Molière’s “L’Étourdi,” “The Blunderer” (5) Recognition

09 Thursday Apr 2020

Posted by michelinewalker in Comedy, Commedia dell'arte, Molière

Tags

Contretemps, Happy endings, L'Étourdi, Molière, Point of ritual death, The Blunderer

L’Étourdi par Horace Vernet (theatre-documention.com)

Apologies

After publishing Anselme on Love (4), I realised that in some copies, not all quotations were translated in full. That was a huge mistake. I believe the finished post was translated, but that drafts came to the surface. I hope all quotations have now been translated.

—ooo—

Dramatis Personæ (the cast)

LÉLIE, (son of) fils de Pandolphe.
CÉLIE, (slave to) esclave de Trufaldin.
MASCARILLE, (lackey to) valet de Lélie.
HIPPOLYTE, (daughter of) fille d’Anselme.
ANSELME, (old man) vieillard.
TRUFALDIN, vieillard.
PANDOLPHE, vieillard.
LÉANDRE, (son) fils de famille.
ANDRÈS, (believed to be) cru égyptien.
ERGASTE, valet.
UN COURRIER.
DEUX TROUPES DE MASQUES.

The scene is in Messina

Molière © SUPERSTOCK – SIPA

ACT FOUR

We will now read the remainder of Molière’s L’Étourdi, The Blunderer.

a doubling

Lélie always crosses Mascarille’s plan, but Molière has built a sub-plot which could be called a doubling. However, the rules of classical theater demand that elements of the play be introduced in Act One. No one knows Célie’s identity, which points to a discovery, an anagnorisis. Mascarille, however, knows details of Trufaldin’s life. There will be a discovery that will allow Lélie and Célie to marry. The play is entitled L’Étourdi ou les contretemps. Contretemps are unexpected events. Lélie blunders, but he is often misled by appearances and by his beliefs. We have seen that he will not allow Léandre to look upon Célie has a loose woman.

The beginning of Célie’s story

Almost as soon as the curtain lifts, we learn that Trufaldin’s slave, Célie, has parents. She is very beautiful, but Lélie, who is in love with her and knows her heart, suspects that she is of higher birth. Molière makes room for a redeeming recognition.

Pour moi, dans ses discours, comme dans son visage,/ Je vois pour sa naissance un noble témoignage,/ Et je crois que le Ciel dedans un rang si bas,/ 30 Cache son origine, et ne l’en tire pas.
Lélie à Mascarille (I. ii)
[For my part, in her conversation as well as in her countenance, I see evidence of her noble birth. I believe that Heaven has concealed a lofty origin beneath such a lowly station.]
Lélie to Mascarille (I. 2, p. 10).

When Lélie and Mascarille go to Trufaldin’s house to know their fortune and be certain Célie’s feelings are compatible with Lélie’s, Célie reassures Lélie, saying, however, that her heart has not hurt anyone:

Mon cœur, qu’avec raison votre discours étonne,/ N’entend pas que mes yeux fassent mal à personne;/ Et si dans quelque chose, ils vous ont outragé,/ Je puis vous assurer que c’est sans mon congé.
Célie à Lélie (I. iii)
[My heart, which has good reason to be astonished
at your speech, does not wish my eyes to injure any one;
if they have offended you in anything, I can assure you I did not intend it.]
Célie to Lélie (I. iii, p. 12)

When Trufaldin realizes that Célie is outdoors, he tells her that she is not allowed to leave the house. She comments that a long time ago, she knew this fine man, suggesting a life gone bye: autrefois (in the past).

Autrefois j’ai connu cet honnête garçon ;
130 Et vous n’avez pas lieu d’en prendre aucun soupçon.
Célie à Trufaldin (I. iv)
[I was once acquainted with this respectable young man; You have no reason to be suspicious of him.]
Célie to Trufaldin (I. iv, p. 12)

Moreover, there is a ring.

Cette bague connue,
Vous dira le sujet qui cause ma venue.
Mascarille à Trufaldin (II. ix)
[This ring, which you know, will inform you what business brings me hither.]
Mascarille to Trufaldin (II. 2, p. 12)

This is the ring he is to take to Nérine as a token of Anselme’s love.

Et l’on m’a mis en main une bague à la mode,/ Q’après vous payerez si cela l’accommode.
Mascarille à Anselme (I. iii, v. 254)
[No, there is no need of your money ; without troubling yourself, I will make her a present ; a fashionable ring has been left in my hands, which you may pay for afterwards, if it fits her.]
Mascarille to Anselme (I. 6, p. 16)

Lélie has a courier bring a letter in which a Spanish nobleman states that he is travelling to take his daughter back to Spain. Although Mascarille has the ring, Trufaldin believes the courier. There is a past, an autrefois.

The Visit to Trufaldin’s

In Act Four, Scene One, Mascarille tells Lélie, as much as he knows about Zanobio Ruberti. He and Lélie will have dinner with Trufaldin and Célie. As the image at the top of this post reveals, Lélie is disguised as an Armenian. He has to learn a role, but Lélie doesn’t think he needs tutoring.

Ces répétitions ne sont que superflues;/ Dès l’abord mon esprit a compris tout le fait.
Lélie à Mascarille (IV. i)
[These repetitions are superfluous. From the very beginning I understood it all.]
Lélie to Mascarille (IV. 1, p. 50)

They aren’t. Lélie cannot remember that he parted with Trufaldin’s son in Tunis. He says Turin. Consequently, Trufaldin knows Lélie has not met his son. This “comedy” incurs Trufaldin’s wrath because it is cruel. Moreover, Lélie cannot keep his eyes from admiring Célie and in the process, he pays no attention to Trufaldin’s niece Jeannette. This is yet another blunder. Therefore, Trufaldin has a stick made from an old oak tree. Lélie will be beaten and Mascarille joins in to keep his cover. Others must believe he is a friend.

We skip Scene Three because we have read Anselme on Love (4).

Blunders or Fate

In Scene Four, Lélie states that love misguides him and that Mascarille doesn’t know its force:

Qu’il est aisé de condamner des choses/ Dont tu ne ressens point les agréables causes!/ Je veux bien néanmoins, pour te plaire une fois,/ Faire force à l’amour qui m’impose ses lois./ Désormais…
Lélie à Mascarille (IV. iv)
[Lack-a day! how easy it is for you to condemn things of which you do not feel the enchanting cause. In order to humour you for once I have, nevertheless, a good mind to put a restraint upon that love which sways me.
Henceforth . . .]
Lélie to Mascarille (IV. 5)

Lélie also feels that his fate is cruel.

Faut-il que le malheur qui me suit à la trace/ Me fasse voir toujours disgrâce sur disgrâce.
Lélie, seul (IV. vi, v. 1635)
[Will ill-luck always follow me, and heap upon me one misfortune after another?]
Lélie, alone (IV. 8, p. 58)

A Second Rival: Andrès

In Scene Seven, Ergaste tells Mascarille that a young man, an Egyptian whose skin is white and seems prosperous, and an old woman have arrived.

À l’heure que je parle, un jeune Égyptien,/ Qui n’est pas noir pourtant, et sent assez son bien,/ Arrive, accompagné d’une vieille fort hâve,/ Et vient chez Trufaldin racheter cette esclave/ Que vous vouliez; pour elle il paraît fort zélé.
Ergaste à Mascarille (IV. vii)
[At the very moment I am talking to you, a young gipsy, who nevertheless is no black, and looks like a gentleman, has arrived with a very wan-looking old woman, and is to call upon Trufaldin to purchase the slave you wished to redeem. He seems to be very anxious to get possession of her.]
Ergaste to Mascarille (IV. 9, p. 59)

Lélie blundered, but destiny is unkind to both Lélie and Mascarille.

Lorsqu’un rival s’éloigne, un autre plus funeste/ S’en revient enlever tout l’espoir qui nous reste.
Mascarille à Ergaste (IV. vii)
[As soon as one rival withdraws, another and a more dangerous one starts up to destroy what little hope there was left. However, by a wonderful stratagem, I believe I shall be as left.]
Mascarille to Ergaste (IV. 9, p. 59)

Yet Mascarille comes up with a new stratagem. There has been a theft, so he will bribe some officers who will imprison all gypsies, including Andrès.

1665 Il s’est fait un grand vol, par qui, l’on n’en sait rien;/ Eux autres rarement passent pour gens de bien:/ Je veux adroitement sur un soupçon frivole,/ Faire pour quelques jours emprisonner ce drôle;/ Je sais des officiers de justice altérés …
Mascarille à Ergaste (IV. vii, v 1663-)
[A great robbery has lately been committed, by whom, nobody knows. These gipsies have not generally the reputation of being very honest; upon this slight suspicion, I will cleverly get the fellow imprisoned for a few days. I know some officers of justice, open to a bribe, who will not hesitate on such an occasion ; greedy and expecting some present, there is nothing they will not attempt with their eyes shut; be the accused ever so innocent, the purse is always criminal, and must pay for the offence.]
Mascarille to Ergaste (IV. 9. p. 60)

This stratagem could have worked, but Lélie will not let anyone imprison a “respectable” man. Andrès is not a gypsy.

Par les soins vigilants de l’exempt balafré,/ Ton affaire allait bien, le drôle était coffré,/ Si ton maître au moment ne fût venu lui-même,/ 1680 En vrai désespéré rompre ton stratagème: «Je ne saurais souffrir, a-t-il dit hautement,/ Qu’un honnête homme soit traîné honteusement;/ J’en réponds sur sa mine, et je le cautionne»:/ Et comme on résistait à lâcher sa personne,/ 1685 D’abord il a chargé si bien sur les recors,/ Qui sont gens d’ordinaire à craindre pour leurs corps,/ Qu’à l’heure que je parle ils sont encore en fuite,/ Et pensent tous avoir un Lélie à leur suite.
Ergaste à Mascarille (V.I, v. 1677-)
[The constable took great care everything was going on smoothly; the fellow would have been in jail, had not your master come up that very moment, and, like a madman spoiled your plot. “I cannot suffer,” says he in a loud voice, “that a respectable man should be dragged to prison in this disgraceful manner; I will be responsible for him, from his very looks, and will be his bail.”]
Ergaste to Mascarille (V.I, p. 60)

Andrès buys Célie, who once loved him, and is about to take her away. She persuades Andrès to defer their trip because she has a violent headache and would like to rest until it has abated. Mascarille quickly turns himself into a Swiss who can rent a house he has quickly transformed into an inn by posting a sign. Mascarille once planned to take Célie to the same house while Léandre negotiated marrying Célie with his father.

This stratagem may also have worked, but enters Lélie who learns from Andrès that he has bought Célie who is resting in a house that belongs to Lélie’s father and is looked after by Mascarille. He believes Andrès will let him marry Célie, but Andrès has other plans.

The Anagnorisis

At this point, nothing can be done. The laws of comedy, its formulaic happy ending, and the hand of destiny must rescue Lélie.

In Scene Five, Lélie asks Mascarille to shed his disguise. He thinks matters have been dealt with. We revisit Act One, Scene Four where Lélie believes that all that remains to be done is negotiating the price that will allow him to marry Célie. Similarly, five acts later, Lélie believes Andrès will let him marry the woman he loves: Célie. He doesn’t know how to thank Andrès who tells him not to thanks him.

