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

09 Thursday Apr 2020

Posted by in Comedy, Commedia dell'arte, Molière

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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

images

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.

RELATED ARTICLES

Sources and Resources

 

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 💕

14

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

© Micheline Walker
8 April 2020
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Molière’s “L’Étourdi,” “The Blunderer” (2)

16 Sunday Feb 2020

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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.

800px-Etourdi_Moliere

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

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

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

L'étourdi par Lalauze

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)

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

Sources and Resources

Love to everyone 💕

Louis_XIV_Moliere

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

© Micheline Walker
16 February 2020
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Polichinelle / Pulcinella

13 Thursday Feb 2020

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

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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

 

© Micheline Walker
13 February 2020
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The Commedia dell’arte: the Innamorati

05 Wednesday Feb 2020

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

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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.

SAND_Maurice_Masques_et_bouffons_10

Isabella par Maurice Sand (Wikipedia)

© Micheline Walker
5 February 2020
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The Commedia dell’arte: the Vecchi

04 Tuesday Feb 2020

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

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1600spanishcapitano

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 Lalauze

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

© Micheline Walker
3 February 2020
WordPress

Comments on “Monsieur de Pourceaugnac”

31 Friday Jan 2020

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

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1003644-Commedia_dellarte

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 17th-century France, so Monsieur de Pourceaugnac cannot be faulted for “buying” a bride who will be provided with a generous dowry.

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

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

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

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

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

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

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

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

A comedy in reverse

Not only is Monsieur de Pourceaugnac humiliated because of his name, but Molière also rearranged the usual cast of comedies so that Monsieur de Pourceaugnac is treated like a tyrannical pater familias, Oronte’s role. As for the eirôn, the threatened lovers and their usual supporters: laquais, valet, suivante, confidante, an uncle or avuncular figure, such as Le 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

_____________________
[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)

© Micheline Walker
31 January 2020
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The “Figaro Trilogy,” revisited

04 Wednesday Sep 2019

Posted by in Art, Comedy, Commedia dell'arte, French Literature, History, Music

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Portrait de Pierre-Augustin Caron de Beaumarchais, by Jean-Marc Nattier

Portrait de Pierre-Augustin Caron de Beaumarchais by Jean-Marc Nattier

Augustin Caron de Beaumarchais (24 January 1732 – 18 May 1799) had recruited men who fought in the American Revolutionary War  and had also supplied arms to American revolutionaries.

One of his recruits was Pierre-Charles L’Enfant (9 August 1754 – 14 June 1825), an architect and engineer who designed the Washington National Mall. L’Enfant was dismissed and replaced by Andrew Ellicott (24 January 1754 – 28 August 1820) who criticized L’Enfant Plan and Pierre-Charles L’Enfant. In 1902, the McMillan Commission did away with Andrew Ellicott’s revisions. The Washington Mall was redesigned using L’Enfant Plan.

The Figaro Trilogy

The Barber of Seville (1773; 1775)
The Marriage of Figaro (written in 1778, performed in 1784, published in 1785)
The Guilty Mother (1791; 1966[opera])
The Marriage of Figaro as the center-piece of Beaumarchais’ “Figaro trilogy” 
Mozart’s Marriage of Figaro (K. 492, 1786)
Le Mariage de Figaro, 1784
Le nozze di Figaro, Mozart, 1786

The Marriage of Figaro (1784)

At an early point in his life, Beaumarchais did recruit men willing to join the Americans in their struggle for independence, but he is known mainly as the author of the Figaro trilogy, which consists of three plays: The Barber of Seville (1775), The Marriage of Figaro  (1784), and The Guilty Mother (1791).

A problematical comedy

the second installment in the Figaro trilogy
Accepted for production in 1778 (Comédie-Française)
Vilification of French aristocracy: condemned by Louis XVI
Revised: change of location
Performed in France in 1784
Published in France in 1785
 

The Marriage of Figaro is the second installment in Beaumarchais’ Figaro trilogy, but constitutes the centerpiece of Beaumarchais’ trilogy. It was written in 1778 and accepted for production by the Comédie-Française in 1781. However, as first written, it vilified French aristocracy and so shocked Louis XVI that he banned the production of the play.

The play was problematical because Count Almaviva, who marries Rosina in The Barber of Seville, or the Futile Precaution (1778), wants to consummate Figaro’s marriage to Susanna, Figaro’s bride. Beaumarchais revised the play and moved the action to Spain. Ironically, Count Almaviva wanted to avail himself of a right he had abolished: “the feudal droit du seigneur, the right of the lord of the manor to sleep with his servant’s bride on her wedding night.”[I]  

The Marriage of Figaro is a comedy inspired by the commedia dell’arte. Given the conventions of comedy, the Count’s plans will therefore be foiled. The innmorati will be helped not only by clever zanni and other servants, but also by Rosina, Almaviva’s wife, whose marriage to the Count, a philanderer, did not end altogether “well.” The play also features a redeeming discovery. The Count wants Figaro to marry Marcellina, Bartolo’s housekeeper, but it turns out that Figaro is the love child of Marcellina and Bartolo. One does not marry one’s mother. Bartolo therefore proposes marriage to Marcellina. There will be two weddings, which is not uncommon in comedy.

