, he can no more combat his jealousy than Elvire can repress her love. Were she not in love, Donna Elvira would walk out on Dom Garcie.
In Act Four, Dom Garcie says to Dom Alvar that he, Dom Garcie, is his worst enemy:
Ah! Dom Alvar, je vois que vous avez raison, Mais l’enfer dans mon cœur a soufflé son poison; Et par un trait fatal d’une rigueur extrême, 1485Mon plus grand ennemi se rencontre en moi-même. Dom Garcie à Dom Alvar (IV. ix)
[Ah! Don Alvarez, I perceive you were in the right; but hell breathed its poison into my soul; through a merciless fatality I am my worst enemy.] Dom Garcie to Dom Alvar (IV. 9)
Dom Garcie de Navarre ou le Prince jaloux may have been a failure when it was first performed, but I consider it essential reading for moliéristes.
A long conclusion to Dom Garcie de Navarre is not necessary, not for our purposes. But there is more to say. Dom Garcie’s jealousy is not quite the same as that of a man who fears cuckolding. Dom Garcie truly loves Done Elvire and his feelings are reciprocated. I mentioned three events, two of which are the letters. Done Elvire is offended, but she forgives Dom Garcie. At the very beginning of the play, he tells her that he cannot repress his feelings.
Ah! Madame, il est vrai, quelque effort que je fasse,/ Qu’un peu de jalousie en mon cœur trouve place,/ 265Et qu’un rival absent de vos divins appas/ Au repos de ce cœur vient livrer descombats. Dom Garcie à Done Elvire (I. iii)
[Alas, Madam, it is true, that, notwithstanding my utmost effort, some trifling jealousy lingers in my heart; that a rival, though distant from your divine charms, disturbs my equanimity.] Dom Garcie to Elvira (I. 3)
Molière wrote a comédie héroïque, but Dom Garcie’s jealousy is a tragic flaw. Pity plays a role in Dom Garcie, and we know it does as soon as the curtain lifts.
Pity
At the beginning of Act Four, before our third event, the disguise, Dom Alvar says to Donna Elvira:
1096 Madame, il fait pitié, jamais cœur que je pense,/ Par un plus vif remords n’expia son offense;/ Et si dans sa douleur vous le considériez,/ Il toucherait votre âme, et vous l’excuseriez. Dom Alvar à Done Elvire (IV. i)
[Madam, he deserves your pity. Never was any offence expiated with more stinging remorse; if you were to see his grief, it would touch your heart, and you would pardon him.] Don Alvarez to Elvira (IV. 1)
Dom Alvar also mentions Dom Garcie’s age. Age is a factor in Molière. We have seen it in Dom Juan:
Non, c’est qu’il est jeune encore, et qu’il n’a pas le courage. Sganarelle à Gusman (I. i)
[No, but he is still young, and does not have the heart ….] Sganarelle to Gusman (I. 1)
At first, Dom Alvar’s words do not appease Done Elvire:
Ah! c’est trop en souffrir, et mon cœur irrité/ Ne doit plus conserver une sotte bonté;/ Abandonnons l’ingrat à son propre caprice,/ Et puisqu’il veut périr, consentons qu’il périsse;/ 1430 Élise… À cet éclat vous voulez me forcer,/ Mais je vous apprendrai que c’est trop m’offenser. Done Elvira to Élise (IV. viii)
[Ha! This can no longer be borne; I am too angry foolishly to preserve longer my good nature. Let me abandon the wretch to his own devices, and, since he will undergo his doom, let him—Eliza!… (To Don Garcia). You compel me to act thus; but you shall see that this outrage will be the last. Done Elvira to Élise (IV. 8)
The Anagnorisis: forgiveness
But Elvire forgives. The play features a redeeming anagnorisisor recognition. Done Elvire is Dom Alphonse’s sister:
Un éclatant arrêt de ma gloire outragée,/ À jamais n’être à lui me tenait engagée;/ Mais quand par les destins il est exécuté,/ J’y vois pour son amour trop de sévérité; Et le triste succès de tout ce qu’il m’adresse/ 1565 M’efface son offense, et lui rend ma tendresse./ Oui, mon cœur trop vengé par de si rudes coups, Laisse à leur cruauté désarmer son courroux,/ Et cherche maintenant par un soin pitoyable/ À consoler le sort d’un amant misérable;/ 1570 Et je crois que sa flamme a bien pu mériter/ Cette compassion que je lui veux prêter. Done Elvire (V. ii)
[When my honour was outraged, I vowed openly never to be his; but as I see that fate is against him, I think I have treated his love with too great severity; the ill success that follows whatever he does for my sake, cancels his offence, and restores him my love. Yes, I have been too well avenged; the waywardness of his fate disarms my anger, and now, full of compassion, I am seeking to console an unhappy lover for his misfortunes. I believe his love well deserves the compassion I wish to show him.] Done Elvire (V. 2)
At first sight, this change of heart may seem artificial on Done Elvire’s part, but it isn’t, except that comedy has its rules. Done Elvire is the King’s sister, so her love will be sisterly and Dom Alphonse’s brotherly. Dom Alphonse/Silve will marry Donna Ignès. She was his first love and by Done Elvire’s own standards, one marries one’s first love. Dom Garcie is Elvire’s first love. Failing to marry him would a “crime.”
In fact, the degree to which Dom Garcie’s jealousy frustrates and angers her could be looked upon as proportionate to her love. She is the King’s sister and could dismiss him. As for Dom Garcie, he fails in his mission to kill Mauregat, after which, had he been successful, he planned to die. He sees himself as dishonoured. It is as though Dom Silve and Dom Garcie fought a duel as rivals for Done Elvire’s affection. But the duel was an interior conflict, which Dom Alvar recognizes and, ultimately, Dom Garcie himself.
In Act Four, Dom Garcie says to Dom Alvar that he, Dom Garcie, is his worst enemy:
Ah! Dom Alvar, je vois que vous avez raison, Mais l’enfer dans mon cœur a soufflé son poison; Et par un trait fatal d’une rigueur extrême, 1485Mon plus grand ennemi se rencontre en moi-même. Dom Garcie à Dom Alvar (IV. ix)
[Ah! Don Alvarez, I perceive you were in the right; but hell breathed its poison into my soul; through a merciless fatality I am my worst enemy.] Dom Garcie to Dom Alvar (IV. 9)
But in Done Elvire’s eyes, both she and Dom Garcie have public interests. These are her words, not Dom Garcie’s.
Mais, enfin, vous savez comme nos destinées,/ Aux intérêts publics sont toujours enchaînées,/ Et que l’ordre des Cieux pour disposer de moi,/ 1595 Dans mon frère qui vient, me va montrer mon roi. Done Elvire à Dom Garcie (V. iii)
But you know that it is the doom of such as we are, to be always the slaves of public interests; that Heaven has ordained that my brother, who disposes of my hand, is likewise my King. Done Elvire to Don Garcia (V. 3)
Done Elvire has shown pity previously and will do so again. Moreover, jealousy has harmed Dom Garcie. In no way does Done Elvire perceive jealousy as a sign a love. On the contrary. She vowed not to marry Dom Garcie. However, she loves him.
La Carte de Tendre
Carte du pays de Tendre or The Map of Tendre par François Chauveau (Wikipedia)
In the case of Dom Garcie, a brief look at Madeleine de Scudéry‘s “map of Tendre” is useful. Tendre is the country of love.
The Carte de Tendreis included in Mademoiselle de Scudéry’s Clélie, histoire romaine. It was engraved by François Chauveau. Madeleine de Scudéry, an indefatigable writer, had a Salon. She had attended Catherine de Rambouillet‘s salon, the Chambre bleue d’Arthénice (an anagram of Catherine), but as Catherine de Vivonne grew older, Sappho opened her own salon. Gatherings took place every Saturday. These are referred to as les Samedis de Sappho or La Société du Samedi.
The Map of Tendre consists of three rivers: Inclination, Estime, and the river Reconnaissance. Lovers descending the river Inclination (attraction) had fallen in love. Those descending Estime admire the lover they had chosen. As for the river Reconnaissance, it represents gratitude. Done Elvire’s love for Dom Garcie includes all three rivers. The little villages are steps to love, such as Billet Doux, love letters. All lead to a dangerous sea, une mer dangereuse, but in the salons of the middle to late 17th century, one had accepted that love was dangerous, but that to love and to be loved, was, by and large, worth the risks. Love was the greater good. It was a fact of life, but husbands were galants hommes. They were the Prince d’Ithaque. As of the Princesse d’Élide fewer ladies woke early to go hunting and kill a boar, which is how Sostrate may marry Ériphile (Les Amants magnifiques).
Molière has juxtaposed a prince and jealousy, which in Dom Garcie alienates Done Elvire, were it not, first that an anagnorisis reveals that only sisterly or brotherly love is possible between Elvira and her King. Dom Alphonse will marry his first love, and so will Done Elvire, in whose eyes, Dom Garcie has not been dishonoured. In fact, Dom Alphonse is pleased to serve Dom Garcie’s love.
Mon cœur, grâces au Ciel, après un long martyre, 1845Seigneur, sans vous rien prendre à tout ce qu’il désire, Et goûte d’autant mieux son bonheur en ce jour, Qu’il se voit en état de servir votre amour. Dom Alphonse à Dom Garcie (V. ii)
[My heart, thank Heaven, after a long torture, has all that it can desire, and deprives you of nothing, my Lord. I am so much the happier, because I am able to forward your love.] Dom Alphonse to Dom Garcie (V. 6)
As for Donna Elvira, she shares Dom Alvar’s opinion. She sees Dom Garcie’s as pitiable and his jealousy, as an illness.
… Et votre maladie est digne de pitié./Je vois, Prince, je vois, qu’on doit quelque indulgence,/ Aux défauts, où du Ciel fait pencher l’influence,/ 1870 Et pour tout dire, enfin, jaloux, ou non jaloux;/ Mon roi sans me gêner peut me donner à vous. Done Elvire à Dom Garcie (V. ii)
[… and your malady deserves to be pitied. Since Heaven is the cause of your faults, some indulgence ought to be allowed to them; in one word, jealous or not jealous, my King will have no compulsion to employ when he gives me to you.] (V. 6)
Dom Garcie de Navarre was a failure. It is very long and analytical. Critic René Bray views Dom Garcie as héroïque, but it is his opinion that “preciosity is all the same, something other, and more complex, than the taste for moral analysis.”
La préciosité est tout de même autre chose, et plus complexe, que le goût de l’analyse morale.[1]
He quotes Francis Baumal[2]:
Il se peut après tout que Molière, sauf peut-être dans les Écoles, n’ait point marqué ses préférences et se soit contenté de peindre la société de son temps telle qu’il la voyait.[3]
“It could be after all that Molière, except maybe in his Écoles, did not emphasize his preferences and that he was content to depict the society of his time as he saw it.”