Non, ne m’en [remerciements] faites point, je n’en veux nullement.
Andrès à Lélie (V.iv, v. 1806)
[No, give me none ; I will have none.]
Andrès to Lélie (V. 6, p. 164)

In Scene Five, speaks about his success to Mascarille. He is proud.

J’aurai c’est honneur d’avoir fini l’ouvrage.
Lélie à Mascarille (V.v, v. 1835)
Soit; vous aurez été bien plus heureux que sage.
Mascarille à Lélie (V.v, v. 1836)

[… mine will be the honour of having finished the work.]
Lélie to Mascarille (V. 9, p. 65)
[You have been more lucky than wise.]
Mascarille to Lélie (V. 9, p. 65)

In Scene Six, Andrès says that he will not give Célie to Lélie

1841 Mais enfin, ce bienfait aurait trop de rigueur,
S’il fallait le payer aux dépens de mon cœur ;
Jugez, dans le transport où sa beauté me jette
Si je dois à ce prix vous acquitter ma dette …
Andrès à Lélie (V.vi)
[… but this kindness would be too dearly bought were I to repay it at the expense of my heart. Judge, by the rapture her beauty causes me, whether I ought to discharge my debt to you at such a price.]
Andrès to Lélie (V. 9, p. 65)

Dénouement

Hippolyte and Célie
the gypsies fighting: good and bad
the Egyptian woman recognizes Zanobio Ruberti, Célie’s real father
Andrès has also found his father: Zanobio Ruberti

Hippolyte has joined the group. She tells Célie that her beauty has stolen hearts. She has lost Léandre. She can tell, however, the “irresistible sway of your [Célie’s] charms.” She does not begrudge Célie. In fact, she has not lost Léandre. It is Célie who has lost Lélie.

The moment we have awaited has come. Mascarille tells in a récit that a bad gypsy had taken Célie from her. These two gypsy women have just had a terrible fight. One was the woman who stole Célie and the other, the good gypsy, or the woman who has been looking for Zanobio Ruberti and finds him:

« C’est vous, si quelque erreur n’abuse ici mes yeux,/ Qu’on m’a dit qui viviez inconnu dans ces lieux»,/ A-t-elle dit tout haut, « ô! rencontre opportune!/ 1960 Oui, seigneur Zanobio Ruberti, la fortune/ Me fait vous reconnaître …
Votre femme, je crois, conçut tant de douleur,/ Que cela servit fort pour avancer sa vie:/ Si bien qu’entre mes mains cette fille ravie,/ Me faisant redouter un reproche fâcheux,/ Je vous fis annoncer la mort de toutes deux:/…
1975 Mais il faut maintenant, puisque je l’ai connue,/ Qu’elle fasse savoir ce qu’elle est devenue ; Au nom de Zanobio Ruberti, que sa voix…
Mascarille/l’Égyptienne (V.ix, v. 1955- )
[“It is you, unless my sight misgives me, who, I was informed, lived privately in this town; most happy meeting! Yes, Signer Zanobio Ruberti, fortune made me find you out at the very moment I was giving myself so much trouble for your sake.”
(…)
but now, as I have found out the thief, she must tell us what has become of your child.”]
Mascarille/l’Égyptienne (V. 14)

Hearing Trufaldin’s real name, Andrès realizes that Trufaldin is Zanobio Ruberti and tells him that he has found his father.

Au nom de Zanobio Ruberti, que sa voix …
[At the name of Zanobio Ruberti …]
Horace/Andrés

1983 Oui, mon père, je suis Horace votre fils,/ D’Albert qui me gardait les jours étant finis,/ Me sentant naître au cœur d’autres inquiétudes/ Je sortis de Bologne, et quittant mes études,/Portai durant six ans mes pas en divers lieux,/ Selon que me poussait un désir curieux …
Andrès à Trufaldin (V. ix, v. 1983 – )
[I am Horatio, your son; my tutor, Albert, having died, I felt anew certain uneasiness in my mind, left Bologna, and abandoning my studies, wandered about for six years in different places, according as my curiosity led me.]
Andrès à Trufaldin(V. 14, p. 68)

The Consequences: marriages

Enfin, pour retrancher ce que plus à loisir,/ Vous aurez le moyen de vous faire éclaircir,/ Par la confession de votre Égyptienne,/ Trufaldin maintenant vous reconnaît pour sienne; / 2005 Andrès est votre frère; et comme de sa sœur/ Il ne peut plus songer à se voir possesseur,/ Une obligation qu’il prétend reconnaître,/ A fait qu’il vous obtient pour épouse à mon maître;/ Dont le père témoin de tout l’événement,/ 2010 Donne à cette hyménée un plein consentement …
Mascarille, surtout (V.ix)
[… in one word (to tell you shortly that which you will have an opportunity of learning afterwards more at your leisure, from the confession of the old gipsywoman), Trufaldin owns you (to Celia) now for his daughter; Andres is your brother; and as he can no longer think of marrying his sister, and as he acknowledges he is under some obligation to my master, Lelio, he has obtained for him your hand. Pandolphus being present at this discovery, gives his full consent to the marriage; and to complete the happiness of the family, proposes that the newly-found Horatio should marry his daughter. See how many incidents are produced at one and the same time!
Mascarille, mostly (V. 14, p. 68)

Lélie will marry Célie. As for his rival Léandre, he apologizes to Hippolyte who crave[s] “nothing but a generous pardon.” As for Andrès/Horatio, he cannot marry his sister. He embraces Lélie. But Mascarille is empty-handed…

His own enemy …

Yes, Lélie crosses Mascarille’s stratagems, but fate plays a role in these failed attempts… So does virtue. Lélie returns his purse to Anselme, and does so spontaneously. Célie is his own enemy. For instance, when a courier prevents Mascarille, not Léandre, from purchasing Célie, can Lélie tell that the purchaser is Mascarille. Lélie realizes that he is his own enemy, but Mascarille forgives quickly and uses another ruse. Lélie does brandish a sword, only to drop it. But Mascarille stops him:

Fût-il jamais au monde un esprit moins sensé!
Mascarille (III.iv, v. 1053)
Was there ever in the world a creature so dull of understanding?
Mascarille ( III. 4, p. 41)

Ancient roots: killing Pandolfe

virtue and virtuosity
“killing” Pandolfe: atavistic

As in other Molière plays, the threat to the marriage of the young lovers stems from within and, to a significant extent, from a conflict between virtue and virtuosity, or the immunity given the trickster. Mascarille’s stratagems are morally questionable. After killing Pandolfe, he fears Pandolfe. He therefore asks Lélie to make sure he and his father are reconciled. Comedy is rooted in ancient rituals which at times included the killing of an old king. The longest night called for a renewal. Pandolfe is not killed, but it could be said that l’Étourdi is somewhat atavistic, despite the two marriages of its dénouement.

In The Blunderer, the young lover and his valet are separate figures who seem to negate one another. However, one can foresee the juxtaposition in one character of the Lélie who will not accept that Célie be looked upon as a loose woman, and Mascarille who does whatever is needed to bring out the marriage(s) of the dénouement. Lélie inhabits a literal world, where the end does not justify the means, which it does for Mascarille. Mascarille calls himself virtuous, which he is, but upside down. He is a virtuoso among virtuosi, but a marriage there cannot be despite his finest stratagems. Hence, the arrival of Andrès and the old Égyptienne who recognizes and names Zanobio Ruberti, or the anagnorisis.

L’Étourdi par Adolphe Lalauze (theatre-documentation.com)

RELATED ARTICLES

Molière”s “L’Étourdi,” “The Blunderer,” (4) Anselme on Love (2 April 2020)
Molière’s “L’Étourdi,” “The Blunderer:” (3) Lélie defends Célie (31 March 2020)
Molière’s “L’Étourdi,” “The Blunderer” (2) (16 February 2020)
Molière’s “L’Étourdi,” “The Blunderer” (1) (7 February 2020)
Page on Molière

Sources and Resources

L’Étourdi ou les Contretemps is a toutmoliere.net publication.
The Blunderer is Gutenberg’s [eBook #6563].
The Blunderer is an Internet Archive publication.
Our translator is Henri van Laun.
Images belong to theatre-documentation.com, unless otherwise indicated.
Notes et Variantes (Maurice Rat, Pléiade, 1956).
anatom
Bold characters are mine
The Golden Bough (Sir James George Frazer) is an Internet Archive publication.
The Golden Bough (Sir James MacDonald Frazer) is a Wikisource publication. (excellent)
The Origin of Attic Comedy (F.M. Cornford) is an Internet Archive Publication.
The Anatory of Criticism (Northrop Frye) is explained in Wikipedia.
Gilbert Murray … scholar and proponent of English as an international language.

Bibliography

Cornford, Francis MacDonald, with Notes by Theodor H. Gaster, The Origin of Attic Comedy, A Double Day Anchor Book, 1961 [1914].
Sir James Frazer, The Golden Bough, 1891.
Frye, Northrop, Anatomy of Criticism, Princeton University Press, 1957.
Gilbert Murray … scholar proponent of English as an international language.

Love to everyone 💕

Study for L’Étourdi by François Boucher (Catalogue Gazette Drouot)

L’Étourdi par Edmond Hédouin (theatre-documention.com)

Molière’s “L’Étourdi,” “The Blunderer” (4) Anselme on Love

02 Thursday Apr 2020

Posted by michelinewalker in Comedy, Molière

≈ 6 Comments

Tags

Anselme, Hippolyte, Léandre, love, Molière, The Good Wife

L’Étourdi par Adolphe Lalauze (theatre-documentation.com)

The Last Play

L’Étourdi is the last play by Molière that we are reading from beginning to end. I have written at least one or more post(s) on each of Molière’s plays. Titles are listed on my Molière page.

We have not read La Critique de l’École des femmes (1^st June 1663) and L’Impromptu de Versailles. L’Impromtu de Versailles (14 October 1663) (see Britannica) is considered a théâtre dans le théâtre, a play within a play, in the broadest acceptation of the term. As for La Critique de l’École de femmes (see Britannica). It was an answer to criticism of l’École des femmes. The plays we have not read in their entirety will be revisited in the light of our recent rereading of all of Molière’s plays.

L’Étourdi ou les Contretemps is known as the very first play Molière wrote. He may have written other plays during the years he toured the provinces of France, from 1645 to 1658. It was written between 1653 and 1655.

Given our circumstances, a pandemic, I did not finish l’Étourdi, but I wish to live as normally as possible. We will therefore finish reading Molière. However, we will concentrate on shorter passages.

He wrote it in approximately 1653 – 1655. Given our circumstances, the pandemic, I did not finish l’Étourdi, but I would like life to remain as normal as possible, so we will finish reading Molière. However, we concentrate on shorter passages.

Molière © SUPERSTOCK – SIPA

Dramatis Personæ (the cast)

Act Four, Scene Three

plots : a central plot and related stratagems
a view of the world

L’Étourdi is yet another comedy. Lélie loves Célie but so does Léandre. Therefore, as is the case with all comedies, Lélie has a rival who can buy Célie, Trufaldin’s slave. That is an obstacle to Lélie marrying his “divinity.” Pandolfe, Lélie’s father is also an obstacle. His son Lélie does not have financial independence. Lélie must therefore ask his valet to help secure the woman is love.