Zanni

The Marriage of Figaro’s Cherubino,[II] a character reminiscent of Cupid, the mythological god of desire, could be called a zanni. He is forever in love and gets into trouble. However, he also provides comic relief as do zanni in the commedia dell’arte. Zanni are stand-up comics. In Passion Plays, comic interludes were inserted between the acts. The same stratagem can also be used inside comedy. Some “comic” is always at the ready not only to “fill in,” but also to support zanni (servants, one of whom is clever, but the second, clumsy).

As part of the props, we have incriminating letters and, in the case of the Barber of Seville, the Count, disguised as Lindoro, a name borrowed from the commedia dell’arte, we have musicians serenading Rosina. Guitars are inextricably linked with the commedia dell’arte. They are a prop that Watteau and Picasso, Picasso especially, depicted abundantly.

Moreover, to fool the Count, the Countess dresses as Susanna, Figaro’s bride-to-be, while Susanna dresses as the Countess. Therefore, when the Count court Susanna, he is in fact courting his wife. He reveals his plans to seduce Susanna, but find Rosina attractive. It is quite normal in comedies for the Alazṓn , the Count, to undo himself, except that comedy is kind. Cross-dressing is also a frequent device in the comic text and it is rooted in the topsy-turvy world of the Roman Saturnalia, not to mention the last days of l’ancien régime. 

Beaumarchais and the Revolution  

After Beaumarchais relocated The Marriage of Figaro, “[t]he feudal droit du seigneur” became a distant right and wrong. Louis XVI lifted the ban on the production of The Marriage of Figaro and the play was performed by the Comédiens français ordinaires du Roi, on Tuesday, 27 April 1784, and the text was published in 1785. Yet the play remained problematical. Although The Marriage of Figaro is a Shakespearean “all’s well that ends well,” the conventional ending, or dénouement, of comedies, in the Marriage of Figaro, this ending seems a little theatrical.

First, the Barber of Seville‘s Rosina has married a philanderer. Second, Georges Danton  commented that Beaumarchais’ Marriage of Figaro had “killed off the nobility.” (See The Marriage of Figaro, play, Wikipedia). Jesus of Nazareth might have said “And why beholdest thou the mote that is in thy brother’s eye, but considerest not the beam that is in thine own eye?” (Matthew 1:5-7). Georges Danton voted in favour of the execution of Louis XVI. (See Georges Danton, Wikipedia.)

Mozart’s Le nozze de Figaro (1786)

Beaumarchais or Pierre de Beaumarchais’ Marriage of Figaro was made famous by Mozart‘s (27 January 1756 – 5 December 1791) Nozze di Figaro, a four-act opera buffa, or comic opera composed in 1785 on a libretto (the text) by Lorenzo da Ponte (10 March 1749 – 17 August 1838). Mozart’s Marriage of Figaro (Le nozze di Figaro) premiered in Vienna at the Burgtheater, on 1 May 1786. It has remained a favourite opera often associated with Mozart only, not Pierre de Beaumarchais.

The Barber of Seville, or The Futile Precaution

The Barber of Seville, or The Useless Precaution (Photo credit: Wikipedia)

The Barber of Seville (1775)

The Barber of Seville; or, the Useless Precaution[III] was performed and published in 1775 as Le Barbier de Séville; ou, la précaution inutile. It is the first play in Beaumarchais Figaro’ trilogy. The play was written in 1773, but it was not performed until 23 February 1775, when it premiered at the Comédie-Française in the Tuileries. Although I have prepared a point by point description of the plot of The Barber of Seville, I am quoting Britannica’s summary. Simply add the name Lindoro, a guitar, and a few suspicious letters. The Count first dresses as a poor student named Lindoro.

“Rosine (known as Rosina in the opera), the ward of Dr. Bartholo, is kept locked in her room by Bartholo because he plans to marry her, though she despises him. Young Count Almaviva loves her from afar and uses various disguises, including one as Alonzo, a substitute music teacher, in his attempts to win her. Bartholo’s roguish barber Figaro is part of the plot against him. Indeed, it is Figaro who steals the key to Rosine’s room for Almaviva. Unfortunately, Almaviva is in his disguise as Alonzo when he meets Rosine. Though in love with “Alonzo,” Rosine is convinced by the suspicious Bartholo that Alonzo intends to steal her away and sell her to a wicked count. Disappointed, she agrees to wed Bartholo that very night. All of Figaro’s ingenuity is required to substitute Count Almaviva for Bartholo at the wedding ceremony.”[IV]
 
Portrait of Gioachino Rossini in 1820, International Museum and Library of Music, Bologna

Portrait of Gioachino Rossini in 1820, International Museum and Library of Music, Bologna (Photo credit: Wikipedia)

Rossini’s Il Barbiere di Siviglia (1816)

In 1816, Le Barbier de Séville; ou, la précaution inutile (four acts)[V] was made into a two-act opera by Giaochino Rossini on a libretto by Cesare Sterbini. The Barber of Seville, or the Futile Precaution or Il barbiere di Siviglia, ossia L’inutile precauzione premiered on 20 February 1816 at the Teatro Argentina, in Rome.