The Misanthrope is a Wikisource publication EN Dom Garcie de Navarre is a toutmoliere.net publication FR Dom Garcie de Navarre is Gutenberg’s [EBook #6740] EN
René Bray’s La Préciosité et les Précieux is an archive.org publication
Images belong to the BnF, but the source of the image featured at the top of his post has been lost.
Bold characters are mine.
I translated Bray and Baumal.
__________________ [1] René Bray, La Préciosité et les Précieux (Paris: Nizet, 1960 [1948]), pp. 222 – 223. [2] Francis Baumal, Molière auteur précieux (Paris: La Renaissance du livre, 1925). [3]René Bray, La Préciosité et les Précieux, loc. cit.
Dom Garcie de Navarre ou le Prince jaloux (The Happy Jealousy of Prince Rodrigo) was written shortly after Molière’s return to Paris. The company he founded in 1643, l’Illustre Théâtre, went into bankruptcy in the spring of 1645. Molière was imprisoned briefly in August 1645 and after his release, he left Paris for several years, nearly fifteen years. Molière’s father paid the bulk of Molière’s debts.
The collapse of l’Illustre Théâtre was due, in part, to Molière’s inability to play tragic or serious roles. He did not have the right looks, nor did he have the right voice. However, he could not resist writing Dom Garcie de Navarre ou le Prince Jaloux and gave himself Dom Garcie’s role, a serious role. The play was performed on 4 February 1661, at the Théâtre du Palais-Royal, and it closed after 7 performances. It was a failure. The play was not published during Molière’s lifetime, but it was included in the 1682 publication of Molière’s works. In 1661, Molière’s company was la troupe de Monsieur Frère Unique du Roi. Monsieur was Philippe d’Orléans and Louis XIV’s only brother (frère unique).
Sources
Molière’s source was the Gelosie fortunata del principe Rodrigo (The Fortunate Jealousy of PrinceRodrigo), by Italian dramatist Cicognini, a play published in Perugia, in 1654. Prince Rodrigo is very jealous, but he succeeds in marrying the lady he loves. Similarly, Done Elvire will marry Dom Garcie, whom she loves. It will be discovered that Dom Sylve is the rightful heir to the throne of Léon and her brother. She had rejected Dom Sylve as a lover and favoured a marriage between Dom Sylve and Done Ignès, who loves him, but is Done Ignès who was captured by Mauregat, a usurper.
Cicognini may have found his material in a Spanish play. Baumal[1] writes that according to Riccoboni, there was a Spanish source. There may well have been a Spanish source, but unless there were two dramatists named Riccoboni, Riccoboni could not have reported Spanish ancestry to Molière’s Dom Garcie de Navarre. Moreover, Riccoboni was born in 1707, which means that he was ten years old in 1717, when he staged a Dom Garcie in Paris. Yet, a Spanish source is altogether possible. One recognizes the Spanish pun d’honor and remembers Pierre Corneille‘s Cid(1637).
Our DRAMATIS PERSONÆ is
DON GARCIA, Prince of Navarre, in love with Elvira. (Molière’s role)
DON ALPHONSO, Prince of Leon, thought to be Prince of
Castile, under the name of Don Silvio (Sylve).
DON ALVAREZ, confidant of Don Garcia, in love with Eliza (Alvar).
DON LOPEZ, another confidant of Don Garcia, in love with Eliza.
DON PEDRO, gentleman-usher to Inez (Ignès).
A PAGE.
DONNA ELVIRA, Princess of Leon.
DONNA INEZ, a Countess, in love with Don Silvio, beloved
by Mauregat, the usurper of the Kingdom of Leon.
ELIZA, confidant to Elvira.
Scene. ASTORGA, a city of Spain, in the kingdom of Leon.
Plot and Themes
Jealousy
A love question
the Salons
As noted in an introductory paragraph, written on 29 November 2019, although Dom Garcie features young lovers who are about to marry, the main theme of the play is jealousy and the comédie is a comédie héroïque (heroic comedy). However, Molière interiorizes the conflict, or agon, between the alazṓn, a senex iratus or miles gloriosus, and the eirôn. Dom Garcie is so jealous that he offends Done Elvire and jeopardizes his own marriage. He is both the young lover and the blocking-character. This he will realize.
THE SALONS
In 17th-century salons and Précieux milieux, love questions were discussed. One of these was whether jealousy was a sign of love or a source of constant and humiliating suspicion and recriminations that could prevent, or destroy, a marriage. In Dom Garcie de Navarre ou le Prince jaloux, Done Elvire rejects Dom Garcie.
ACT ONE
Destiny: “ces chaînes du ciel”
Jealousy as a sign of love
Jealousy as dreadful
SCENE ONE
Done Elvire has been courted by Dom Sylve and Dom Garcie. Dom Garcie extremely jealous, which offends Done Elvire, but he has saved her life. However, what we hear first is that Done Elvire loves Dom Garcie de Navarre, as destiny (ces chaînes du ciel) willed.
Si le mérite seul prenait droit sur un cœur./ Mais ces chaînes du ciel, qui tombent sur nos âmes,/ Décidèrent en moi le destin de leurs flammes;/ Et toute mon estime égale entre les deux,/ Laissa vers Dom Garcie entraîner tous mes vœux. Done Elvire à Élise (I. i)
[If aught but merit could gain my heart, the conqueror were yet to be named; but these chains, with which Heaven keeps our souls enslaved, decide me, and, though I esteem both equally, my love is given to Don Garcia.] Done Elvire to Élise (I. 1)
But Élise sees matters differently. Jealousy is a manifestation of love.
Enfin, si les soupçons de cet illustre amant,/ 90 Puisque vous le voulez n’ont point de fondement;/ Pour le moins font-ils foi d’une âme bien atteinte,/Et d’autres chériraient ce qui fait votre plainte./ De jaloux mouvements doivent être odieux,/ S’ils partent d’un amour qui déplaise à nos yeux./ Mais tout ce qu’un amant nous peut montrer d’alarmes,/Doit lorsque nous l’aimons, avoir pour nous des charmes;/ C’est par là que son feu se peut mieux exprimer,/ Et plus il est jaloux, plus nous devons l’aimer;/ Ainsi puisqu’en votre âme un prince magnanime… Elise à Elvire (I. i)
[Though the suspicions of that illustrious lover have no foundation—for you tell me so—they at least prove that he is greatly smitten: some would rejoice at what you complain of. Jealousy may be odious when it proceeds from a love which displeases us; but when we return that love, such feelings should delight us. It is the best way in which a lover can express his passion; the more jealous he is, the more we ought to love him. Therefore since in your soul a magnanimous Prince… ] Élise to Elvire (I. 1)
Done Elvire’s response is unambiguous:
Ah! ne m’avancez point cette étrange maxime/ Partout la jalousie est un monstre odieux,/ Rien n’en peut adoucir les traits injurieux;/ Et plus l’amour est cher, qui lui donne naissance/ Plus on doit ressentir les coups de cette offense. Done Elvire à Élise (I. i)
[No, no; nothing can excuse the strange madness of his gloomy and unmanly jealousy; I have told him but too clearly, by my actions, that he can indeed flatter himself with the happiness of being beloved. Even if we do not speak, there are other interpreters which clearly lay bare our secret feelings.] Elvira to Élise (I. 1)
Yet, although Done Elvire loves Dom Garcie de Navarre destiny (ces chaînes du ciel) has spoken and destiny is inescapable. The role destiny plays in our lives is often expressed in Molière, but seldom so vigorously as it does in Dom Garcie de Navarre.
Si le mérite seul prenait droit sur un cœur./ Mais ces chaînes du ciel, qui tombent sur nos âmes,/ Décidèrent en moi le destin de leurs flammes;/ Et toute mon estime égale entre les deux,/ Laissa vers Dom Garcie entraîner tous mes vœux. Elvire to Élise (I. i)
[If aught but merit could gain my heart, the conqueror were yet to be named; but these chains, with which Heaven keeps our souls enslaved, decide me, and, though I esteem both equally, my love is given to Don Garcia.] Elvire to Élise (I. 1)
Done Elvire also seems to know that her brother is returning. Her brother is the rightful heir to the Kingdom of Léon. She doesn’t know, however, that Dom Sylve is Dom Alphonse and her brother. Dom Sylve, who first loved Done Ignés, is rejected by Done Elvire, but not harshly. Destiny is also tied to public interest. Rumour has it that Don Alphonse is returning:
Et si les bruits communs ne sont pas des bruits vains;/ Si la bonté du Ciel nous ramène mon frère,/ Les vœux les plus ardents, que mon cœur puisse faire;/ C’est que son bras encor, sur un perfide sang/ Puisse aider à ce frère, à reprendre son rang. Elvire to Élise (I. i)
[If common reports be true, and Heaven should grant my brother’s return, I wish fervently, and with all my heart, that his arm may aid my brother to recover his throne…] Elvire to Élise (I. 1)
SCENE TWO
In Scene Two, Alvar (Alvarez), a confident to Dom Garcie, confirms rumours that the rightful heir, Dom Alphonse, is returning. Jealousy, destiny, and public interest are intertwined in Dom Garcie de Navarre. In Scene Three, Done Elvire says to Dom Garcie that she will tell whether she loves when he knows how to love, which is when he will cease suspecting rivals, but destiny may and will support Dom Garcie, even at the desperate point, as the play closes, when her brother returns. Done Elvire points out that one can hear what one wants to hear. A jealous mind will expect support for his accusations. Done Elvire’s statement is consistent with the current theory of information: expectations may change and, occasionally, distort a message.
239 Souvent on entend mal, ce qu’on croit bien entendre, Et par trop de chaleur, Prince, on se peut méprendre./ Mais puisqu’il faut parler, désirez-vous savoir,/ Quand vous pourrez me plaire, et prendre quelque espoir? Elvire à Dom Garcie (I. iii)
Often we hear badly when we think we hear well. Too much ardour, Prince, may lead us into mistakes. But since I must speak, I will. Do you wish to know how you can please me, and when you may entertain any hope? Elvire to Dom Garcie (I. 3) Ce me sera, Madame, une faveur extrême. Dom Garcie à Elvire (I. iii)
[I should consider this, Madam, a very great favour.] Dom Garcie to Elvire (I. 3) Quand vous saurez m’aimer, comme il faut que l’on aime. Dom Garcie à Elvire (I. iii)
[When you know how to love as you ought.] Elvire to Dom Garcie (I. 3)
Dom Garcie tells Done Elvire that he cannot control his jealousy.
Ah! Madame, il est vrai, quelque effort que je fasse, Qu’un peu de jalousie en mon cœur trouve place, 265 Et qu’un rival absent de vos divins appas/ Au repos de ce cœur vient livrer des combats./ Soit caprice, ou raison, j’ai toujours la croyance/ Que votre âme en ces lieux souffre de son absence;/ Et que malgré mes soins, vos soupirs amoureux/ 270 Vont trouver à tous coups ce rival trop heureux. Dom Garcie à Elvire (I. iii)
Alas, Madam, it is true, that, notwithstanding my utmost effort, some trifling jealousy lingers in my heart; that a rival, though distant from your divine charms, disturbs my equanimity. Whether it be whimsical or reasonable, I always imagine that you are uneasy when he is absent, and that in spite of my attentions, your sighs are continually sent in search of that too happy rival. Dom Garcie to Elvira (I. 3)
Elvire then receives a letter (un billet). The letter is from Done Ignès who bemoans Mauregat’s violence and his wish for Done Elvire to marry his son. Dom Garcie is not appeased until he sees the letter.