… Monsieur votre père/ est un autre qui ne vous laisse pas/ Comme vous voudriez bien, manier ses ducats …
Mascarille à Lélie (I.ii, v 100 …)
[That your father is just as covetous an old hunk,
who does not allow you to handle his ducats, …]
Mascarille to Lélie (I. 3, p. 10)

Inside this frame plot, are a series of attempts, stratagems, Mascarille devises to capture Célie, but these are foiled by Lélie himself. Therefore, Lélie seems his own worst enemy, which he is but not entirely. He is virtuous to the point of refusing to hear that Clélie is a loose woman. He defends her and, in the process, pulls the rug from under Mascarille feet. He does not operate in the same manner as Mascarille whose virtue is to discourage Léandre from marrying Célie. Mascarille tells him that Célie is a loose woman, which is a lie that serves Lélie. Lélie will not hear that Célie is anything other than his divinity. He will not allow Léandre to think otherwise. So Léandre learns that Mascarille has played him.

Mascarille’s Stratagems

Although l’Étourdi has a frame plot, we see several attempts, Mascarille’s stratagems, to capture Célie, all of which are spoiled by Lélie. Molière has once again made the “lover” his own worst enemy. Lélie seems a scatterbrain, a translation of l’Étourdi. But he and Mascarille are also the victims of destiny.

You may remember that two fathers Pandolfe and Anselme had arranged for Lélie, Panolfe’s son, to marry Hippolyte, Anselme’s daughter. After Mascarille and Lélie’s make believe Pandolfe has died, Anselme decides that his daughter Hippolyte will marry Léandre, the son of good parents who has a little money and could buy Célie.

Léandre’s Maskerade

reckless
humiliating

However, Léandre arranges a maskerade. His women (men disguised as women) will assault Trufaldin’s house and capture Célie. Trufaldin is forewarned and, in the English translation, he gives Léandre perfume (a cassolette in the original French). The perfume is not perfume. It stinks, which suggests that it contains Célie’s excrements.

Fi, cela sent mauvais, et je suis tout gâté./ Nous sommes découverts, tirons de ce côté.
Léandre à tous (III.ix)
[Faugh. This does not smell nicely. My clothes are all spoiled; we are discovered; let us be gone away.]
Leandre to all (III.13)

Anselme on Love

Anselme would love to be loved. He hears that Nérine loves him and wants to give money to Mascarille to sustain Nérine’s love. But in Act Four, Scene Three, he is a father to Léandre and, at the very beginning, the conversation is from man to man. The conversation is prompted by Léandre’s catastrophic assault on Trufaldin’s house

Je ne vous parle point en père de ma fille,/ En homme intéressé pour ma propre famille;/ Mais comme votre père ému pour votre bien …
Anselme à Léandre (IV.iii)
[I do not speak to you as the father of Hippolyta, as a man interested for my own family, but as your father, anxious for your welfare…]
Anselme to Léandre (IV. 4, p. 54)

Anselme’s “réplique,” a tirade, soon turns to the needs of his daughter, Hippolyte, and Anselme’ own needs. He has now made arrangements for her to marry Léandre. Hippolyte loves Léandre. In fact, Mascarille is also working for her.

… Bref, comme je voudrais, d’un âme franche et pure,/ Que l’on fît à mon sang en pareil aventure.
Anselme (IV. iii)
[In short, openly and honestly, as I would wish a child of mine to be treated upon the like occasion.]
Anselme to Léandre (IV. 4, p. 54)

Anselme knows that people are laughing at his effort to capture Célie. In doing so, he is inviting laughter, which is the worst of punishment.

Savez-vous de quel œil chacun voit cet amour,/ Qui dedans une nuit vient d’éclater au jour?/ A combien de discours et de traits de risée/ Votre entreprise d’hier est partout exposée.
Anselme à Léandre (IV.iii)
[Do you know how everybody regards this amour of yours, which in one night has burst forth? How your yesterday’s undertaking is everywhere talked of and ridiculed?]
Anselme to Léandre (IV. 4, p. 54)

She is a “gypsy” to most, except Lélie

Anselme also criticizes Léandre’s choice of a gypsy. One doesn’t know Célie’s background and wisdom has it that we not seek far beyond what is in plain sight. Lélie knows Célie, but Léandre doesn’t.

J’en ai rougi pour vous, encor plus que pour moi,/ Qui me trouve compris dans l’éclat que je voi,/Moi, dis-je, dont la fille à vos ardeurs promise,/ Ne peut sans quelque affront souffrir qu’on la méprise./ Ah! Léandre, sortez de cet abaissement!
Anselme à Léandre (IV. iii)
[I really blushed for you, even more than I did for myself, who am also compromised by this public scandal. Yes, I am compromised, I say, I whose daughter, being engaged to you, cannot bear to see her slighted, without taking offence at it.]
Anselme à Léandre (IV. 4, p. 54)

Ah! Léandre, sortez de cet abaissement; 1470 Ouvrez un peu les yeux sur votre aveuglement:/ Si notre esprit n’est pas sage à toutes les heures,/ Les plus courtes erreurs sont toujours les meilleures.
Anselme à Léandre (IV. iii)
[For shame, Leander; arise from your humiliation; consider well your infatuation; if none of us are wise at all times, yet the shortest errors are always the best.]
Anselme to Léandre (IV. 4, p. 54)

The above quotations describe the behaviour that is expected in l’Étourdi’s society. Hippolyte’s father does not want his daughter to marry someone who assaults a man’s house to capture a woman he does know. Léandre has fallen in love with a beautiful face. Beauty does not reveal the character of a woman. That belongs to the realm of appearances, which, as we have seen, are “trompeuses” according to Pascal (see Sources and Resources) and many 17^th century writers and thinkers.

Léandre tells Mascarille that he has seen’s Célie’s face:

Vous pourriez l’épouser?
Mascarille à Léandre (III. ii)
[Would you marry her?]
… Je ne sais; mais enfin,/ Si quelque obscurité se trouve en son destin,/ Sa grâce et sa vertu sont de douces amorces,/ Qui pour tirer les cœurs sont d’incroyables forces.
Léandre à Mascarille (III.ii)
[I am not yet determined, but if her origin is somewhat obscure, her charms and her virtue are gentle attractions, which have incredible force to allure every heart.]
Léandre to Mascarille (III. 2, p. 38)

Lélie knows Célie’s cœur. Léandre doesn’t, which he must. Moreover, is the society of the play ready to accept Célie. In 17^th France/Italy, society was mostly homogeneous. Besides, Léandre made a fool of himself by assaulting Trufaldin’s house with a masked brigade. He was humiliated by Trufaldin.

More importantly, passion does not last. Other bonds are created that unite a man and a woman. Marriage can be the most beautiful of commitments. Anselme’s view of love already reflects the view expressed in Madame de La Fayette‘s Princesse de Clèves (1678). Jealousy keeps love alive. When a woman marries, she loses the love of the man she loves. Madame de Clèves will not marry Monsieur de Nemours, for fear he will no longer love her, which would cause her infinite pain. Le Prince de Clèves dies because his wife loves Monsieur de Nemours; grief kills him.

Moreover, it is true that a woman can divide a family. Prince Harry cannot travel to the UK to see sick and/or ageing family. Miseries can follow a marriage. One chooses well.

Quand on ne prend en dot que la seule beauté,/ Le remords est bien près de la solennité, 1475/ Et la plus belle femme a très peu de défense,/ Contre cette tiédeur qui suit la jouissance:/ Je vous le dis encor, ces bouillants mouvements,/ Ces ardeurs de jeunesse, et ces emportements,/ Nous font trouver d’abord quelques nuits agréables:/ 1480 Mais ces félicités ne sont guère durables,/ Et notre passion alentissant son cours,/ Après ces bonnes nuits donnent de mauvais jours./ De là viennent les soins, les soucis, les misères,/ Les fils déshérités par le courroux des pères.
Anselme à Léandre (IV. iii)
[When a man receives no dowry with his wife, but beauty only, repentance follows soon after wedlock; and the handsomest woman in the world; can hardly defend herself against a lukewarmness caused by possession. I repeat it, those fervent raptures, those youthful ardours and ecstacies, may make us pass a few agreeable nights, but this bliss is not at all lasting, and as our passions grow cool, very unpleasant days follow those pleasant nights; hence proceed cares, anxieties, miseries, sons disinherited through their fathers’ wrath.]
Anselme to Léandre (IV. 4, p. 54)

Sous quel astre ton maître a-t-il reçu le jour? (Célie, v. 152) Dessins par Lorentz, Jules David, etc. Gravures par les meilleurs artistes, Paris, Schneider, 1850. (fr.wikipedia)

L’Étourdi par Horace Vernet (theatre-documentation.com)

On Hippolyte: the Good Wife

When Anselme changes his mind and replaces Lélie with Léandre, Hippolyte takes Léandre aside so she can tell him what could hurt him. She is an understanding woman which will serve her and her relationship with her husband. Her father wants her to marry Léandre, so she will tell him as they walk, holding hands, toward the temple.

Je dois vous annoncer, Léandre, une nouvelle;/ Mais la trouverez-vous agréable, ou cruelle?
Hyppolyte à Léandre (II.viii)
[I have some news for you, Leander, but will you be pleased or displeased with it?]
Hippolyte to Léandre (II. 10, p.32)
Pour en pouvoir juger, et répondre soudain, Il faudrait la savoir.
Léandre à Hippolyte (II.viii)
[To judge of that, and make answer off-hand, I should know it.]
Léandre to Hippolyte (II. 10, p. 32)
Donnez-moi donc la main jusqu’au temple, en marchant je pourrai vous l’apprendre.
Hippolyte à Léandre (II.viii)
[Give me your hand, then, as far as the church, and I will tell it you as we go.]
Hippolyte to Léandre (II.10, p. 33)

The Good Wife is an archetypal figure.

Léandre tells Anselme that he has imagined all the consequences Anselme has discussed. Act Four, Scene Three reveals Molière’s knowledge of human nature. Anselme is one of Molière finest raisonneurs. Yet Léandre’s cœur will benefit from lessons life has taught Anselme. Léandre feels unworthy of so good a wife as Hippolyte.

1485 Dans tout votre discours, je n’ai rien écouté,/ Que mon esprit déjà ne m’ait représenté./ Je sais, combien je dois, à cet honneur insigne,/ Que vous me voulez faire, et dont je suis indigne,/ Et vois, malgré l’effort dont je suis combattu,/ 1490 Ce que vaut votre fille, et quelle est sa vertu:/ Aussi veux-je tâcher…
Léandre à Anselme (IV. iii)
[All that I now hear from you is no more than what my own reason has already suggested to me. I know how much I am obliged to you for the great honour you are inclined to pay me, and of which I am unworthy. In spite of the passion which sways me, I have ever retained a just sense of your daughter’s merit and virtue: therefore I will endeavour . . .
Léandre to Anselme (IV. 4, p. 54)

Somebody is opening this door; let us retire to a distance, lest some contagion spreads from it, which may attack you suddenly.]

Victor Hugo on l’Étourdi

In a footnote, Henri van Laun, our translator, writes that Victor Hugo looked upon L’Étourdi as the best written of Molière’s plays.

Victor Hugo appears to be of another opinion. M. Paul Stapfer, in his les Artistes juges et parties (2ième Causerie, the Grammarian of Hauteville House, p. 55), states: “the opinion of Victor Hugo about Moliere is very peculiar. According to him, the best written of all the plays of our great comic author is his first work, L’Etourdi. It possesses a brilliancy and freshness of style which still shine in le Depit amoureux, but which gradually fade, because Moliere, yielding unfortunately to other inspirations than his own, enters more and more upon a new way.” (p. 4)

RELATED ARTICLES

Molière’s “L’Étourdi,” “The Blunderer:” Lélie defends Célie … (3) (31 March 2020)
Molière’s “L’Étourdi,” “The Blunderer” (2) (16 February 2020)
Molière’s “L’Étourdi,” “The Blunderer” (1) (7 February 2020)

Sources and Resources

L’Étourdi ou les Contretemps is a toutmoliere.net publication.
The Blunderer is Gutenberg’s [eBook #6563].
The Blunderer is an Internet Archive publication.
Our translator is Henri van Laun.
Images belong to theatre-documentation.com, unless otherwise indicated.
Notes et Variantes (Maurice Rat, Pléiade, 1956).
Bold characters are mine.
Blaise Pascal’s Pensées are Gutenberg’s [eBook #18269]

Love to everyone 💕

Zanni Corneto, Harlequin & la Dona Lucretia

Molière’s “L’Étourdi,” “The Blunderer:” Lélie defends Clélie … (3)

31 Tuesday Mar 2020

Posted by michelinewalker in Comedy, Molière

≈ 4 Comments

Tags

Act 3, L'Étourdi, Molière, The Blunderer

355px-Oeuvres_de_Molière_-L'Étourdi_-_Bret_-_Jean-Baptiste_Simonet_btv1b86171826_116bis

L’Étourdi par Moreau le Jeune (théâtre-documentation.com)

ACT THREE

Virtuous & Virtuoso

In a previous post on Molière’s L’Étourdi ou les Contretemps, I noted that Mascarille, the rogue of L’Étourdi, looks upon his stratagems as virtuous. However, to be perfectly accurate, Mascarille is a virtuoso. Virtuosity suggests considerable dexterity, which describes Mascarille’s nimbleness.

Molière © SUPERSTOCK – SIPA

L’ÉTOURDI OU LES CONTRETEMPS

Dramatis Personæ (the cast)

Lélie defends Célie’s virtue

You may remember that in Act Three, Mascarille tells Léandre, Lélie’s rival, that Clélie is a loose woman. Léandre does not want to marry a woman who is “public property.” However, Lélie so loves Célie that he will not believe Léandre who says that she is stained. She is as pure as the morning dew. He calls her his divinity

Feignez, si vous voulez, de ne me pas entendre;/ 1005 Mais, croyez-moi, cessez de craindre pour un bien,/ Où je serais fâché de vous disputer rien;/ J’aime fort la beauté qui n’est point profanée,/ Et ne veux point brûler pour une abandonnée.
Léandre à Lélie (III. iii)
[Pretend, if you please, not to understand me ; but believe me, do not apprehend that I shall take a property which I should be sorry to dispute with you. I adore a beauty who has not been sullied, and do not wish to love a depraved woman.]
Léandre to Lélie (III. 3, p. 39)

Ah! que vous êtes bon!/ 1010 Allez, vous dis-je encor, servez-la sans soupçon,/Vous pourrez vous nommer homme à bonnes fortunes: Il est vrai, sa beauté n’est pas des plus communes;/ Mais en revanche aussi le reste est fort commun.
Léandre à Lélie (III. iii)
[Oh! how credulous you are! I tell you once more, you may attend on her now without suspecting anybody. You may call yourself a lady-killer. It is true, her beauty is very uncommon, but, to make amends for that, the rest is common enough.]
Léandre to Lélie (III. 3, p. 39)

Ce que j’avance ici me vient de bonne part.
Léandre à Lélie (III. iii)
[What I state here I have from very good authority.]
Léandre to Lélie (III. 3, p. 40)

Quiconque vous l’a dit, est un lâche, un pendard;/ On ne peut imposer de tache à cette fille:/ Je connais bien son cœur.
Lélie à Léandre (III. iii)
[Whoever told you so is a scoundrel and a rascal. Nobody can discover the least blemish in this young lady; I know her heart well.]
Lélie to Léandre (III. 3, p. 40)

Mascarille has told Léandre that Célie is not the pure woman she appears to be. How can he doubt Mascarille?

Mais enfin Mascarille,/ 1025 D’un semblable procès est juge compétent;/ C’est lui qui la condamne.
Léandre à Lélie (III. iii)
[But yet Mascarille is a very competent judge in such a cause: he thinks her guilty.]
Léandre to Lélie (III. 3, p. 40)

Act Three, Scene Four

When Mascarille enters the stage, Lélie is livid.

1035 Langue de serpent fertile en impostures,/ Vous osez sur Célie attacher vos morsures!/ Et lui calomnier la plus rare vertu,/ Qui puisse faire éclat sous un sort abattu!
Lélie à Mascarille (III. iv)
[You serpent’s tongue! so full of lies! dare you fasten your stings on Celia, and slander the most consummate virtue that ever added lustre to misfortune?]
Lélie to Mascarille (III. 4, p. 40)

At this point, Léandre learns that Lélie does not beat Mascarille. Lélie is spoiling Mascarille’s stratagem, which is to make others believe that they must trust him, because his master beats him. Mascarille tries to stop Lélie from saying the truth, but Lélie does not pay attention to him.

Quoi! châtier mes gens n’est pas en ma puissance?
Lélie à Léandre (III. iv)
[What! have I no right, then, to chastise my own servant?]
Lélie to Léandre (III. 4, p. 41)

Comment vos gens?
Léandre à Lélie (III. iv)
[What do you mean by saying “your servant?”]
Léandre to Lélie (III. 4, p. 41)

Encore! Il va tout découvrir.
Mascarille (III. iv)
[(Aside.) He is at it again! He will discover all.]
Mascarille (III. 4, p. 41)

Quand j’aurais volonté de le battre à mourir,/ Hé bien? c’est mon valet.
Lélie à Léandre (III. iv)
[Suppose I had a mind to thrash him within an inch of his life, what then? He is my own servant.]
Lélie to Léandre (III. 4, p. 41)

… C’est maintenant le nôtre.
Léandre à Mascarille (III. iv)
[At present he is mine.]
Léandre to Lélie (III. 4, p. 41)

Donc les coups de bâton n’étaient qu’imaginaires.
Léandre à Mascarille (III. iv)
Then all this cudgelling is purely imaginary?
Léandre to Mascarille (III. 4, p. 42)

Léandre leaves.

The Masquerades

As Act Three ends, Ergaste tells both Mascarille and Lélie, that he knows of a plot by Léandre. Léandre’s brigade will assault Trufaldin’s house, wearing a disguise, and will abduct Célie. They will be women. Lélie runs to Trufaldin asking him to keep his doors carefully closed.

Fermez soigneusement votre porte ce soir.
Lélie à Trufaldin (III. vii)
[Keep your door carefully closed tonight.]
Lélie to Trufaldin (III. 10, p. 46)

However, when Mascarille hears about the planned assault, he quickly gathers a brigade of his own that reaches Trufaldin’s house before Léandre and his team. Lélie finds Mascarille behind a disguise. He therefore blunders again and blames Mascarille. See the image at the bottom of this post. It is by François Boucher and Laurent Cars, and shows Mascarille dressed as a woman. Lélie lifts the veil.

Et contre cet assaut je sais un coup fourré,/ Par qui je veux qu’il soit de lui-même enferré;/ Il ne sait pas les dons dont mon âme est pourvue./Adieu, nous boirons pinte à la première vue.
Mascarille à Ergaste (III. v)
[Ay, well! He has not yet reached the height of his happiness; I may perhaps be beforehand with him; and as to this thrust, I know how to give him a counter- thrust, by which he may run himself through. He is not aware with what gifts I am endowed. Farewell, we shall take a cup together next time we meet.]
Mascarille to Ergaste (III. 6, p. 45)

Mascarille’s masquerade’s is foiled by Lélio. He blunders again. But he claims not to have been ignored only to switch to self-imprecation. Lélie/Lelio blames Mascarille only to blame himself. However is he entirely to blame? “How adverse is our fate!” Mascarille is a virtuoso, but there are “contretemps,” events that are always standing in both Lélie’s and Mascarille’s way.

Hélas! quelle surprise! et quel sort est le nôtre! L’aurais-je deviné,n’étant point averti/ 1230 Des secrètes raisons qui t’avaient travesti!/ Malheureux que je suis, d’avoir dessous ce masque,/ Été sans y penser te faire cette frasque!/ Il me prendrait envie, en ce juste courroux,/ De me battre moi-même, et me donner cent coups.
Lélie à Mascarille (III. viii)
[Alas! How astonished I am! How adverse is our fate! Could I possibly have guessed this, as you did not secretly inform me that you were going to disguise yourself?Wretch that I am, thoughtlessly to play you such a trick, while you wore this mask. I am in an awful passion with myself, and have a good mind to give myself a sound beating.]
Lélio to Mascarille (III. 12, p. 46)

In Act Three Scene Nine, Léandre’s brigade arrives. Trufaldin tells them that:

… La belle est dans le lit, et ne peut vous parler;/ 1250 J’en suis fâché pour vous: mais pour vous régaler/ Du souci qui pour elle ici vous inquiète,/ Elle vous fait présent de cette cassolette.
Trufaldin à Léandre (III. ix)
[… the girl is in her bed and cannot speak to you; I am sorry; but to repay you for all the trouble you have taken for her sake, she begs you will be pleased to accept this pot of perfume.]
Trufaldin to Léandre (III. 13, pp. 47 – 48)

We break here. Next we will read a conversation between Léandre and Anselme.
It is Act Four, Scene Three. The rest of the play is short. Lélie has a second rival.

(to be continued)

RELATED ARTICLES

Molière’s “L’Étourdi,” “The Blunderer” (2) (16 February 2020)
Molière’s “L’Étourdi,” “The Blunderer” (1) ( 7 February 2020)

Sources and Resources

L’Étourdi ou les Contretemps is a toutmoliere.net publication.
The Blunderer is Gutenberg’s [eBook #6563].
The Blunderer is an Internet Archive publication.
Our translator is Henri van Laun.
Images belong to theatre-documentation.com, unless otherwise indicated.
Notes et Variantes (Maurice Rat, Pléiade, 1956).
Bold characters are mine.

Love to everyone 💕

The Coronavirus.3

14 Saturday Mar 2020

Posted by michelinewalker in Epidemic, Italy, Pandemic

≈ 10 Comments

Tags

Bomb, Containment, Covid-19, Dr Giacomo Grasselli, Milan, Prevention, Triage, Victims

The Creation of Adam (The Verge)

Tom Hanks, Rita Wilson, his wife, and Canadian Prime Minister Justin Trudeau’s wife, Sophie Grégoire, have tested positive for Covid-19. Therefore, Prime Minister Justin Trudeau is in self-isolation, but he can work. Wherever it is possible, people are working from home. Moreover, in certain countries, employees whose benefits do not include paid sick leaves are being supported by their government. I hope that movement will spread because avoiding exposure to the virus is our best weapon. Covid-19 is extremely dangerous, but if we work together, we may defeat it.

Worse than a bomb … a tsunami

The BBC interviewed Italian Dr Giacomo Grasselli who stated that Covid-19 arrived in his country in a manner that was worst than a bomb. Covid-19 spreads quickly, it is agressive, and it is new. It’s a tsunami, says Dr Grasselli (CBC).

Italy was not given sufficient time to prepare. But many countries had time to prepare, at least minimally. They were able to enlarge medical facilities and purchase the materials they require. As well, people are being sent home, so they do not catch the disease and transmit it.