Malgré l’effort d’un long mépris,/ Le tyran toujours m’aime, et depuis votre absence,/ 365 Vers moi pour me porter au dessein qu’il a pris,/Il semble avoir tourné toute la violence, Dont il poursuivait l’alliance/ De vous et de son fils./ Ceux qui sur moi peuvent avoir empire/370 Par de lâches motifs qu’un faux honneur inspire,/ Approuvent tous cet indigne lien;/J’ignore encor par où finira mon martyre;/ Mais je mourrai plutôt que de consentir rien./Puissiez-vous jouir, belle Elvire,/375 D’un destin plus doux que le mien.
«Done Ignès.»
Done Ignès to Done Elvire (I. iii)
[ In spite of all that I do to show my contempt for the tyrant, he persists in his love for me; the more effectually to encompass his designs, he has, since your absence, directed against me all that violence with which he pursued the alliance between yourself and his son. Those who perhaps have the right to command me, and who are inspired by base motives of false honour, all approve this unworthy proposal. I do not know yet where my persecution will end; but I will die sooner than give my consent. May you, fair Elvira, be happier in your fate than I am. DONNA INEZ.]
ACT TWO
Dom Élise and Dom Lope (rejected)
The Kind of Navarre has chosen a leader for the Kingdom of Léon.
The second letter
In Scene One, Élise is speaking to Dom Lope. He has, at times, told Garcie about possible rivals. Élise has parted with Dom Lope. She has chosen Dom Alvar who enters the stage in Scene Two announcing that the King of Navarre has declared his support for the Prince of Léon. Public interest surfaces briefly.
Enfin, nous apprenons que le roi de Navarre/ Pour les désirs du Prince, aujourd’hui sedéclare;/470 Et qu’un nouveau renfort de troupes nous attend/ Pour le fameux service, où son amour prétend. / Je suis surpris pour moi, qu’avec tant de vitesse,/ On ait fait avancer… Mais… Dom Alvar à Élise (II.ii)
[At last we have received intelligence that the king of Navarre has this very day declared himself favourable to the Prince’s love, and that a number of fresh troops will reinforce his army, ready to be employed in the service of her to whom his wishes aspire. As for me, I am surprised at their quick movements… but…] Don Alvarez to Élise (II. 2)
THE SECOND LETTER
In Scene Three, Dom Garcie returns wishing to know what Done Elvire is doing. Élise says that Done Elvire has been writing letters.
Quelques lettres, Seigneur, je le présume ainsi;/ 475Mais elle va savoir que vous êtes ici. Élise à Dom Garcie (II. iii)
[I think, my Lord, she is writing some letters; but I shall let her know that you are here.] Élise to Dom Garcie (II. 2)
Dom Garcie is alarmed.
The letter gets separated when Dom Lope picks it up and Léonor grabs half of the letter. One half of the letter belies the other half. Ironically the letter is addressed to a rival, but it tells that Done Elvire has chosen Garcie over Dom Sylvie.
« Quoique votre rival, Prince, alarme votre âme,/ 615Vous devez toutefois vous craindre plus que lui,/ Et vous avez en vous à détruire aujourd’hui/ L’obstacle le plus grand que trouve votre flamme./ « Je chéris tendrement ce qu’a fait Dom Garcie,/ Pour me tirer desmains de nos fiers ravisseurs,/620 Son amour, ses devoirs ont pour moi des douceurs; / Mais il m’est odieux avec sa jalousie./ « Otez donc à vos feux, ce qu’ils en font paraître,/ Méritez les regards que l’on jette sur eux;/ Et lorsqu’on vous oblige à vous tenir heureux,/625Ne vous obstinez point à ne pas vouloir l’être. » Done Elvire à Dom Sylve (II. vi)
[Though your rival, Prince, disturbs your mind, you ought still to fear yourself more than him. It is in your power to destroy now the greatest obstacle your passion has to encounter. I feel very grateful to Don Garcia for rescuing me from the hands of my bold ravishers; his love, his homage delights me much; but his jealousy is odious to me. Remove, therefore, from your love that foul blemish; deserve the regards that are bestowed upon it; and when one endeavours to make you happy, do not persist in remaining miserable.] Done Elvire’ letter to Dom Sylve (II. 6)
ACT THREE
In the First Scene of Act Three, Élise and Elvire discuss the episode of the second letter. Done Elvire has forgiven Dom Garcie and regrets a gesture she sees as unefaiblesse, a weakness. Done Élise’s attitude remains unchanged. Jealousy is a proof of love.
In Scene Two, Dom Sylve visits Done Elvire, seeking her love. She has chosen Dom Garcie. She reminds Dom Sylve that his first choice was “l’aimable comtesse,” Done Ignès, who is now fighting Mauregat’s “violence.” She believes it is a crime to leave one’s first love:
Oui, Seigneur, c’est un crime, et les premières flammes,/ Ont des droits si sacrés sur les illustres âmes,/ Qu’il faut perdre grandeurs, et renoncer au jour,/ 915 Plutôt que de pencher vers un second amour. Done Elvire à Dom Sylve (III. ii)
[Yes, my Lord, it is a crime, for first love has so sacred a hold on a lofty mind, that it would rather lose greatness and abandon life itself, than incline to a second love.] Elvira to Dom Sylve (III. 2)
If leaving Done Ignès, Dom Sylve’s first love, was a crime, Elvire should not marry Dom Garcie, her first love. It would be a crime. However, Dom Sylve’s sentiments give Dom Garcie a rival.
Ah! Madame, à mes yeux n’offrez point son mérite,/ Il n’est que trop présent à l’ingrat qui la quitte;/ 930 Et si mon cœur vous dit, ce que pour elle il sent,/ J’ai peur qu’il ne soit pas envers vous innocent. Dom Sylve à Done Elvire (III. 2)
[Ah, Madam, do not present her merit to my eyes! Though I am an ungrateful man and abandon her, she is never out of my mind; if my heart could tell you what it feels for her, I fear it would be guilty towards you.] Dom Sylve to Elvira (III. 2)
Dom Garcie arrives and sees a rival in Dom Sylve. He despises Dom Sylve and threatens him. He will prevent Done Elvire from ever marrying Dom Sylve.
Si l’ingrate à mes yeux pour flatter votre flamme,/ À jamais n’être à moi, vient d’engager son âme;/ Je saurai bien trouver dans mon juste courroux/ Les moyens d’empêcher qu’elle ne soit à vous. Dom Garcie à Dom Sylve (III. iv)
[If the ungrateful woman, out of compliment to your love, has just now pledged her word never to be mine, my righteous indignation will discover the means of preventing her ever being yours.] Don Garcia to Don Sylvio (III. 4)
Jealousy reaches a peak in Act Four. Wishing to escape her tyrant, Mauregat, Ignès comes to Done Elvire’s home dressed as a man. She has made believe that she is dead and she is seeking a refuge. The door is ajar. In Scene Seven, Dom Garcie sees Done Elvire embracing Ignès dressed as a man. He believes Done Elvire is embracing a man, which tears him apart. Dom Garcie:
J’ai vu ce que mon âme a peine à concevoir, Et le renversement de toute la nature/ Ne m’étonnerait pas comme cette aventure;/ C’en est fait… le destin… je ne saurais parler. Dom Garcie à Dom Alvar (IV. vii)
[I have seen what I can hardly conceive; the overthrow of all creation would less astonish me than this accident. It is all over with me … Fate … I cannot speak.] Dom Garcie to Don Alvarez (IV. 7) Ah! tout est ruiné,/ Je suis, je suis trahi, je suis assassiné;/1240Un homme, sans mourir te le puis-je bien dire,/ Un homme dans les bras de l’infidèle Elvire? Dom Garcie à Dom Alvar (IV. vii)
[Alas! Everything is undone. I am betrayed, I am murdered! A man, (can I say it and still live) a man in the arms of the faithless Elvira!] Dom Garcie to Don Alvarez (IV. 7)
Done Elvire returns and faces unacceptable reproaches. She tries to “reason” with Dom Garcie, but unsuccessfully. Dom Garcie did see a man, but this man was Ignès dressed as a man. Done Elvire rejects Dom Garcie despite Dom Alvar’s opinion that Dom Garcie is to be pitied.
Mais il vous faut de moi détacher à l’instant,/ À mes vœux pour jamais renoncer de vous-même,/ 1385 Et j’atteste du Ciel la puissance suprême,/ Que quoi que le destin puisse ordonner de nous,/ Je choisirai plutôt d’être à la mort qu’à vous;/ Voilà dans ces deux choix de quoi vous satisfaire,/ Avisez maintenant celui qui peut vous plaire. Elvire à Dom Garcie (IV. viii)
[B]ut you must then renounce me at once, and for ever give up all pretensions to my hand. I swear by Him who rules the Heavens, that, whatever fate may have in store for us, I will rather die than be yours! I trust these two proposals may satisfy you; now choose which of the two pleases you. Elvira to Dim Garcie (IV. 8)
(Élise entre.) Faites un peu sortir la personne chérie… Allez, vous m’entendez, dites que je l’en prie. Elvire à Élise (IV. vii )
[Let out, briefly, the beloved person…
Go, you hear me, and say that I beg to see her.] Elvira to Élise Prenez garde qu’au moins cette noble colère,/ Dans la même fierté, jusqu’au bout persévère;/ Et surtout désormais songez bien à quel prix/ Vous avez voulu voir vos soupçons éclaircis./ 1440 Voici, grâces au Ciel, ce qui les a fait naître,/ Ces soupçons obligeants que l’on me fait paraître,/ Voyez bien ce visage, et si de Done Ignès,/ Vos yeux au même instant n’y connaissent les traits. Elvire à Dom Garcie (IV. viii)
[Take care at least that this righteous indignation perseveres in its ardour to the end; above all, do not henceforth forget what price you have paid to see your suspicions removed (To Don Garcia). Thanks to Heaven, behold the cause of the generous suspicions you showed. Look well on that face, and see if you do not at once recognize the features of Donna Inez.] Elvire to Dom Garcie (IV. 9 & 10)
Ô Ciel! Dom Garcie (IV. x)
O Heavens! Dom Garcie (IV. 10)
Dom Garcie knows that jealousy left him no time to reflect. He will continue to see what his jealous mind compels him to see: a rival.