Pandemics are horrible and Covid-19 is a new threat, but I am seeing people working together to save themselves and to save their neighbours. Doctors alone cannot defeat Covid-19. It’s a community project.

Italy had little time to prepare, but the first order of business was containment, which is what Dr Grasselli is advising and which many of us have been given the time to do. However, Covid-19 is nevertheless a surprise and many of us are in denial.

I heard people trivialise the situation, which we can’t. We must keep at a distance from one another, which, in the days of coronavirus, is working together. Covid-19 is real and it is happening.

Two weeks before the bomb fell and multiplied, Dr Grasselli would not have expected the calimity that is unfolding.

I embedded a BBC (British) interview with Italian Dr Giacomo Grasselli (publications) as well as a CBC (Canada) interview.

Love to everyone ♥

The BBC

The CBC

https://www.cbc.ca/radio/asithappens/as-it-happens-monday-edition-1.5491009/italians-must-follow-rules-and-stay-home-to-stop-coronavirus-disaster-says-doctor-1.5491013

The Creation of Adam by Michelangelo (Wikipedia)

Molière’s “L’Étourdi,” “The Blunderer” (2)

16 Sunday Feb 2020

Posted by michelinewalker in Comedy, Commedia dell'arte, Molière

≈ Comments Off on Molière’s “L’Étourdi,” “The Blunderer” (2)

Tags

L'Étourdi, Lélie, Mascarille, Molière, music, The Blunderer, Virtue and Virtue, zanni

L’Etourdi par Edmond Geffroy (theatre-documentation.com)

L’Étourdi par Edmond Hédouin (theatre-documentation.com)

Virtue and Virtue

L’Étourdi ou les Contretemps is a comédie d’intrigue. The plot dominates, rather than a portrayal of manners. L’Étourdi‘s plot could be described as an “all’s well that ends well,” which suggests a struggle. In most comedies, young lovers, such as the innamorati of the commedia dell’arte, overcome an obstacle to their marriage.

However, L’Étourdi differs from most comedies because Molière juxtaposed two forms of virtue one of which is standard virtue, and the other, a zanni or rogue virtue. For instance, in Act One, Lélie returns to Anselme a purse that fell to the ground. By doing so, he is morally in the right, by standard virtue. But he unknowingly lost the money Lélie and Mascarille needed to purchase Célie, which was virtue by Mascarille’s standards.

Mascarille calls “virtue” the devilish tricks, or stratagems, he uses in order to ensure the marriage of the young lovers of comedy. His stratagems are an upside-down morality, but they are the means that justify the end. To a certain extent, a zanni’s tricks border on Machiavellianism (see Machiavelli). But, ironically, in L’Étourdi, the young lover himself, Lélie, crosses so many of Mascarille’s plans that the dénouement, the happy ending of comedies, barely stems from the activity of clever characters undoing a pater familias or other blocking character. It stems instead from a largely theatrical anagnorisis, a recognition scene.

You may remember that, in Act One, Lélie, Pandolfe’s son, returned a lost purse, une bourse, to its owner, Anselme, thereby crossing Mascarille’s plan to use the money to purchase Célie, a slave to Trufaldin. Lelio has a rival, Léandre, a “fils de famille,” so matters are pressing.

Sous quel astre ton maître a-t-il reçu le jour? (Célie, v. 152) Dessins par Lorentz, Jules David, etc. Gravures par les meilleurs artistes, Paris, Schneider, 1850. (fr.wikipedia)

Our dramatis personæ is:

LÉLIE, (Lelio, son of) fils de Pandolphe/Pandolfe.
CÉLIE, (slave of) esclave de Trufaldin.
MASCARILLE, (servant to) valet de Lélie.
HIPPOLYTE, (daughter of) fille d’Anselme.
ANSELME, (an old man) vieillard.
TRUFALDIN, (an old man) vieillard.
PANDOLPHE/PANDOLFE, (an old man) vieillard.
LÉANDRE, (son) fils de famille.
ANDRÈS, (believed to be) cru égyptien.
ERGASTE, valet.
UN COURRIER.
DEUX TROUPES DE MASQUES.

The scene is in Messina

Pandolfe’s feigned death

In Act Two of L’Étourdi, Mascarille’s plan is to make believe that Pandolfe has died. Pandolfe has been sent to his farm, where something has gone wrong. So Mascarille tells Anselme that Pandolfe has died and that Lélie needs money to bury his father appropriatly. The money is therefore lent to Lélie and Mascarille under false pretense. Pandolfe and Anselme are friends and Anselme doubts that Pandolfe is dead. Fearing trouble, he asks for a receipt from Lelio. Mascarille reports that Lélie’s grief is so overwhelming that he cannot provide a receipt. However, from the very moment he is told about Pandolfe’s unexpected death, Anselme suspects a ruse.

Qui tôt ensevelit, bien souvent assassine,/ Et tel est cru défunt qui n’en a que la mine.
Anselme (II. ii)
[He who puts a shroud on a man too hastily very often commits murder; for a man is frequently thought dead when he only seems to be so.]
Anselme (II. 3, p. 24)

However, Pandolfe returns, scaring Anselme. Is Pandolfe a ghost?

Ah ! bon Dieu, je frémi !
Anselme (II. iv)
[Oh Heavens! how I tremble!]
Anselme (II. 5, p. 26)

Therefore, Anselme knows that he has been played and he is quite ashamed of himself:

Et moi, la bonne dupe, à trop croire un vaurien,/630 Il faut donc qu’aujourd’hui je perde, et sens, et bien? Il me sied bien, ma foi, de porter tête grise,/ Et d’être encor si prompt à faire une sottise!/ D’examiner si peu sur un premier rapport…/ Mais je vois…
Anselme, seul (II. iv)
[And I, like a ninny, believe a scoundrel, and must in one day lose both my senses and my money. Upon my word, it well becomes me to have these gray hairs and to commit an act of folly so readily, without examining into the truth of the first story I hear…! But I see…]
Anselme, alone (II. 5, p. 28)

Lélie returns his money to Anselme’s promptly, but foolishly, by a tricskter’s “virtue”. In order to be reimbursed, Anselme also uses a trick, a harmless trick. He claims that some of the money could be counterfeit. However, Lélie is delighted to return the money he and Mascarille had borrowed, and he doubts that any is counterfeit.

Vous me faites plaisir de les vouloir reprendre;
Mais je n’en ai point vu de faux, comme je croi.
Lélie à Anselme (II. v)
[I am very much obliged to you for being willing to take them back, but I saw none among them that were bad, as I thought.]
Lélie to Anselme (II. 6, p. 28)

LÉLIE HAS JUST BLUNDERED

In Act One, Lélie had returned the purse that had fallen to the ground to its owner, Anselme. Matters now differ albeit slightly. Mascarille has a plan. He and Lélie borrow money to bury Pandolfe respectfully which is a nasty ruse. But once the money is returned, Célie cannot be bought. Moreover, Anselme will not allow his daughter Hippolyte to marry Lélie, as previously arranged by their respective fathers. He is disillusioned at an early point in the comedy, except that, in Act One, Scene Seven, Pandolfe, Lélie’s father, told Mascarille, that he is disappointed with his son.

… À parler franchement,
Je suis mal satisfait de mon fils.
Pandolfe à Mascarille (I. vii)
[To tell you the truth, I am very dissatisfied with my son.]
Pandolfe to Mascarille (I. 9, p. 19)

But let us return to Act Two, Scene Five

Ma foi, je m’engendrais* d’une belle manière!/ Et j’allais prendre en vous un beau-fils fort discret./ Allez, allez mourir de honte, et de regret.
Anselme (II. v)
* from gendre (son-in-law)
[Upon my word, I was going to get a nice addition to my family, a most discreet son-in-law. Go, go, and hang yourself for shame and vexation.]
Anselme (II. 6. p. 29)

A Rogue’s Honour

As noted above, in L’Étourdi, Molière juxtaposes Lélie’s morally acceptable behaviour (by societal standards) and the frequently despicable rules of conduct that constitute a rogue’s honour.

Although they remain resourceful, Mascarille, a zanni, and Lélie, the young lover, are now penniless. However, as Mascarille is reprimanding his master, Léandre can be seen purchasing Lélie’s “divinity,” Célie. A clever Mascarille screams and claims to have been beaten by Lélie. He tells Léandre, he will no longer serve Lélie, which is a lie among a multitude of lies. However, all is not lost. Léandre has purchased Célie, but he cannot “collect” her, so to speak, until his father has consented to the marriage. Mascarille is delighted. He has a hiding place: a house where Célie will be “safe.”

Célie will therefore be taken “hors de la ville,” (II. viii), outside town, to a house where Lélie will get her back. Although Mascarille tells everyone he is working for them, he works for his master.

Vivat Mascarille, fourbum imperator!

In Act II, Scene Nine, Léandre is showing the ring Trufaldin must see before freeing Célie. Fearing Célie will be removed, Lélie has a courier deliver a letter to Trufaldin. According to the letter, Célie is the daughter of Dom Pedro de Gusman, from Spain, who will come to get his daughter back. Lélie ruined a perfect plan, so Mascarille is mortified. This episode, however, suggest that Célie may have a father.

Vous avez fait ce coup sans vous donner au diable?
Mascarille à Lélie (II. xi)
[And you did all this without the help of the devil?]
Mascarille to Lelio (II. 14, p. 35)

LÉLIE HAS BLUNDERED

Moreau le Jeune et Jean-Baptiste Simonet (commons.wikimedia.org & BnF)

L’Étourdi par Adolphe Lalauze (etching) (theatre-documentation.com)

ACT THREE

In Act Three, Scene One, Mascarille wonders whether he should continue to serve a master who jeopardizes, or ruins, ploys that should be successful. He thinks matters over and decides that he will carry on, but that, henceforth, he will work for his glory, not his master’s.

915 Mais aussi, raisonnons un peu sans violence ;/ Si je suis maintenant ma juste impatience,/ On dira que je cède à la difficulté,/ Que je me trouve à bout de ma subtilité ;/ Et que deviendra lors cette publique estime,/ Qui te vante partout pour un fourbe sublime, /Et que tu t’es acquise en tant d’occasions, À ne t’être jamais vu court d’inventions ? L’honneur, ô Mascarille, est une belle chose;/ À tes nobles travaux ne fais aucune pause./Et quoi qu’un maîtrepour te faire enrager,/ Achève pour ta gloire, et non pour l’obliger.
Mascarille (III. i)
[But let us argue the matter a little without passion; if I should now give way to my just impatience the world will say I sank under difficulties, that my cunning was completely exhausted. What then becomes of that public esteem, which extols you everywhere as a first-rate rogue, and which you have acquired upon so many occasions, because you never yet were found wanting in inventions? Honour, Mascarille, is a fine thing; do not pause in your noble labours; and whatever a master may have done to incense you, complete your work, for your own glory, and not to oblige him.]
Mascarille (III. 1, pp. 36-37)

By now, Léandre has purchased Célie, but it turns out that he cannot “collect” her, so to speak. Trufaldin cannot release Célie without first seeing a ring and Léandre must first seek his father’s consent. He is a “fils de famille.” Not a problem! Mascarille can take Célie to a safe house. Léandre is duped. Once Clélie leaves Trufaldin’s house, she will be handed over to Lélie, Mascarille being Lélie’s servant, not Léandre’s.