In Act Four, Dom Garcie says to Dom Alvar that he, Dom Garcie, is his worst enemy:
Ah! Dom Alvar, je vois que vous avez raison, Mais l’enfer dans mon cœur a soufflé son poison; Et par un trait fatal d’une rigueur extrême, 1485Mon plus grand ennemi se rencontre en moi-même. Dom Garcie à Dom Alvar (IV. ix)
[Ah! Don Alvarez, I perceive you were in the right; but hell breathed its poison into my soul; through a merciless fatality I am my worst enemy.] Dom Garcie to Dom Alvar (IV. 9)
His despair is such that Dom Garcie feels only his death can wash away the injurious humiliating rage to which he subjected Done Elvire, but he intends to die killing the usurper Mauregat. Dom Sylve kills Mauregat.
Il faut que de ma main un illustre attentat/ Porte une mort trop due au sein de Mauregat,/ Que j’aille prévenir par une belle audace,/ Le coup, dont la Castille avec bruit le menace,/ 1510 Et j’aurai des douceurs dans mon instant fatal,/ De ravir cette gloire, à l’espoir d’un rival. Dom Garcie à Dom Alvar (IV. ix)
[I must attempt a deed of daring, and with my own hand give to Mauregat that death he so justly deserves. My boldness will forestall the blow with which Castile openly threatens him. With my last breath, I shall have the pleasure of depriving my rival of performing such a glorious deed.] Dom Garcie to Don Alvarez (IV. 11)
ACT FIVE
In Act Five, Scene One, Alvar tells Élise, the woman he loves, that Dom Sylve killed Mauregat and that Mauregat’s death will force the rightful heir, Dom Alphonse, to tell who he is. The rightful heir is about to visit his sister, Done Elvire. He is the one who will give his sister’s hand in marriage. Done Elvire still wishes to marry Dom Garcie.
Her destiny and Dom Garcie’s destiny are tied to the well-being of the state.
Mais, enfin, vous savez comme nos destinées,/ Aux intérêts publics sont toujours enchaînées,/ Et que l’ordre des Cieux pour disposer de moi,/ 1595 Dans mon frère qui vient, me va montrer mon roi./ Cédez comme moi, Prince, à cette violence,/ Où la grandeur soumet celles de ma naissance[.] Done Elvire à Dom Garcie (V. iii)
[But you know that it is the doom of such as we are, to be always the slaves of public interests; that Heaven has ordained that my brother, who disposes of my hand, is likewise my King. Yield, as I do, Prince, to that necessity which rank imposes upon those of lofty birth.] Elvira to Dom Garcie (V. 3)
But the king she expects to meet is Dom Sylvie/Dom Alphonse, her brother. A mariage is not possible.
Vous attendez un frère, et Léon son vrai maître,/ 1745 À vos yeux maintenant le Ciel le fait paraître./ Oui, je suis Dom Alphonse, et mon sort conservé,/ Et sous le nom du sang de Castille élevé,/ Est un fameux effet de l’amitié sincère,/ Qui fut entre son Prince, et le Roi notre père. Dom Sylve/Alphonse à Done Elvire (V. v)
[You expect a brother, and Leon its true master; Heaven now presents him before you. Yes, I am Don Alphonso; I was brought up and educated under the name of Prince of Castile; this clearly proves the sincere friendship that existed between Don Louis and the King, my father.] Dom Sylve/Alphonse to Done Elvire (V. 5)
In Scene Six, Done Elvire tells Dom Garcie that she will marry him. She loves him and state interests weigh heavily in favour of her marriage to Dom Garcie, whom she had vowed not to marry. Moreover, she has realized that Dom Garcie cannot help feeling jealous.
Non, non, de ce transport le soumis mouvement,/ Prince, jette en mon âme un plus doux sentiment,/ Par lui de mes serments je me sens détachée,/ 1865 Vos plaintes, vos respects, vos douleurs m’ont touchée,/ J’y vois partout briller un excès d’amitié,/ Et votre maladie est digne de pitié./ Je vois, Prince, je vois, qu’on doit quelque indulgence,/ Aux défauts, où du Ciel fait pencher l’influence,/ 1870 Et pour tout dire, enfin, jaloux, ou non jaloux/ Mon roi sans me gêner peut me donner à vous. Done Elvire à Dom Garcie (V. vi)
[No, no, Prince, your submissive attitude brings more tender feelings into my heart; I feel that the oath I took is no longer binding on me; your complaints, your respect, your grief has moved me to compassion; I see an excess of love in all your actions, and your malady deserves to be pitied. Since Heaven is the cause of your faults, some indulgence ought to be allowed to them; in one word, jealous or not jealous, my King will have no compulsion to employ when he gives me to you.] Done Elvire to Dom Garcie (V. 6) Ciel! dans l’excès des biens que cet aveu m’octroie, Rends capable mon cœur de supporter sa joie. Dom Garcie à Done Elvire (V. vi) Heaven! enable me to bear the excess of joy which this confession produces. Dom Garcia to Elvire (V. 6)
And all leave to enjoy the return of Léon’s true prince and the marriage(s) that take place at the end of a comedy.
So Dom Garcie de Navarre ou le Prince jalouxcontains three episodes causing Dom Garcie to be literally sick with jealousy. The first two are letters and the third is finding Done Elvire kissing a person looking like a man. In Dom Garcie de Navarre, fits of jealousy so harm Dom Garcie that we cannot conclude the jealousy is a sign of love. This discussion will be continued.
Sources and Resources
Dom Garcie de Navarre is a toutmoliere.net publication Dom Garcie de Navarre is Gutenberg’s [EBook #6740]
Images belong to the BnF.
Bold letters are mine.
_______________ [1] Francis Baumal, Molière auteur précieux (Paris: La Renaissance du livre, 1925), pp. 86-87.
Love to everyone and apologies for the length of this post. Bilingual posts are lengthy and preparing them may confuse the writer. 💕
Marin Marais —L’Arabesque from Tous les matins du monde (film)
Henri van Laun’s translation of ThePrincess of El(l)is (La Princesse d’Élide), and other plays by Molière, are available from bookstores. The volumes are facsimile reprints. I will continue to read Mr. van Laun’s exceptional translations online, because I can copy quotations.
I should also explain that the Internet “boxes” that contain a photograph of me do not ask that I be rated, but that the play be rated. This may have been a Google initiative. The positive side is that attention is brought to Molière’s plays.
As you know, my posts are a reading of Molière’s plays. They provide insights on Molière, but I write as though I were teaching a course on Molière. A class is more informative and more general. It is the first step. Scholarly articles are more analytical and authors embed their article in the literature on the subject.
Using Internet Archives
I have used Internet Archives‘ publication of Mr. van Laun’s translations of Molière. Volumes appear in book form, which means that one can turn the pages. In order to copy a quotation, one scrolls down the page. There is a PDF version and other versions of the play. Using a PDF version does not cause the page to disappear.
So, we will carry on.
Here are a few words on our subject. In The Princess of E(l)lis, a princess does not want to marry. Her father invites three princes hoping she will change her mind. She falls in love with le prince d’Ithaque, but when the play ends, she has yet to accept marriage.
The princess loves le prince d‘Ithaque as much as he loathes marriage.
The play, a comédie galante, has interludes. In one interlude, Moron is attacked by a bear, but he is saved. This reminds us of the Amants magnifiques‘ boar. To a large extent, La Princesse d’Élide‘s interludes are an apology of love, but the Princess cannot face the reality of marriage. At the end of the sixth interlude, the third day of the divertissementroyal, Les Plaisirs de l’Île enchantée, begins. The comedy galante is preceded by the first day of Les Plaisirs de l’Île enchantée, during which Tartuffe was also performed and condemned.
The Princess of Elis was not completed. It is une comédieinachevée. In fact, at the beginning of the play Molière uses verses, but, at one point, he says that he will henceforth use prose as demands are being made on him.
Love to everyone 💕
(I’m feeling very sick, but will do La Princesse d’Élide. I can’t believe that a translation of Molière’s plays made in the 19th century is probably the best translation of Molière into English to date, not to mention Mr. van Laun’s scholarship.)
In my last post, I noted that Les Amants magnifiques(The Magnificent Lovers) was a comédie-ballet héroïque. We discussed the comedy only. The interludes, I wrote, would be discussed separately. In fact, the video I showed was based on Les Amants magnifiques. Therefore, we saw a very short part of Apollo’s entrée, which follows the end of the “comedy.”
I also mentioned that the interlude separating Act One and Act Two of the comedy was a long interlude featuring a pastorale, shepherds and shepherdesses, as well as a scene of dépit amoureux, “love-tiff.” I wondered whether one could find a translation into English of the interludes. One can. Henri van Laun’s translation of Dramatic Works of Molière (Volume 5) contains the relevant translation. It is an Internet Archive publication and very precious. For Henri van Laun, there are five interludes. In the Pléiade edition, there are six.
According to toutmoliere.net, or members of the Molière 21 research group, Louis XIV did not dance in Molière’s Amants magnifiques. Therefore, if he fell, it could not have been at the very end of Act Five of the Amantsmagnifiques. In the video’s Apollo entrée and the divertissement, Apollo, was played by a person other than Louis XIV. The video I used is very short, but it encapsulates Louis XIV’s rather “inflated” opinion of himself: the Sun King. However, these words could be flattery. A divertissement royal was commissioned by the king and it provided a fine income. But the video’s message is clear. No one is God on this earth.
Les Fâcheux
Molière, with the participation of Jean-Baptiste Lully and Pierre Beauchamp, introduced the comédie-ballet at Vaux-le-Vicomte. Molière’s Les Fâcheux was performed when Nicolas Foucquet, hosted France’s “who’s who,” including a very young Louis XIV. It was a fête no one could match easily and it included Molière’s LesFâcheux. It was performed successfully and Molière had dedicated the play to Louis XIV, a very young Louis. Molière was one of Fouquet’s numerous protégés, as was Jean de La Fontaine, who would be a friend of Molière until the dramatist’s early death from tuberculosis.
Imitating Fouquet
You probably remember that Louis suspected embezzlement on the part of Fouquet and asked a musketeer to arrest him. Foucquet/Fouquet was tried, convicted, and spent the rest of his life, nineteen years, in the prison where the Man in the Iron Mask was also detained.
Louis’ Divertissements
Since Louis would not have a lesser castle than one of his subjects, he hired Foucquet’s architects and their teams, and had Versailles built. The event called for a divertissement royal, Les Plaisirs de l’Île enchantée. The fête occurred at an early point in the building of Versailles. Louis hoped he could outperform Fouquet’s fête, but he didn’t. We have also mentioned another divertissementroyal which occurred after the period of mourning that followed the death of Anne d’Autriche. Isaac de Benserade‘s Ballet des muses included two plays by Molière, but a third was added and performed on 13 or 14 February 1667. It was Le Sicilienou l’Amour peintre or Love makes the painter.
Les Amants magnifiques was also part of a divertissement royal. It was so lavish a divertissement that performing it in Paris would be too expensive. Molière wrote the play and the interludes and did very well. He was a good imitator and I believe he rose to the occasion.
The Interludes (Les Intermèdes)
There are six interludes in the 2010 Pléiade edition of Molière’s Œuvres complètes. Henri van Laun’s translation has five interludes.