LÉLIE HAS BLUNDERED

In Act Three, Scene Two, Mascarille questions Célie’s integrity. Léandre, if he marries her, he will marry le bien public, public property.

Non, vous ne me croyez pas, suivez votre dessein,/ Prenez cette matoise, et lui donnez la main;/ Toute la ville en corps reconnaîtra ce zèle,/ Et vous épouserez le bien public en elle.
Mascarille à Léandre (III. ii)
[No, pray do not believe me, follow your own inclination, take the sly girl and marry her; the whole city, in a body, will acknowledge this favour; you marry the public good in her.]
Mascarille to Léandre (III. 2, p. 38)

Given that this information comes from Mascarille, whom he trusts, Léandre is inclined to believe that Célie is a loose woman. Lélie is furious. Mascarille confirms that he told Léandre that Célie was not as she appeared. However, Mascarille works for Lélie, not for Léandre. A rogue can do little unless he gains the confidence of the persons he plays. By Lélie’s standard, Léandre’s words are slanderous, whether or not they are Mascarille’s words. He is ready to beat Léandre, which does not surprise Léandre. Mascarille ran away from Lélie because his master, Lélie, was beating him, which was a lie.

Lélie/Lelio is so angry that Mascarille walks in and confirms that Léandre repeated his words, Mascarille’s words. False statements are his “industrie.”

Doucement, ce discours est de mon industrie.
Mascarille à Lélie (III. iv)
[(In a whisper to Lelio). Gently; I told him so on purpose.]
Mascarille to Lelio (III. 4, p. 40)

Lélie is sinning by a rogue’s standards and appeasing him is difficult. He even draws his sword. Léandre walks away and Mascarille cannot believe that Lélie could not see that that he had lied to Lélie’s benefit. Zanni lie. He defamed Célie, but his words were the means that could lead to a happy ending. “All’s well that ends well.” Mascarille is indignant.

LÉLIE HAS BLUNDERED

Et vous ne pouviez souffrir mon artifice?/ Lui laisser son erreur, qui vous rendait service,/ Et par qui son amour s’en était presque allé?/1090 Non, il a l’esprit franc, et point dissimulé:/ Enfin chez son rival je m’ancre avec adresse,/ Cette fourbe en mes mains va mettre sa maîtresse;/ Il me la fait manquer avec de faux rapports;/ Je veux de son rival alentir les transports:/ 1095 Mon brave incontinent vient qui le désabuse,/ J’ai beau lui faire signe, et montrer que c’est ruse;/ Point d’affaire, il poursuit sa pointe jusqu’au bout,/ Et n’est point satisfait qu’il n’ait découvert tout:/ Grand et sublime effort d’une imaginative/ 1100 Qui ne le cède point à personne qui vive! C’est une rare pièce! et digne sur ma foi,/ Qu’on en fasse présent au cabinet d’un roi!
Mascarille à Lélie (III. iv)
[And you could not let the artifice pass, nor let him remain in his error, which did you good service, and which pretty nearly extinguished his passion. No, honest soul, he cannot bear dissimulation. I cunningly get a footing at his rival’s, who, like a dolt, was going to place his mistress in my hands, but he, Lelio, prevents me getting hold of her by a fictitious letter; I try to abate the passion of his rival, my hero presently comes and undeceives him. In vain I make signs to him, and show him it was all a contrivance of mine; it signifies nothing; he continues to the end, and never rests satisfied till he has discovered all. Grand and sublime effect of a mind which is not inferior to any man living! It is an exquisite piece, and worthy, in troth, to be made a present of to the king’s private museum.]
Mascarille to Lélie (III. 5, p. 42)

Mascarille’s tirade provides insight in the difficult role zanni play, a role that may cause Mascarille to be jailed. He changes the subject because he wants to know if Lelio has made peace with his father.

… C’est que de votre père il faut absolument./ Apaiser la colère.
Mascarille à Lélie (III. iv)
[You must, without delay, endeavour to appease your father’s anger.]
Mascarille to Lelio (III. 5, p. 44)

Mascarille has learned that Pandolfe is angry.

Il craint le pronostic [approaching death], et contre moi fâché,
On m’a dit qu’en justice il m’avait recherché :
Mascarille à Lélie (III. iv)
[The good sire, notwithstanding his age, is very fond of life, and cannot bear jesting upon that subject; he is alarmed at the prognostication, is so very angry that I hear he has lodged a complaint against me.]
Mascarille to Lelio (III. 5, p. 44)

Consequently, Mascarille could find himself in the confined “logis du Roi,” jail, and fears he may feel so comfortable that he could be there for a very long time:

J’ai peur, si le logis du Roi fait ma demeure,/ De m’y trouver si bien dès le premier quart d’heure,/ Que j’aye peine aussi d’en sortir par après : / Contre moi dès longtemps on a force décrets ;/ Car enfin, la vertu n’est jamais sans envie,/ Et dans ce maudit siècle, est toujours poursuivie./ Allez donc le fléchir.
Mascarille à Lélie (III. iv)
[I am afraid that if I am once housed at the expense of the king, I may like it so well after the first quarter of an hour, that I shall find it very difficult afterwards to get away. There have been several warrants out against me this good while; for virtue is always envied and persecuted in this abominable age. Therefore go and make my peace with your father.]
Mascarille to Lélio (III. 5, p. 44)

Mascarille’s virtue is a rogue’s virtue. It is upside down. It is not virtue as Lelio sees it. And it is dangerous. He has “killed,” as a joke, a man who is nearing death and who therefore fears his human condition: we die.

Je l’ai fait ce matin mort pour l’amour de vous;/ La vision le choque, et de pareilles feintes/ Aux vieillards comme lui sont de dures atteintes,/ Qui sur l’état prochain de leur condition/ Leur font faire à regret triste réflexion./ Le bonhomme, tout vieux, chérit fort la lumière/ Et ne veut point de jeu dessus cette matière;/ Il craint le pronostic, et, contre moi fâché,/ On m’a dit qu’en justice il m’avait recherché.
Mascarille à Lélie (III. iv)
[Yes, but I am not; I killed him this morning for your sake; the very idea of it shocks him. Those sorts of jokes are severely felt by such old fellows as he, which, much against their will, make them reflect sadly on the near approach of death. The good sire, notwithstanding his age, is very fond of life, and cannot bear jesting upon that subject; he is alarmed at the prognostication, and so very angry that I hear he has lodged a complaint against me.]
Mascarille to Lelio (III. 5, p. 44)

Lélie will blunder again: the maskerades, the dinner at Trufaldin’s. He will also be beaten, disguised as an Armenian. Two Egyptian women will fight so vigorously that both will loose their wig. But one knows that Andrès, who is about to be seen, will be another rival, though briefly. It will be found that he and Célie are in fact Trufaldin’s long lost children. An anagnorisis, a theatrical device, will close the play. (to be continued)

L’Étourdi par Horace Vernet (theatre-documentation.com)

Allow me to quote Mascarille again.

Car enfin la vertu n’est jamais sans envie,/ Et dans ce maudit siècle, est toujours poursuivie.
Mascarille (III. iv)
[… for virtue is always envied and persecuted in this abominable age.]
Mascarille (III. 5. p. 44)

RELATED ARTICLE

Molière’s L’Étourdi or The Blunderer (7 February 2020)

Sources and Resources

L’Étourdi ou les Contretemps is a toutmoliere.net publication.
The Blunderer is Gutenberg’s [eBook #6563].
The Blunderer is an Internet Archive publication.
Our translator is Henri van Laun.
Images belong to theatre-documentation.com, unless otherwise indicated.
Notes et Variantes (Maurice Rat’s 1956 Pléiade edition).
Bold characters are mine.

Love to everyone 💕

Louis XIV and Molière par Jean-Léon Jérôme (commons. wikimedia.org)

Polichinelle / Pulcinella

13 Thursday Feb 2020

Posted by michelinewalker in Comédie-Ballet, Commedia dell'arte, Jean-Baptiste Lully, Molière

≈ 6 Comments

Tags

Apologies, commedia dell'arte, Igor Stravinsky, Molière, Polichinelle, Pulcinella

Polichinelle par Maurice Sand (Getty Images)

Dear Readers,

I was unwell and my computer was failing me. I asked a local technician and friend to buy a computer for me and to set it up. The former computer had not been repaired properly.

Polichinelle is a well-known character in the commedia dell’arte. He is Pulcinella.

Sincere apologies for the delay and love to everyone. We return to L’Étourdi, The Blunderer.

Igor Stravinski

220px-SAND_Maurice_Masques_et_bouffons_12

Polichinelle par Maurice Sand

Molière’s “L’Étourdi,” “The Blunderer” (1)

07 Friday Feb 2020

Posted by michelinewalker in Comedy, Molière

≈ 2 Comments

Tags

Beltrame di Milano, comédie d'intrigue, L'Étourdi ou les contretemps, L'Inavvertito, Monsieur Frère du Roi, Petit-Bourbon

L'Étourdi (Gravure Edmond Hédouin?) ( Documents iconographiques) - BNF

L’Étourdi par Edmond Hédouin (théâtre-documentation.com)

In the case of L’Étourdi ou les Contretemps, the short video featured on 5 February is very useful. It is about the young lovers of comedy, called the innamorati in the commedia dell’arte. Molière’s comedies are often rooted in the commedia dell’ arte. Monsieur de Pourceaugnac features a cruel zanno. Sbrigani goes too far in ensuring that Julie marries Éraste.

In the Blunderer, we have a kind zanno, Mascarille but a young lover who blunders. Lélie is in love with Célie, but in Scene One of Act One, he tells us that he has a rival. The rival is a fine young man named Cléandre. So he needs help, Mascarille’s help. Mascarille is the best fourbe or trickster, but Lélio is, the worst young lover. He foils every one of Mascarille eleven attempts to ensure Célie marries Lélie. Mascarille is the best among zanni.

Sources

L’Étourdi originates in Nicolo Barbieri’s L’Inavvertito. Barbieri is also known as Beltrame di Milano. Molière’s play also borrows from Luigi Groto’s Émilia, Fornaris’ Angelica, Cervantès’ La Belle Égyptienne, a Christmas tale by Noël du Fail, and by Tristan’s le Parasite. In the Middle Ages, it may have been called a sotie. Molière also used elements from Plautus and Terence.

L’Étourdi was first produced in Lyon in 1655, but it may have been written earlier. In 1655, Molière still toured the provinces. After Molière returned to Paris, l’Étourdi was performed at the Théâtre du Petit-Bourbon in November 1658 by the Troupe de Monsieur, Frère Unique du Roi. Molière had found patronage, Louis XIV’s only brother, called Monsieur. The play was a great success.

Study for L’Étourdi by François Boucher (Catalogue Gazette Drouot)

Our Dramatis Personæ is

Lelio (Lélie in the French original), a young aristocrat
Leander (Léandre), Lelio’s rival
Mascarille, Lelio’s servant
Hippolyta (Hippolyte), a young woman
Celia (Célie), a gypsy girl
Trufaldin, an old man
Pandolphus (Pandolfe), Lelio’s father
Anselmo (Anselme), Hippolyta’s father
Ergaste, a servant
Andrès, a young man

The Scene is in Messina.

Lélie, who loves Célie, has learned that he has a rival. Léandre also loves Célie. He therefore needs Mascarille’s help.