Les Amants magnifiques
opens to the sound of Lully’s music with lyrics by Molière.
A second intermède occurs at the end of Act One. The dancers were Messieurs Beauchamp, Saint-André and Favier.
The third interlude, the longest, follows Act Two and consists of a Prologue introducing a pastoral featuring Lycaste, Ménandre and Tircis, and a scene of Dépit amoureux, translated as “love-tiff” by Henri van Laun.
A fourth interlude follows Act Three, and
afifth separates Acts Four and Five.
a sixth is the Jeux pythiens where Apollo is Louis XIV. The video at the foot of my last post forms part of the Amants magnifiques. It may be that Molière expected Louis to dance, but he didn’t (see the Notice in toutmolière.com).
At the end of Act Five, most, in not all, the play’s characters are on their way to the Pythian Games. I wrote most, because the two princes threatened vengeance. In fact, Cléonice had told Aristione that Anaxarque abused the princes.
Madame, je viens vous dire qu’Anaxarque a jusqu’ici abusé, l’un et l’autre prince, par l’espérance de ce choix qu’ils poursuivent depuis longtemps, et qu’au bruit qui s’est répandu de votre aventure, ils ont fait éclater tous deux leur ressentiment contre lui, jusque-là que, de paroles en paroles, les choses se sont échauffées, et il en a reçu quelques blessures dont on ne sait pas bien ce qui arrivera. Mais les voici. Cléonice to Aristione (V. i. p. 33)
[Madam, I am come to tell you that Anaxarchus had till now deceived both the princes, with the hope of favouring the choice upon which their souls were bent; and that, hearing what has taken place, they have both given way to their resentment against him, and things growing worse, he has received several wounds, from which it is impossible to say what may happen. But here they are both coming.] Cléonice to Aristione (V. 3)
The following is a quotation from the very last part of Les Amants magnifiques, Apollo’s entrée:
Je suis la source des clartés, Et les astres les plus vantés Dont le beau cercle m’environne, Ne sont brillants et respectés Que par l’éclat que je leur donne. Du char où je me puis asseoir Je vois le désir de me voir Posséder la nature entière, Et le monde n’a son espoir Qu’aux seuls bienfaits de ma lumière. Bienheureuses de toutes parts, Et pleines d’exquises richesses Les terres où de mes regards J’arrête les douces caresses.
(sixth interlude) [I am the source of all delight ; And the most vaunted stars, Whose beauteous circle is around me,/ Are only brilliant and respected,/ By the splendour which I give them,/ From the car on which I sit,/ I see the wish to behold me/ Shared by the whole of nature;/ And the wide world has but its hope/ In the sole blessings of my light./ Very happy everywhere,/ And full of exquisite wealth,/ The lands on which I throw/ The sweet caresses of my glances.]
(Henri van Laun, p. 192)
“Dormez, dormez,” a video inserted at the foot of this post, also quotes Les Amants magnifiques. Tirsis, Lycaste and Ménandre sing together while Caliste sleeps.
Tirsis, Lycaste and Ménandre Dormez, dormez, beaux yeux, adorables vainqueurs, Et goûtez le repos que vous ôtez aux cœurs, Dormez, dormez, beaux yeux.
[Sleep on, sleep on, fair eyes, lovely conquerors; And taste that peace which you wrest from all hearts; Sleep on, sleep on, fair eyes.]
Tirsis
Silence, petits oiseaux, Vents, n’agitez nulle chose, Coulez doucement, ruisseaux, C’est Caliste qui repose. Intermède (III. iv, p. 19)
[Now silence keep, ye little birds; Ye winds, stir nought around ; Ye stream, run sweetly on: For Caliste is slumbering.] Interlude
(Henri van Laun, p. 171)
Reading from Molière by Jean-François de Troy (Paris 1679 – Rome 1752) c. 1728 (Photo credit: Wikipedia)
I do not think Molière’s plays are now considered either farces or grandes comédies. Such was the case when I was a student. But we also have the divertissements. La Princesse d’Élide is une comédie galante. I may bring up the notion of “galant music.”
We must also discuss love. Ériphile has been asked to choose a spouse. She loses this privilege, but the comedic “will,” ensures she marries the man she loves. It’s a form of destiny. But Anaxarque was plotting her demise and our “princes” knew. However, they did not know which prince Anaxarque, our charlatan “astrologer,” would choose. It was Iphicrate.
In this post, we read the comedy. However, the comedy has interludes written by Molière. Every stage effect was used to please the King and his Court. Excluding the intermèdes (interludes) seems inappropriate, but I felt we should read the comedy first.
In Les Amants magnifiques, we are in the Vale of Tempe, the location where the events of Mélicerte and La Pastorale comique take place. The location was suggested by Louis XIV and so was the subject: rival lovers. You may remember that these two plays were incomplete. Molière may have looked upon these plays as pièces de circonstances, or plays that would not be needed once the festivities were over. When the obligatory period of mourning for Anne d’Autriche, Louis’ mother, drew to a close, the Court moved to Saint-Germain-en-Laye, a royal residence. At the heart of festivities was Isaac de Benserade‘s Ballet des Muses FR. Molière’s contribution was the ballet’s third entrée. Mélicerte was played from 2 December 1666 to 5 January 1667 when La Pastorale comiquewas first performed. A third play, Le Sicilien, ou l’Amour peintre was staged on 13 or 14 February, at Saint-Germain. It was a late entry, the fourteenth. It would not be played for a wider audience until 10 June 1667. Molière had fallen ill.
Les Amants magnifiques, The Magnificent Lovers, is described as a five-act comédie héroïque and a comédie-ballet, in prose. It was part of a grand divertissement commissioned by Louis XIV and Madame de Montespan. It was apièce à machines that incorporated every stage effect. The play was meant to dazzle the audience.
Various members of the Court played roles in The Magnificent Princes‘ intermèdes: singers and dancers. They are named in La Pléiade‘s 1956 edition of Molière’s Œuvres complètes. Louis didn’t dance and would never dance again.
Until Les Amants magnifiques FR, the King had commissioned Isaac de Benserade to write divertissements. However, Isaac de Benserade had displeased Madame de Monstespan. So, considerable trust was invested in Molière. Les Amants magnifiques, including the interludes. was written by Molière to music by Jean-Baptiste Lully. The lavish play was too expensive to be performed in Paris. It premièred on 4 February 1670, at Saint-Germain-en-Laye, during Carnival season, and it closed after five performances. Linked to this play is La Princesse d’Élide(1664), written for another divertissement: Les Plaisirs de l’Île enchantée, festivities that took place early during the construction of Versailles.
It was first performed on 4 February 1670 at Saint-Germain,
before the King and his Court.
Our dramatis personæ is:
Iphicrates & Timocles, princes in love with Eriphyle.
Sostratus, a general, also in love with Eriphyle.
Anaxarchus, an astrologer.
Cleon, his son.
Chorœbus, in the suit of Aristione.
Clitidas, a court jester, one of the attendants of Eriphyle.
Aristione, a princess, mother to Eriphyle.
Eriphyle, a princess, daughter to Aristione.
Cleonice, confidante to Eriphyle.
La Princesse Ériphile graces the image at the top of this post. Her mother, Princesse Aristione, has asked her to choose her own husband. Two princes are courting her: Iphicrate and Timoclès. They are the “amants magnifiques” (the magnificent lovers). She must choose between the two, which is impossible. Ériphile does not love the princes and would reject both. Her dilemma resembles Psyché’s who is also incapable of choosing between two princes. Choosing one would hurt the other. Moreover, neither Psyché nor Ériphile love their princes.
ACT ONE
Sostrate tells Clitidas that he is in love
Rank: an obstacle
Sostrate is asked to find out which prince she has chosen
In Act One, Clitidas notices that Sostrate, a general in the army, is buried in his own thoughts. After much prying, on the part of Clitidas, Sostrate tells him that he loves Ériphile, but that his rank and fortune do not allow him to reveal his feelings and hope to marry her. How can he, a general, compete with two princes. Sostrate will therefore die without revealing his feelings:
Mourir sans déclarer ma passion. Sostrates à Clitidas (I. i, p. 4)
[To die without telling my love.] Sostrates to Clitidas (I. 1)
However, in Scene Two, Sostrate is asked by Aristione, Ériphile’s mother to see which of the two princes Ériphile loves, a source of irony. Sostrate would like to refuse, but must serve Aristione:
Puisque vous le voulez, Madame, il vous faut obéir, mais je vous jure que dans toute votre cour vous ne pouviez choisir personne qui ne fût en état de s’acquitter beaucoup mieux que moi d’une telle commission. Sostrate à Aristione (I. ii, p. 7)
[Since it is your wish, Madam, I must obey; but I assure you that there is not one person in the whole of your court who would be less qualified for such a commission than myself.] Sostrate à Aristione (I. 2)
Ériphile missed a divertissement planned by the one of the rival princes.
Madame, elle s’est écartée, et je lui ai présenté une main qu’elle a refusé d’accepter. Timoclès à Aristione (l. ii, p. 6)
[She is gone away, Madam. I offered her my arm, which she refused to accept. Timoclès to Aristione (I. 2)
Later, Cléonice, Ériphile’s confidante says:
On trouvera étrange, Madame, que vous vous soyez ainsi écartée de tout le monde. Cléonice à Ériphile (I. v, p. 9)
[It will be thought strange, Madam, that you should keep away from everybody] Cléonice to Ériphile (I. 6)
Sostrate also missed the entertainment. Why did Ériphile and Sostrate stay away?
Pour moi, Madame, connaissant son indifférence et le peu de cas qu’elle fait des devoirs qu’on lui rend, je n’ai voulu perdre auprès d’elle, ni plaintes, ni soupirs, ni larmes. Sostrate à Aristione (I. ii, p. 6)
[For my part, Madam, knowing her indifference and the little value she sets upon the homage that is paid to her, I did not mean to waste either sighs or tears upon her.] Sostrate to Aristione (I. 2)
So, from the beginning of the play, Ériphile shows little interest in her suitors. An interméde separate Act One and Act Two. It is a gift from Cléonice, Ériphile’s confidante, and it features three Pantomines.
ACT TWO
Sostrate has placed Ériphile above everything.
marivaudage prefigured
the confession: no one and nothing is above Ériphile
In Act Two, Scene Two, Clitidas tells Ériphile that Sostrate has placed her above everything else and loves her:
Il m’a demandé si vous aviez témoigné grande joie au magnifique régale que l’on vous a donné; m’a parlé de votre personne avec des transports les plus grands du monde, vous a mise au-dessus du Ciel, et vous a donné toutes les louanges qu’on peut donner à la princesse la plus accomplie de la terre, entremêlant tout cela de plusieurs soupirs qui disaient plus qu’il ne voulait. Enfin, à force de le tourner de tous côtés, et de le presser sur la cause de cette profonde mélancolie, dont toute la cour s’aperçoit, il a été contraint de m’avouer qu’il était amoureux. Clitidas à Eriphile (II. ii, p. 11)
[He asked me if you were very pleased with the royal entertainments that are offered to you. He spoke of your person with the greatest transports of delight, extolled you to the sky, and gave you all the praises that could be given to the most accomplished princess in the world, and with all this uttering many sighs which told me more than he thought. At last, by dint of questioning him in all kinds of ways, and pressing him to tell me the cause of his melancholy, which is noticed by everyone at court, he was forced to acknowledge that he is in love.] Clitidas to Ériphile (II. 3)
Ériphile is miffed. This is marivaudage, a form of galanterie found in the works of Pierre de Marivaux. It governs the action of Marivaux’s Le Jeu de l’amour et du hasard. In fact, Ériphile is not miffed. Clitidas tricks her by changing his statement. Sostrate is in love with Arsinoé, not Ériphile. Clitidas realizes that Ériphile is not pleased. He has, therefore, elicited the truth by provoking jealousy.