In an attempt to know Célie’s wishes, Mascarille visits Célie. Lélie follows. Mascarille needs to ascertain whether Clélie would marry Lélie. Lélie tells Célie that he loves, but uses metaphors she does not like; she does not want to injure anyone’s eyes.

Mon cœur qu’avec raison votre discours étonne,/ N’entend pas que mes yeux fassent mal à personne;/ Et, si dans quelque chose ils vous ont outragé,/ Je puis vous assurer que c’est sans mon congé.
Célie à Lélie (I. iii, p. 6)
[My heart, which has good reason to be astonished at your speech, does not wish my eyes to injure any one; if they have offended you in anything, I can assure you I did not intend it.]
Célie to Lélie (I. 3) Gutenberg’s [eBook #6563]

Clélie lives in Trufaldin’s house. He has bought her when she was a child and is willing to sell her. She loves Lélie.

In Scene Four, Célie says

Si ton maître en ce point de constance se pique,/165 Et que la vertu seule anime son dessein,/ Qu’il n’appréhende pas de soupirer en vain;/ Il a lieu d’espérer, et le fort qu’il veut prendre/ N’est pas sourd aux traités, et voudra bien se rendre.
Célie à Mascarille (I. iv, pp. 8 – 9)
[If your master is really constant in his affections, and if virtue alone prompts him, let him be under no apprehension of sighing in vain: he has reason to hope, the fortress he wishes to take is not averse to capitulation, but rather inclined to surrender.]
Célie to Mascarille (I. 4)

She’s about to tell Mascarille what he must do:

Je vais vous enseigner ce que vous devez faire.
Clélie à Mascarille (I. iv, p. 9)
I am going to teach you what you ought to do.
Clélie to Mascarille (I. 4)

FIRST BLUNDER

But Lélie/Lelio joins the group. He wants to know how much he must pay:

Cessez, ô! Trufaldin, de vous inquiéter,/ C’est par mon ordre seul qu’il vous vient visiter;/175 Et je vous l’envoyais ce serviteur fidèle,/ Vous offrir mon service, et vous parler pour elle,/ Dont je vous veux dans peu payer la liberté,/ Pourvu qu’entre nous deux le prix soit arrêté.
Lélie à Trufaldin (Clélie’s owner) (I. iv, p. 9)
[Trufaldin, give yourself no farther uneasiness; it was purely in obedience to my orders that this trusty servant came to visit you; I dispatched him to offer you my services, and to speak to you concerning this young lady, whose liberty I am willing to purchase before long, provided we two can agree about the terms.]
Lélie to Trufaldin (I. 4)
La peste soit la bête.
[(Aside). Plague take the ass!]

We are still in Act One. Mascarille no longer wants to help Lélie, but he wants to protect his reputation as a fourbe.

Lélie needs money. So he visits Anselme, Hippolytes’ father and tells him that his Nérine is in love with him and wants to marry him. Anselme is flattered. He wants la bourse, a word he replaces with bouche (mouth): “la bouche avec la sienne.”

[So that…
(Endeavouring to take the purse). So that she dotes on you; and regards you no longer…
The purse has fallen to the ground.]

Anselme is about to leave, but turns around. He would like to buy Nérine a ring or other bagatelle. Mascarille has a ring which he will give to Nérine. Anselme will pay if the ring pleases her. Mascarille planned to return.

SECOND BLUNDER

In Scene Six, Lélie sees the purse on the ground and returns it to Anselme. Mascarille planned to take the fallen purse, but Lélie has made a mistake. Lélie says that Anselme would have lost his money, which is to his credit. Lélie doesn’t realize that the money would be used to help him marry Clélie.

Lélie asks: Qu’est-ce donc? qu’ai-je fait?
[What is the matter now? What have I done?]

Mascarille tells him that he has been a sot.
Le sot, en bon françois,
(I. vi, p. 14)
Mascarille à Lélie
[…you have acted like a fool.]
(I. 8)

275 Oui, bourreau, c’était pour la captive,/ Que j’attrapais l’argent dont votre soin nous prive.
Mascarille à Lélie (I. vi, p. 15)
[Yes, ninny; it was to release the captive that I was getting the money, whereof your officiousness took care to deprive us.]
Mascarille to Lélie

In Scene VII, Pandolfe (Lélie’s father) tells Mascarille that he is not very pleased with his son. Mascarille agrees with Pandolfe. He’s having a hard time. Given that Pandolfe wants Lélie to marry Hippolyte (Anselme’s daughter), Pandolfe and Mascarille have different reasons to object to Lélie’s behaviour. Ironically, he tells Pandolfe that Lélie should not refuse to marry Hippolyte.

À l’heure même encor nous avons eu querelle,/ Sur l’hymen d’Hippolyte, où je le vois rebelle;/ 305 Où par l’indignité d’un refus criminel,/ Je le vois offenser le respect paternel.
Mascarille à Pandolfe (I. vii, p. 16)
[Just now we had a quarrel again about his engagement with Hippolyta, which, I find he is very averse to. By a most disgraceful refusal he violates all the respect due to a father.]
Mascarille to Pandolfe (I. 9)

Pandolfe is surprised. But Mascarille has the audacity to tell Pandolfe that he urges his son, Lélie, to be like his father.

He adds that reason is no longer his son guide and that Pandolfe’s wishes are betrayed. He is in love with Célie, which Pandolfe knew.

… Sachez donc que vos vœux sont trahis,/ Par l’amour qu’une esclave imprime à votre fils.
Mascarille à Pandolfe (I. vii, p. 17)
[Know then that your wishes are sacrificed to the love your son has for a certain slave.]
Mascarille to Pandolfe (I. 8)

Anselme is on good terms with Trufaldin. So, Mascarille suggests to Pandolfe that Anselme be asked to buy Célie, who will be transported to a foreign land. However, she will not be sold, will be given to to Lélie.

Hippolyte, Anselme’s daughter, is within hearing distance. She feels betrayed, by Mascarille , but Mascarille reassures her.

Non; mais il faut savoir que tout cet artifice/ Ne va directement qu’à vous rendre service:/385 Que ce conseil adroit qui semble être sans fard,/ Jette dans le panneau l’un et l’autre vieillard:/ Que mon soin par leurs mains ne veut avoir Célie,/ Qu’à dessein de la mettre au pouvoir de Lélie:/ Et faire que l’effet de cette invention./390 Dans le dernier excès portant sa passion,/ Anselme rebuté de son prétendu gendre,/ Puisse tourner son choix du côté de Léandre.
Mascarille à Hippolyte (I. viii, p. 19)
[No; but you must know that all this plotting was only contrived to serve you; that this cunning advice, which appeared so sincere, tends to make both old men fall into the snare; that all the pains I have taken for getting Celia into my hands, through their means, was to secure her for Lelio, and to arrange matters so that Anselmo, in the very height of passion, and finding himself disappointed of his son-in-law, might make choice of Leander.]
Mascarille to Hippolyte (I. 10)

At this point, everyone thinks that Mascarille is working for a person other than Lélie. He makes believe he is working for Pandolfe and for Hippolyte. But, Mascarille continues to work for Lélie, who blunders. Lélie is his master.

THIRD BLUNDER

In Scene Nine, when Anselme tries to purchase Célie, Lélie believes that she will belong to Anselme and not to him. So, he prevents Anselme from buying Célie. She is returned to Trufaldin.

Blunders

In forthcoming acts, Lélie continues to blunder, but he is not always to blame. How could he know the purse he returned to Anselme contained money that would be used to buy Célie, who is a slave. At one point, it is suggested that the two should accorder leurs flûtes. But if this were done, we would lose our Étourdi.

I will tell about other blunders in a second post, but one should know that all ends well.

It turns out that Célie is Trufaldin’s daughter and Andrès, whom Célie once loved, is her brother. A marriage between Andrès and Célia is impossible. Andrès allows Lélie to marry his sister. Anselme had rejected Lélie. Hippolyte will marry Léandre.

(to be continued)

Sources and Resources

L’Étourdi is a toutmoliere.net publication
The Blunderer is Gutenberg’s [eBook #6563]
Images belong to theatre-documentation.com
Notes et Variantes (Maurice Rat’s 1956 Pléiade edition)

—ooo—

Love to everyone 💕

Menuet des Trompettes – Jean-Baptiste Lully

Lélie par Edmond Geffroy (theatre-documentation.com)

The Commedia dell’arte: the Innamorati

05 Wednesday Feb 2020

Posted by michelinewalker in Comedy, Commedia dell'arte, Italy, Molière

≈ 6 Comments

Tags

commedia dell'arte, innamorati, L'Étourdi, Mascarille, The Blunderer, the young lovers

Commedia dell’arte troupe I Gelosi in a late 16th-century Flemish painting (wiki2.org)

L’Étourdi (The Blunderer, or the Counterplots, c. 1653) is our next play by Molière. In fact, it is the last play we read, but although I wrote at least one post on every play, I have not always included dialogues. I will edit posts that require quotations. There will remain two short plays that are reflections on Molière’s use of the genre, by Molière and his troupe.

Once again, we have gradations within stock characters originating in the commedia dell’arte. Sbrigani, one of the zanni, is the very devil, but Mascarille, who helps Lélie, is a forgiving zanno.

Similarly, Molière’s plays feature excellent young lovers, such as the Bourgeois gentilhomme‘s Cléonte, but Lélie, L’Étourdi, spoils the work done by Mascarille. Like all the jaloux, he is his own worst enemy, but he is not a jaloux.

Lélie is a scatterbrain. Every time Mascarille succeeds in his attempts to help Lélie marry Célie, Lélie spoils the stratagem. Célie, a slave bought by Trufaldin, can be purchased, but the play features an anagnorisis, a recognition scene.

Isabella was a young lover.

Isabella par Maurice Sand (Wikipedia)

The Commedia dell’arte: the Vecchi

04 Tuesday Feb 2020

Posted by michelinewalker in Comedy, Commedia dell'arte, Jean-Baptiste Lully, Molière

≈ 7 Comments

Tags

Il Capitano, Il Dottore, stock characters, the blocking character, the Miles Gloriosus, the Vecchi (old)

The Captain uses bravado and excessive shows of manliness to hide his true cowardly nature. Engraving by Abraham Bosse. (wiki2.org)

The Old Men: the Vecchi

The video inserted in Comments on “Monsieur de Pourceaugnac”, was about zanni in the commedia dell’arte. Zanni range from astute servants, confidantes, and laquais to unscrupulous tricksters: Sbrigani. But the video inserted below is about old men, called vecchi (a vecchio). They stand in the way of the innamorati‘s marriage. The innamorati are the commedia dell’arte‘s young lovers.

Among vecchi, we have the pedant or doctor (Il Dottore), the captain (Il Capitano), the miserly Pantalone, the miles gloriosus, (the braggart soldier and fanfaron, and the vecchio (the senex iratus [the angry old man]) Roman dramatist Plautus wrote Miles Gloriosus. Miles Gloriosus finds its origins in a lost Greek play entitled Alazṓn. The alazṓn is the name now given characters opposing the marriage of comedy’s young lovers. Characters supporting the young lovers or the eirôn. The word irony is derived from eirôn (see eirôn, wiki2.org).

In general the vecchi are portrayed as selfish, and quite prone to committing any and all of the seven deadly sins (lust, sloth, greed, pride, wrath, gluttony, envy.)

I am quoting Google’s The characters: the vecchi. One may also visit Micke Kingvall’s Posts. Micke’s posts deal with the commedia dell’arte, which includes “vulgar comedy,” the term used in Comments on “Monsieur de Pourceaugnac”.