Non, non, Madame, je vois que la chose ne vous plaît pas. Votre colère m’a obligé à prendre ce détour, et pour vous dire la vérité, c’est vous qu’il aime éperdument. Licidas à Ériphile (II. ii, p. 11)
[No, no, Madam; I see that this offends you. Your anger forced me to make use of this subterfuge; and, to tell you the truth, it is you he loves to distraction.] Licidas to Ériphile (II. 3)
In Act Two, Scene Three, Sostrate does as he has been told. He asks Ériphile which of the two princes she prefers.
Whom would Sostrate chose between her rival princes? Sostrate so loves Ériphile that only a god would qualify to marry Ériphile.
Si l’on s’en rapporte à mes yeux, il n’y aura personne qui soit digne de cet honneur. Tous les princes du monde seront trop peu de chose pour aspirer à vous; les Dieux seuls y pourront prétendre, et vous ne souffrirez des hommes que l’encens, et les sacrifices. Sostrate à Ériphile (II. iii, p. 13)
[If I were to be judge, I should find no one worthy of that honour. All the princes of the world would be too mean to aspire to you; the gods alone can pretend to you, and you would have from men but incense and sacrifice.] Sostrate to Ériphile (II. 4)
In short, it is for Ériphile to choose between the rival princes. As for Sostrate, although he loves Ériphile, he remains a mere general.
Acts Two and Three are separated by a rather long intermède that includes a lovely scene of dépit amoureux, spite between lovers, a pastoral shepherds and shepherdesses. The interludes also feature satyrs, dryads, fauns, nymphs, etc. It will be discussed separately.
ACT THREE
Aristione chooses Sostrate to know which of the two princes she prefers.
J’estime tant Sostrate, que soit que vous vouliez vous servir de lui pour expliquer vos sentiments, ou soit que vous vous en remettiez absolument à sa conduite, je fais, dis-je, tant d’estime de sa vertu et de son jugement, que je consens de tout mon cœur à la proposition que vous me faites. Aristione à tous(III. i, p. 24)
[I have such a high regard for Sostratus that, whether you mean to employ him to explain your feelings or to leave him entirely to decide for you, I consent heartily to this proposition.] Aristione to all (III. 1)
Sostrate wishes to refuse, but he can’t. This request comes from a princess:
Par quelle raison donc, refusez-vous d’accepter le pouvoir qu’on vous donne, et de vous acquérir l’amitié d’un prince qui vous devrait tout son bonheur? Timoclès à Sostrate (III. i, p. 24)
[For what reason could you have had, Sostratus, for refusing it?] Timoclès to Sostrate (III. 4) Par la raison que je ne suis pas en état d’accorder à ce prince ce qu’il souhaiterait de moi. Sostrate à Timoclès (III. i, p. 24)
[The fear of not acquitting myself well.] Sostrate to Timoclès (III. 4)
At this point, Anaxarque propose that Heaven, le Ciel, choose between the two suitors.
En est-il un meilleur, Madame, pour terminer les choses au contentement de tout le monde, que les lumières que le Ciel peut donner sur ce mariage? J’ai commencé comme je vous ai dit, à jeter pour cela les figures mystérieuses que notre art nous enseigne, et j’espère vous faire voir tantôt ce que l’avenir garde à cette union souhaitée. Après cela pourra-ton balancer encore? La gloire et les prospérités que le Ciel promettra, ou à l’un, ou à l’autre choix, ne seront-elles pas suffisantes pour le déterminer, et celui qui sera exclus, pourra-t-il s’offenser quand ce sera le Ciel qui décidera cette préférence? Anaxarque à tous (III. i, p. 25)
Both princes agree with Anaxarque, but Ériphile is suspicious. If le Ciel chooses her future husband, she will not be able to refuse. How can one oppose le Ciel? She will no longer be free to choose her husband, which was her mother’s wish and sensible.
Mais, Seigneur Anaxarque, voyez-vous si clair dans les destinées, que vous ne vous trompiez jamais, et ces prospérités, et cette gloire que vous dites que le Ciel nous promet, qui en sera caution, je vous prie? Ériphile to Anaxarque (III. i, p. 25)
As for Sostrate, he disagrees with the proposed solution and Aristione, Ériphile’s mother is perplexed.
ACT FOUR
In Act Four, Scene One, Aristione would like her daughter to tell all. Ériphile cannot. The man she loves is of a rank her mother would deem acceptable. Ériphile knows that Sostrate is a man of merit, but a general, would not be considered a judicious choice by her mother. If le Ciel is to intervene, Ériphile requires a deus ex machina
Parlez à cœur ouvert, ma fille, ce que j’ai fait pour vous mérite bien que vous usiez avec moi de franchise. Tourner vers vous toutes mes pensées, vous préférer à toutes choses, et fermer l’oreille en l’état où je suis, à toutes les propositions que cent princesses en ma place écouteraient avec bienséance, tout cela vous doit assez persuader que je suis une bonne mère, et que je ne suis pas pour recevoir avec sévérité les ouvertures que vous pourriez me faire de votre cœur. Aristione to Ériphile (IV. i, p. 28)
[Speak openly, daughter; what I have done for you well deserves that you should be frank and open with me. To make you the sole object of all my thoughts, to prefer you above all things, to shut my ears, in the position I am in, to all the propositions that a hundred princesses might decently listen to in my place—all that ought to tell you that I am a kind mother, and that I am not likely to receive with severity the confidences your heart may have to make.] Aristione to Ériphile (IV. 1) Si j’avais si mal suivi votre exemple, que de m’être laissée aller à quelques sentiments d’inclination que j’eusse raison de cacher, j’aurais, Madame, assez de pouvoir sur moi-même pour imposer silence à cette passion, et me mettre en état de ne rien faire voir qui fût indigne de votre sang. Ériphile to Aristione (IV. i, p. 28)
[If I had so badly followed your example as to have allowed an inclination I had reason to conceal to enter my soul, I should have power enough over myself to impose silence on such a love, and to do nothing unworthy of your name.] Ériphile to Aristione (IV. 1)
In Act Four, Scene Two, a false Venus arrives in her chariot and decrees that Aristione should consider giving her daughter to the person who saves her life.
Princesse, dans tes soins brille un zèle exemplaire,/ Qui par les Immortels doit être couronné,/ Et pour te voir un gendre, illustre et fortuné,/ Leur main te veut marquer le choix que tu dois faire;/ Ils t’annoncent tous par ma voix,/ La gloire et les grandeurs, que, par ce digne choix,/ Ils feront pour jamais entrer dans ta famille,/ De tes difficultés termine donc le cours;/ Et pense à donner ta fille/ À qui sauvera tes jours./ Vénus à Aristione (IV. ii, p. 28-29)
[Princess, in you shines a glorious example, which the immortals mean to recompense; and that you may have a son-in-law both great and happy, they will guide you in the choice you should make. They announce by my voice the great and glorious fame which will come to your house by this choice. Therefore, put an end to your perplexities, and give your daughter to him who shall save your life.] Vénus to Aristione (IV. 2)
In Act Four, Scene Three, we learn that Venus is a false Venus. Cléon and his father Anaxarque are arranging for men to capture Aristione. Iphicrate will save her.
Va-t’en tenir la main au reste de l’ouvrage, préparer nos six hommes à se bien cacher dans leur barque derrière le rocher; à posément attendre le temps que la princesse Aristione vient tous les soirs se promener seule sur le rivage, à se jeter bien à propos sur elle, ainsi que des corsaires, et donner lieu au prince Iphicrate de lui apporter ce secours, qui sur les paroles du Ciel doit mettre entre ses mains la princesse Ériphile. Anaxarque à Cléon (IV. iii, p. 29)
[Be it your part to go and get our six men to hide themselves carefully in their boat behind the rock, and make them wait quietly for the time when the princess comes alone in the evening for her usual walk. Then they must suddenly attack her like pirates, in order to give the opportunity to Prince Iphicrates to rush to her rescue, and lend her the help which is to put Eriphyle in his hands according to the words of Venus.] Anaxarque to Cléon (IV. iv)
In Act Four, Scene Four a dejected Ériphile fears destiny. What has she done to deserve attention from the Gods? She does not love the princes who are the only candidates.
Hélas! quelle est ma destinée, et qu’ai-je fait aux Dieux pour mériter les soins qu’ils veulent prendre de moi? Ériphile à Cléonice et Sostrate (IV. iv, p. 30)
[Alas! how hard is my destiny! What have I done to the gods that they should interest themselves in what happens to me?] Ériphile to Cléonice and Sostrate (IV. 5)
ACT FIVE
In Act Five, Scene One, we are told that Aristione was attacked by a boar, but was saved by Sostrate. Sostrate being a hero, he may marry Ériphile. Men were to attack Aristione, not a boar.
Anaxarque misused both princes. But Sostrate saved Aristione. So, ironically, he daughter will marry the man who saved her mother life. As false as Venus is, Heaven has decided that Ériphile must marry her mother’s saviour, who is Socrates. Aristione forgives the princes and all, or most, go to the Jeux Pythiens.
Je pardonne toutes ces menaces, aux chagrins d’un amour qui se croit offensé, et nous n’en verrons pas avec moins de tranquillité la fête des jeux Pythiens. Allons-y de ce pas, et couronnons par ce pompeux spectacle cette merveilleuse journée. Aristione aux princes (V. iv, p. 34)
[I forgive all these threats for the sake of the sorrow of a love which thinks itself insulted; and we will none the less go and see the Pythian Games in all peace. Let us go at once, and let us crown by the glorious spectacle this wonderful day.] Aristione to the princes (V. 4)
The above is incomplete. In Les Amants magnifiques, the plot is embedded in mostly pastoral and mythological interludes. Louis XIV is Apollon. We are in the Vale of Tempe, an idyllic location, but a princess who seems “free” to choose her husband is not “free.” Rank and fortune preclude a marriage between Sostrate and Ériphile.
However, Aristione is attacked by a boar and Venus, albeit a false Venus, has decreed that Ériphile is to wed her mother’s saviour is Sostrate, The gods have spoken. and Ériphile must marry Sostrate.
So, once again, comedy, or destiny, is complicit with Ériphile and Sostrate, the young lovers of comedy. It’s an all’s well that ends well, but a complex tout est bien qui finit bien.
Obedience to parents is a matter Molière raises in his plays. In Mélicerte. Myrtil will not let a father prevent his marrying a woman other than Mélicerte. But Venus has decreed that Ériphile would marry her mother’s saviour. Sostrate.
So, once again, comedy, or destiny, is complicit with Ériphile and Sostrate, the young lovers of comedy. It’s an all’s well that ends well, but an ambiguous tout est bien qui finit bien. After its Saint-Germain-en-Laye performances, Les Amants magnifiques was not performed, at least, not in Molière’s lifetime.
The above image shows Sosie finding his way to Amphitryon’s house. Amphitryon is his master. He has been dispatched to provide news of a battle to Amphitryon’s bride, Alcmène. He bumps into Mercure who looks like him. Mercure threatens to beat him and does so. Inside the house is Jupiter, an Amphitryon look-alike (un sosie), courting Alcmène. Amphitryon will be a cocu, but Jupiter being a “dead ringer” to Amphitryon, Alcmène doesn’t know she has been unfaithful to Amphitryon. Alcmène will give birth to Hercules. In Act Three, Jupiter says that Amphitryon has been honoured. Amphitryon is so angry that a complete reconciliation may not occur. It seems he will be a “husband,” not a “lover.”
Molière’s Amphitryon was performed one hundred and thirty-eight times in 1668 and has remained a favourite.
Amphitryon is a mythological figure. Plautus’ Amphitryon was performed successfully until the Renaissance, at which point it inspired several Renaissance dramatists, “including three Spanish language plays, two Italian plays, and a comedy in Portuguese by Luís de Camões.” (See, Amphitryon, en-Wikipedia.org). In 1636, dramatist Jean Rotrou translated Plautus’ Amphitryonand wrote Les Deux Sosies. Rotrou’s play may have been a source Molière used, but Molière knew Plautus’ Amphitryon. It was the second ancient comedy to be translated into the English language.
Molière’s play consists of:
a Dédicace, by Molière to le Grand Condé(VOTRE ALTESSE SÉRÉNISSIME,Le très humble, très obéissant et très obligé serviteur, Molière
a Prologue (Mercure and the Night)
three acts
The Prologue is a conversation between Mercury, who says he is “las,” tired, and the Night. Machines are used and the Prologue tells much of the play. The God Mercure is a messenger and so is Sosie, his look-alike, or doppelgänger (un sosie). It is night and, therefore, dark, which suits Jupiter who can hide his visit with Alcmène.
MERCURE.
LA NUIT (night).
JUPITER, sous la forme (looking alike) d’Amphitryon.
AMPHITRYON, général des Thébains.
ALCMÈNE, femme (wife of) d’Amphitryon.
CLÉANTHIS, suivante d’Alcmène et femme (wife of) de Sosie.
SOSIE, valet d’Amphitryon (Molière’s role)
ARGATIPHONTIDAS
NAUCRATÈS POLIDAS POSICLÈS capitaines thébains (Theban captains).
La scène est à Thèbes (ancient Egypt), devant la maison d’Amphitryon (in front of Amphitryon’s house).
ACT ONE
Sosie meets Mercure
husband and lover
Sosie & Cléanthis, a couple
In Act One, Scene One, Sosie rehearses the message he is bringing Alcmène. In Scene Two, he is confronted by Mercure, his look-alike, who will not allow him to enter the house.
400 Ciel! me faut-il ainsi renoncer à moi-même;/ Et par un imposteur me voir voler mon nom?/ Que son bonheur est extrême,/ De ce que je suis poltron!/ Sans cela, par la mort… Sosie à lui-même (I. ii, p. 19)
[Heavens! Must I thus renounce myself, and see my name stolen by an impostor. How lucky I am a poltroon! Or, by the death…!] Sosie to himself (I. 2)
N’importe, je ne puis m’anéantir pour toi;/ 425Et souffrir un discours, si loin de l’apparence./ Être ce que je suis, est-il en ta puissance?/ Et puis-je cesser d’être moi/ S’avisa-t-on jamais d’une chose pareille!/ Et peut-on démentir cent indices pressants? 430Rêvé-je? est-ce que je sommeille?/ Ai-je l’esprit troublé par des transports puissants?/ Ne sens-je pas que je veille?/ Ne suis-je pas dans mon bon sens? Mon Maître Amphitryon, n’a m’a-t-il pas commis,/ 435 À venir, en ce lieux, vers Alcmène sa femme/ Ne lui dois-je pas faire, en lui vantant sa flamme,/ Un récit de ses faits contre nos ennemis? Sosie à Mercure (I. ii, p. 20)
[I can’t help it. I cannot annihilate myself for you, and endure so improbable a tale. Is it in your power to be what I am? Can I cease to be myself? Did any one ever hear of such a thing? And can you give the lie to a hundred clear indications? Do I dream? Do I sleep? Is my mind troubled by powerful transports? Do I not feel I am awake? Am I not in my right senses? Has not my master, Amphitryon, commanded me to come here to Alcmene his wife? Am I not, in commending his passion to her, to give her an account of his deeds against our enemies? Have I not just come from the harbour? Do I not hold a lantern in my hand? Have I not found you in front of our house?] Sosie to Mercure (I. 2)
A “Husband” & a “Lover” In Scene Three, Jupiter tells Alcmène that he does not wish to be known as a husband, but as a lover:
Ah! ce que j’ai pour vous d’ardeur, et de tendresse,/ Passe aussi celle d’un époux;/ Et vous ne savez pas, dans des moments si doux,/ Quelle en est la délicatesse./ 585Vous ne concevez point qu’un cœur bien amoureux,/ Sur cent petits égards s’attache avec étude;/ Et se fait une inquiétude, De la manière d’être heureux./ En moi, belle, et charmante Alcmène,/590Vous voyez un mari; vous voyez un amant;/ Mais l’amant seul me touche, à parler franchement; Et je sens près de vous, que le mari le gêne. Jupiter à Alcmène (I. iii, p. 26) [The love and tenderness which I have for you far exceeds a husband’s; in these sweet moments, you do not realise its delicacy; You do not understand that a heart deeply in love studiously attaches itself to a hundred little trifles, and is restless over the manner of being happy. In me, fair and charming Alcmene, you see a lover and a husband; but, to speak frankly, it is the lover that appeals to me; when near you, I feel the husband restrains him.] Jupiter to Alcmène (I. 3)
Sosie and Cléanthis In Scene Four, Cléanthis, Sosie’s wife, tells her husband that he was away for too long. She feels her husband has been unfaithful. Molière created Cléanthis. She does not form part of Plautus’ Amphitryon. In Molière’s play, we have an earthly couple and one we could call “divine.”
ACT TWO
Sosie’s moisoliloquy
the Diamonds
the Sealed Box
the Bitter Truth
In Scene One, Amphitryon reprimands Sosie. What happened?
810Faut-il le répéter vingt fois de même sorte?
Moi, vous dis-je; ce moi plus robuste que moi; Ce moi, qui s’est de force emparé de la porte.
Ce moi, qui m’a fait filer doux:
Ce moi, qui le seul moi veut être: 815 Ce moi, de moi-même jaloux
Ce moi vaillant, dont le courroux,
Au moi poltron s’est fait connaître: Enfin ce moi qui suis chez nous, Ce moi qui s’est montré mon maître; 820 Ce moi qui m’a roué de coups. Sosie à Amphitryon (II. i, pp. 36-37)
[Must I repeat the same thing twenty times? I, I tell you, this I who is more robust than I, this I who took possession of the door by force, this I who made me slope off, this I who wishes to be the only I, this I who is jealous of myself, this valiant I, whose anger made itself known to this poltroon of an I, in fact, this I who is at our house, this I who has shown himself to be my master, this I who has racked me with pain.] Sosie to Amphitryon (II. 1)
Tous les discours sont des sottises,/840Partant d’un homme sans éclat./ Ce seraient paroles exquises,/ Si c’était un grand qui parlât. Sosie, à part (II. i, pp. 37-38) [All talk is nonsense that comes from a man who is unknown. If a great man were to say it, it would be exquisite language.] Sosie, aside (II. 1)
It appears credibility depends on rank.
In Scene Two, Alcmène says that Amphitryon has returned rather soon. She tells Amphitryon that she greeted him lovingly the night before.
885Hier au soir, ce me semble, à votre heureux retour,/ On me vit témoigner une joie assez tendre;/ Et rendre aux soins de votre amour,/ Tout ce que de mon cœur, vous aviez lieu d’attendre. Alcmène à Amphitryon (II. ii, p. 39)
[I think I showed a sufficiently tender joy last night, at your happy return; my heart responded by every means you could wish to the claims of your affection.] Alcmène to Amphitryon (II. 2)
The Diamonds Alcmène shows Amphitryon the diamonds he gave her.
950S’il était vrai qu’on pût ne s’en souvenir pas;/ De qui puis-je tenir, que de vous, la nouvelle/ Du dernier de tous vos combats?/ Et les cinq diamants que portait Ptérélas, Qu’a fit, dans la nuit éternelle,/ 955 Tomber l’effort de votre bras?/ En pourrait-on vouloir un plus sûr témoignagne? Alcmène à Amphitryon (II. ii, p. 43)
[…but, if the thing were in need of proof, if it were true that such a thing could be forgotten, from whom, but from you, could I have heard the news of the latest of all your battles, and of the five diamonds worn by Pterelas, who was plunged into eternal night by the strength of your arm? Could one wish for surer testimony?] Alcmène to Amphitryon (II. 2)
Quoi! je vous ai déjà donné/ Le nœud de diamants que j’eus pour mon partage,/ Et que je vous ai destiné? Le nœud de diamants que j’eus pour mon partage,/ Et que je vous ai destiné? Amphitryon à Alcmène (II. ii, p. 43)
[What? I have already given you the cluster of diamonds which I had for my share, and intended for you?] Amphitryon à Alcmène (II. 2)
The Sealed Box The box is still sealed, but the diamonds have been removed.
Ma foi, la place est vide./ 970Il faut que par magie on ait su le tirer:/ Ou bien que de lui-même, il soit venu sans guide,/ Vers celle qu’il a su qu’on en voulait parer. Sosie, ayant ouvert le coffret (II. ii, p. 44)
[Upon my word, the casket is empty. It must have been taken out by witchcraft, or else it came by itself a guide, to her whom it knew it was intended to adorn.] Sosie (Having opened the casket.) (II. 2)
The Bitter Truth
Alcmène then reminds Amphitryon that they had a conversation, had supper and then went to bed:
…Nous nous entrecoupâmes/ De mille questions, qui pouvaient nous toucher./ On servit. Tête à tête, ensemble nous soupâmes;/ Et le souper fini, nous nous fûmes coucher. Alcmène à Amphitryon (II. ii, p. 46)
[…We interrupted each other with a thousand questions concerning each other. The table was laid. We supped together by ourselves; and, supper over, we went to bed.] Alcmène to Amphitryon (II. 2)
As Scene Two ends, Alcmène is vexed. She has been faithful to her husband. As for Amphitryon, he is jealous, but he is also puzzled.