Wikipedia now uses videos. I like it.

Sources and Resources

The characters: the vecchi (Google)
Micke Kingvall’s Posts

Love to everyone 💕

Monsieur de Pourceaugnac par Adolphe Lalauze (theatre-documentation.com)

Comments on “Monsieur de Pourceaugnac”

31 Friday Jan 2020

Posted by michelinewalker in Comédie-Ballet, Commedia dell'arte, Jean-Baptiste Lully, Molière

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Aesthetics, Carnivalesque, Comédie-Ballet, commedia dell'arte, Harold C. Knutson, Jules Brody, Monsieur de Pourceaugnac, pharmakos, pour rire, Tricksters

Zanni, oil painting after an engraving by Jacques Callot (Larousse)

Zanni, oil painting after an engraving by Jacques Callot (Vulgar Comedy)

MONSIEUR DE POURCEAUGNAC.
ORONTE.
JULIE, fille d’Oronte.
NÉRINE, femme d’intrigue (schemer).
LUCETTE, feinte (false) Gasconne.
ÉRASTE, amant de (in love with) Julie.
SBRIGANI, Napolitain, homme d’intrigue (schemer).
PREMIER MÉDECIN.
SECOND MÉDECIN.
L’APOTHICAIRE.
UN PAYSAN.
UNE PAYSANNE.
PREMIER MUSICIEN.
SECOND MUSICIEN.
PREMIER AVOCAT.
SECOND AVOCAT.
PREMIER SUISSE.
SECOND SUISSE.
UN EXEMPT.
DEUX ARCHERS.
PLUSIEURS MUSICIENS, JOUEURS D’INSTRUMENTS, ET DANSEURS.

La scène est à Paris

Monsieur de Pourceaugnac

a scapegoat
aesthetically in the wrong
a comedy in reverse
an on-stage dramatist
pour rire / for the fun of it

A scapegoat

I have already noted that Monsieur de Pourceaugnac seems a scapegoat, or pharmakós. which is not inconsistent with the role pharmakoi play in tragedies and comedies. Northrop Frye writes that the scapegoats, the pharmakós is “neither innocent nor guilty.”[1]

Aesthetically in the wrong

There is no reason why Monsieur de Pourceaugnac should be victimised in Paris, “this country,” or elsewhere. Arranged marriages were common in 17th-century France. Besides, had Julie found Monsieur de Pourceaugnac repulsive, he may not have married her. Monsieur de Pourceaugnac’s only problem is his name and/or looks, which has to do with aesthetics. Let us read Nérine:

S’il a envie de se marier, que ne prend-il une Limosine, et ne laisse-t-il en repos les chrétiens ? Le seul nom de Monsieur de Pourceaugnac m’a mis dans une colère effroyable. J’enrage de Monsieur de Pourceaugnac. Quand il n’y aurait que ce nom-là, Monsieur de Pourceaugnac, j’y brûlerai mes livres, ou je romprai ce mariage, et vous ne serez point Madame de Pourceaugnac. Pourceaugnac ! Cela se peut-il souffrir ? Non, Pourceaugnac est une chose que je ne saurais supporter, et nous lui jouerons tant de pièces, nous lui ferons tant de niches sur niches, que nous renverrons à Limoges Monsieur de Pourceaugnac.
Nérine à Julie et Éraste (I. scène première)
[If he wishes to get married why does he not take a lady born at Limoges for a wife, instead of troubling decent Christians? The name alone of Monsieur de Pourceaugnac has put me in a frightful passion. I am in a rage about Monsieur de Pourceaugnac If it were nothing but his name, this Monsieur de Pourceaugnac, I would do everything to succeed in breaking off this marriage, rather than that you should be Madam de Pourceaugnac. Pourceaugnac! is it bearable? No, Pourceaugnac is something which I cannot tolerate; and we shall play him so many tricks, we shall practice so many jokes upon jokes upon him, that we shall soon send Monsieur de Pourceaugnac back to Limoges again.]
Nérine to Julie and Éraste (II. 3, p. 94)

In his analysis of Le Misanthrope and Dom Juan, Professor Jules Brody concluded that Alceste and Dom Juan were “aesthetically in the wrong, but morally in the right” or vice versa. I am paraphrasing Professor Brody.[2] Arranged marriages were relatively common in 17^th-century France, so Monsieur de Pourceaugnac cannot be faulted for “buying” a bride who will be provided with a generous dowry.

We should also note that, in Scene Two, Julie is not ready to oppose her father’s choice of a groom beyond entering a convent.

Je le menacerais de me jeter dans un convent
Julie à Éraste (I. ii)
[I would threaten him to bury myself in a convent.]
Julie to Éraste (I. 4, p. 95)

Éraste requests greater proof of her love, but Julie tells him she must await the course of events before allowing further opposition.

Mon Dieu, Éraste, contentez-vous de ce que je fais maintenant, et n’allez point tenter sur l’avenir les résolutions de mon cœur; ne fatiguez point mon devoir par les propositions d’une fâcheuse extrémité dont peut-être n’aurons-nous pas besoin; et s’il y faut venir, souffrez au moins que j’y sois entraînée par la suite des choses.
Julie à Éraste (I. ii)
[Good Heavens! Eraste, content yourself with what I am doing now; and do not tempt the resolutions of my heart upon what may happen in the future; do not make my duty more painful with proposals of annoying rashness, of which, perhaps, we may not be in need; and if we are to come to it, let me, at least be driven to it by the turn of affairs.]
Julie to Éraste (I. 4, p. 96)

Julie is quite right. She has agreed to batteries and machines that will allow people, schemers, to promote her marriage to act, but no one was to go to far. However, it turns out measures taken to let her be Éraste’s wife are too drastic. When Sbrigani is done, Monsieur de Pourceaugnac will stand accused of bigamy and, unless a schemer saves him, Sbrigani, he may be hanged. In Oronte eyes, having abandoned Lucette, Monsieur de Pourceaugnac is a méchant homme. Upon learning that Pourceaugnac abandoned Lucette, Oronte, Julie’s father, cannot prevent himself from crying. What irony!

Je ne saurais m’empêcher de pleurer. Allez, vous êtes un méchant homme.
Oronte (II. vii)
[I cannot help crying. (To Monsieur de Pourceaugnac). Go, you are a wicked man.]
Oronte (II. 8, p. 123)

When Pourceaugnac is being led away Oronte suggests that Pourceaugnac be hanged:

Allez, vous ferez bien de le faire punir, et il mérite d’être pendu.
Oronte (II. viii)
[Come, you will do well to have him punished; and he deserves to be hanged.]
Oronte (II. 10, p. 125)

A comedy in reverse

Not only is Monsieur de Pourceaugnac humiliated because of his name, but Molière also rearranged the usual cast of comedies so that Monsieur de Pourceaugnac is treated like a tyrannical pater familias, Oronte’s role. As for the eirôn, the threatened lovers and their usual supporters: laquais, valet, suivante, confidante, an uncle or avuncular figure, such as Le Malade imaginaire’s Béralde, Argan’s brother, they are pitiless tricksters: Sbrigani and his crew who unleash uninterrupted attacks on an innocent man. The person who will marry his daughter to a man she may be attracted to or find repulsive, is Oronte. Oronte, therefore, is the blocking-character or alazṓn. However, the man who is left in the hands of doctors threatening enemas and other procedures, the man whose creditors will be repaid by Oronte, the bigamist or polygamist who should be hanged, is Monsieur de Pourceaugnac, Oronte’s prospective son-in-law. The first doctor claims Pourceaugnac as un meuble, his property. Moreover, we are in Paris, where the accused is hanged before the trial. The play is such a charivari, hullabaloo, that Julie, Éraste’s innamorata, finds Monsieur de Pourceaugnac attractive and follows him as he is led out of “this country,” which is seen as an enlèvement, by Oronte.

Ah ! Monsieur, ce perfide de Limosin, ce traître de Monsieur de Pourceaugnac vous enlève votre fille.
Sbrigani à Oronte (III. vi)
[Ah, Sir! this perfidious Limousin, this wretch of a Monsieur de Pourceaugnac abducts your daughter!]
Sbrigani à Oronte (III. 8, p. 133)

She who would not be forced into a marriage, must marry Éraste, whom, she suspects, created all these pièces, comedies:

Ce sont sans doute des pièces qu’on lui fait, et c’est peut-être lui [Éraste] qui a trouvé cet artifice pour vous en dégoûter.
Julie à Oronte (III. vii)
[They are, no doubt, tricks which have been played upon him, and (Pointing to Eraste) it is perhaps he who invented this artifice to disgust you with him.]
Julie to Oronte and Éraste (III. ix, p. 135)

An on-stage dramatist

Yes and no. Éraste did not oppose Sbrigani’s unacceptable tricks. Monsieur de Pourceaugnac is not a théâtre dans le théâtre, but one could suggest that the dramatist is on stage and the play abundantly self-referential:

Je conduis de l’œil toutes choses, et tout ceci ne va pas mal. Nous fatiguerons tant notre provincial, qu’il faudra, ma foi, qu’il déguerpisse.
Sbrigani (II. vii)
[I am managing these things very nicely, and everything goes well as yet. We shall tire our provincial to such an extent that upon my word, he will be obliged to decamp.]
Sbrigani (II. 11, p. 125)

Julie knows about Éraste’s involvement in and provides a redressing of the comedy. She is the dutiful daughter who takes the husband her father chose for her:

They are no doubt tricks which have been played upon him, and (Pointing to Eraste) it is perhaps he who invented this artifice to disgust you with him.
Julie to Oronte (III. 9, p. 135)

Pour rire / for the fun of it

Although Monsieur de Pourceaugnac is cruel and machiavellian, it is for the main part an “all’s well that ends well.” But there are gradations within comedy. Monsieur de Pourceaugnac is a pour rire: for laughs, concocted one of the best among zanni: Sbrigani. In Monsieur de Pourceaugnac, wit prevails, and wit is ruthless. It is carnivalesque. My thesis director, Dr Harold C. Knutson, wrote a book entitled: The Triumph of Wit: Molière and Restoration Comedy. I could not end on a better note.[3]

RELATED ARTICLES

Sources and Resources

Monsieur de Pourceaugnac is a toutmoliere.net publication.
Monsieur de Pourceaugnac is an Internet Archive publication
Our translator is Henri van Laun
Monsieur de Pourceaugnac is Gutenberg’s [eBook #7009]
Its translator is Charles Heron Wall.
Bold characters are mine.
Images are as identified.
Pulcinella as scapegoat
Vulgar Comedy (http://commedia.klingvall.com/commedia-dellarte/)

_____________________
[1] Northrop Frye, Anatomy of Criticism (Princeton: Princeton University Press, 1973 [1957]), p. 41.
[2] Brody, Jules. “Dom Juan and Le Misanthrope, or the Esthetics of Individualism in Molière, ” PMLA, 84, 1969.
[3] Knutson, Harold C. The Triumph of Wit: Molière and Restoration Comedy, Ohio State University Pres, 1988)

Love to everyone 💕

Sincere apologies for rebuilding my post. In theory, this computer was repaired, but it wasn’t. A friend and technician will take me to a store. We will buy the computer and he will set it up.

1312747-Molière_Monsieur_de_Pourceaugnac

Monsieur de Pourceaugnac (see Pourceaugnac 2)

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