In Scene Three, Sosie’s wife Cléanthis also suspects her husband has been unfaithful.
In Scene Four, Jupiter/Amphitryon returns. In Scene Five, Sosie wonders how, having been so angry, Amphitryon should be “joyeux.” Jupiter, the lover, has returned, not Amphitryon, the husband.
In Scene Six, Jupiter is with Alcmène who thinks he is Amphitryon. Once again, Jupiter blames the husband, the real Amphitryon, not the lover, Jupiter. He tells her he will commit suicide if she does not forgive him. She says that she cannot hate and will forgive him, but she doesn’t like herself.
Dire qu’on ne saurait haïr,/ N’est-ce pas dire qu’on pardonne? Alcmène à Jupiter/Amphytrion (II. vi, p. 64)
[…is it not to say we pardon, when we say we cannot hate?] Alcmène to Jupiter/Amphitryon (II. 6)
Jupiter tells Sosie (not Mercure) to gather officers for a dinner.
ACT THREE
nature: the sosies (look-alikes)
Amphitryon insulted by Mercure
Amphitryon: a “frightful blow”
confused officers
In Scene One, a very jealous Amphitryon complains. He does not deserve to be cuckolded. However, he is starting to realize that something has gone wrong. To open a coffret, or cassette, one has to break the seal. Alcmène has the diamonds but the box has not been opened. As well, nature may…
1470 La nature parfois produit des ressemblances,/ Dont quelques imposteurs ont pris droit d’abuser:/ Mais il est hors de sens, que sous ces apparences/ Un homme, pour époux, se puisse supposer; / Et dans tous ces rapports, sont mille différences, 1475 Dont se peut une femme aisément aviser. Amphitryon, seul (III. i, p. 67)
[Nature oftentimes produces resemblances, which some impostors have adopted in order to deceive; but it is inconceivable that, under these appearances, a man should pass himself off as a husband; there are a thousand differences in a relationship such as this which a wife could easily detect.] Amphitryon, alone (III. 1)
Amphitryon and Mercure
Amphitryon arrives at his house, but Mercure, not Sosie tells him he has been drinking. He also says that Amphitryon, i.e. Amphitryon/Jupiter is upstairs with Alcmène, and that he must not disturb them.
A “frighful blow”
In Scene Three, Amphitryon says his soul has been dealt a strange blow. What about his honour, what about his passion?
Ah! quel étrange coup m’a-t-il porté dans l’âme?/ 1560 En quel trouble cruel jette-t-il mon esprit? Amphitryon, seul (III. iii, p. 72)
[Ah! What a frightful blow he has given me! How cruelly has he put me to confusion!] Amphitryon, alone (III. 3)
In Scene Four, the guests, army officers, arrive. Sosie has invited them to a dinner on behalf of Amphitryon/Jupiter). Amphitryon wants to punish Sosie and perhaps kill him. Naucratès tells the officers to “restrain” Amphitryon’s “anger.” (III. 4) (Ah! de grâce, arrêtez. [III. iv. p. 73])
Matters are about to be more or less solved. Jupiter has heard the commotion and comes out of the house only to face his look-alike, the real Amphitryon. Naucratès cannot believe his eyes, nor can Amphitryon:
Mon âme demeure transie,/ 1620Hélas! Je n’en puis plus; l’aventure est à bout:/ Ma destinée est éclaircie;/ Et ce que je vois, me dit tout. Amphitryon à tous (III. v, p. 76)
[My soul is struck dumb. Alas! I cannot do anything more: the adventure is at an end; my fate is clear; what I see tells me all.] Amphitryon to all (III. 5)
Confused Officers
Naucratès says that the more he looks, the more he finds that Amphitryon and Amphitryon/Jupiter look alike:
Plus mes regards sur eux s’attachent fortement,/ Plus je trouve qu’en tout, l’un à l’autre est semblable. Naucratès (III. v, p. 76)
[The more narrowly I watch them, the more I find they resemble each other.] Naucratès (III. 5)
Amphitryon remains angry and wishes to kill his “entchanted” trickster (fourbe). Jupiter is an “imposteur” he wants to punish, sword in hand.
Punir, d’un imposteur, les lâches trahisons. Amphitryon to Naucratés (III. v, p. 77) [Punish the miserable treachery of an impostor.] Amphitryon to Naucratès (III. 5)
Jupiter tells the truth. He and Amphitryon are mirror images. However, Amphitryon’s officers dare not be too devoted to Amphitryon, as he may be Amphitryon/Jupiter.
À vous faire éclater notre zèle aujourd’hui,/ 1655Nous craignons de faillir, et de vous méconnaître. Naucratès à Amphitryon (III. v. p. 78)
[…If we were now to show towards you, we fear we might make a mistake, and not recognise you.] Naucratès to Amphitryon (III. 5)
Amphitryon/Jupiter has tried to appease Alcmène, more or less successfully, and it is now his duty to end the confusion among officers.
C’est à moi de finir cette confusion;/ Et je prétends me faire à tous si bien connaître,/ Qu’aux pressantes clartés de ce que je puis être,/ Lui-même soit d’accord du sang qui m’a fait naître,/ 1685 Il n’ait plus de rien dire aucune occasion. Jupiter (III. v, p. 79) [It is for me to end this confusion. I intend to make myself so well known to all, that, at the overwhelming proofs I shall bring forward to show who I am, he himself shall agree concerning the blood from which I sprang, and he shall no longer have occasion to say anything.] Jupiter (III. 5)
Le véritable Amphitryon/ Est l’Amphitryon où l’on dîne. [ …the real Amphitryon is the Amphitryon who gives dinners.]
This sentence has remained famous.
As for Mercure, he will not live as Sosie. A sad Sosie will live with the saddened Amphitryon.
Suivons-en aujourd’hui l’aveugle fantaisie;/ Et par une juste union,/ Joignons le malheureux/ Joignons le malheureux Sosie,/ Au malheureux Amphitryon. Sosie, seul (III. vi, p. 84) [Let us today follow blind caprice, and join the unfortunate Sosie to the unfortunate Amphitryon: it is a suitable union. I see he is coming in good company.] Sosie, alone (III. 6)
Scene Seven is ambiguous. Amphitryon cannot blame Alcmène from going to bed with a person who is identical to him, but he maintains that honour and love make matters unforgivable.
Si cette ressemblance est telle que l’on dit,/ Alcmène, sans être coupable… Posiclès à tous (III. vii, p. 85) [If this resemblance is such as is said, Alcmène, without being guilty…] Posiclès to officers (III. 7)
Ah! sur le fait dont il s’agit,/ L’erreur simple devient un crime véritable, Et sans consentement, l’innocence y périt./ De semblables erreurs, quelque jour qu’on leur donne,/ Touchent des endroitsdélicats:1825Et la raison bien souvent les pardonne; Que l’honneur, et l’amour, ne lespardonnent pas. Amphitryon aux officiers (III. vii, p. 85) [Ah! In this affair, a simple error becomes a veritable crime, and, though no way consenting, innocence perishes in it. Such errors, in whatever way we look at them, affect us in the most sensitive parts; reason often, often pardons them, when honour and love cannot.] Amphitryonto officers (III. 7)
Argatiphontidas, an officer, wants Sosie to be punished, but in Scene Eight Amphitryon takes Sosie to Cléanthis, his wife. Cléanthis doesn’t know what to believe, Amphitryon/Jupiter is upstairs with Alcmène, but she is looking at Amphitryon. There are two Amphitryons.
In Scene Nine, Mercure flies into the clouds while Sosie tells him not to come back as he, Mercure, is the very devil.
In Scene Ten, Jupiter states, unconvincingly, that:
Un partage avec Jupiter,/ N’a rien du tout, qui déshonore:/1900 Et sans doute, il ne peut être que glorieux,/ De se voir le rival du souverain des Dieux. Jupiter (III. iii, pp. 88-89 [A share with Jupiter has nothing that in the least dishonours, for doubtless, it can be but glorious to find one’s self the rival of the sovereign of the Gods.] Jupiter (III. 3)
He also tries to rehabilitate Alcmène, unconvincingly:
Que Jupiter, orné de sa gloire immortelle, 1910Par lui-même, n’a pu triompher de sa foi; Et que ce qu’il a reçu d’elle, N’a, par son cœur ardent, été donné qu’à toi. Jupiter à Amphitryon (III.x. p. 89)
[Even Jupiter, clothed in his immortal glory, could not by himself undermine her fidelity; what he has received from her was granted by her ardent heart only to you.] Jupiter to Amphitryon (III. 10)
As he is about to fly away, Jupiter tells Amphitryon that a son, Hercules, will be born in his home. In a sense, Alcmène has been “visited” by a god and will give birth to a god. Are we reading the Bible?
Sosie thinks that, basically, all is well but that everyone should simply go home peacefully and not say a word about such “affaires” (matters). Indeed, matters should be forgotten. Amphitryon was the victim of a fourberie and some of his loyal officers no longer knew which Amphitryon was their commander.
Conclusion
Although Mercure and Jupiter both fly away, will the real Amphitryon overcome this blow to both his honour and his passion? Amphitryon is a jealous man and a cocu.
Molière created Cléanthis, Sosie’s wife, doubling Amphitryon/Jupiter and Alcmène. It is in heaven as it is on earth. Cléanthis believes her husband has been unfaithful to her.
Mercure and Jupiter both fly away. Yet, the events of the play are a fourberie. Amphitryon is cuckolded. Although Jupiter is a look-alike and a god, Amphitryon cannot change the truth. He has been cuckolded. Amphitryon/Jupiter also sent Sosie to invite the real Amphitryon’s officers to dine with Amphitryon/Jupiter, humiliating both the husband and the commander. Why let officers know their commander has been cuckolded?
Fortunately, Molière’s Amphitryon is associated with the festive plays Molière wrote for the third entrée of Isaac de Benserade’s 1666 Ballet des Muses. Molière contributed three plays to Benserade’s Ballet des Muses:
1941 Et que chacun chez soi, doucement se retire. Sur telles affaires, toujours, Le meilleur est de ne rien dire. Sosie à tous (III. x, p. 90)
[But, nevertheless, let us cut short our speeches, and each one retire quietly to his own house. In such affairs as these, it is always best not to say anything.]
Sosie to all (III.
Jupiter is often seen as Louis XIV courting Madame de Montespan who would be maîtresse-en-titre, until l’Affaire des poisons(1677-1683). Could there be two moral standards? In lower circles, such liaisons were adulterous and, therefore, sinful. As for the Church, it stood mostly powerless. Until recently, kings did not choose their wives. Amphitryon has been looked upon as a criticism of the King (see, Amphitryon, en-Wikipedia), but Molière’s Amphitryon is rooted in Plautus’ Amphitryon and it is a divertissement as well as a pièce à machines. Moreover, jealousy and cuckolding are frequent farcical themes.