Beaumarchais’ Guilty Mother (1792)

The Guilty Mother, subtitled The other Tartuffe (La Mère coupable ou l’autre Tartuffe), a play in five acts, is the final part of the Figaro trilogy. Tartuffe is a play by Molière. The character Tartuffe feigns devotion. The Guilty Mother was completed in 1791, but not performed until 1792 at the Théâtre du Marais. The French Revolution had gained impetus, which made it necessary for Beaumarchais to take away his title from Count Almaviva. The Guilty Mother   will be discussed in a later post.

Marius Milhaud‘s The Guilty mother or La Mère coupable (1966)

The Guilty Mother or The other Tartuffe was set to music: an opera in three acts (Op. 412), by Marius Milhaud, to a libretto by Madeleine Milhaud. It is the final instalment in Beaumarchais’ Figaro trilogy and was first performed at the Grand Théâtre de Genève, on 13 June 1966. (See La Mère coupable [The Guilty mother], Wikipedia.)

Jean-Antoine Watteau‘s Italian comedy.

 

Mezzetin, Jean-Antoine Watteau
The Italian Comedy, Watteau
La Surprise, Watteau
The Love Song, Watteau

The Rebirth of Brighella and the Birth of Figaro

Figaro is heir to the commedia dell’arte‘s Brighella, a zanni. He joins Pedrolino-Pierrot, Harlequin, Scapino, and other zanni. In fact, Figaro himself joins the rank of the zanni. As portrayed above, he looks like Harlequin, but he may disguised as Harlequin. Figaro is an iconic figure in France. To be precise, Figaro is an institution: a newspaper, founded in 1826 and published in Paris. Le Figaro is the second-largest paper in France. It takes its motto from Beaumarchais’ Figaro trilogy:

“Sans la liberté de blâmer, il n’est point d’éloge flatteur.”
(“Without the freedom to criticise, there is no true praise.”)
 

RELATED ARTICLES

Notes

The Commedia dell’arte
Bartolo is a dottore
Lindoro is one of the names innamorati used in the commedia dell’arte
Figaro is a Brighella, a zanni in the commedia dell’arte, who helps the innamorati overcome obstacles to their marriage)
The guitar is an essential prop
Letters are used all the time: false, anonymous, incriminating…
 
Sources and Resources
  • The Marriage of Figaro is an Online Library of Liberty, full text EN
  • Le Mariage de Figaro is a Gutenberg Project [EBook #20577] FR
  • Male innamorati are called: Arsenio, Aurielo, Cinthio, Fabrizio, Flavio, Fedelindo, Florindo, Leandro, Lelio, Lindoro, Mario, Ortensio, Ottavio, Sireno, often the son of Pantalone, Silvio, Tristano
  • Female innamorati are called: Angelica, Aurelia, Beatrice, Bianchetta, Celia, Clarice, Clori, Cinzio, Emilia, Eularia, Flaminia, Florinda, Filesia, Filli, often the daughter of Pantalone, Isabella, Lavinia, Lidia, Orazio, Ortensia, Silvia, Turchetta, Vittoria 
  • Brighella
  • Maurice Sand, Masques et bouffons (comédie italienne), 1860
Flûte de Brighella, Henrico Brunelleschi (Photo credit: Christi'e)

Flûte de Brighella, Enrico Brunelleschi
(Photo credit: Christie’s) (This image cannot be enlarged.)

____________________

[I] Watteau depicted Mezzetino, a zanni, playing the guitar. The guitar is also a major motif in Picasso’s art.

[II] See Commedia dell’arte, Wikipedia, under Subjects.
 
[III] “The Barber of Seville.” Encyclopaedia Britannica. Encyclopaedia Britannica Online.
Encyclopædia Britannica Inc., 2014. Web. 13 Jul. 2014.
<http://www.britannica.com/EBchecked/topic/52863/The-Barber-of-Seville>.
The Count also calls himself Lindoro.
 
[IV] Op. cit.
 
[V] Op. cit.
 

Love to everyone 💕

This post was published several years ago, but it is related to our current posts.

 
Gioachino Rossini : The Barber Of Seville – Overture 
 
 
 
Figaro

Figaro

 
© Micheline Walker
(revised 4 September 2019)
13 July 2014
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A Foreword to Molière’s “Psyché”

01 Sunday Sep 2019

Posted by in Comedy, Commedia dell'arte, Fêtes galantes

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I wish to thank all of you for the comments you have written. The invitation to rate my posts is proof that people are reading my posts, including moliéristes. It’s a forum, not an arena.

As you know, I was ready to write my book during a forthcoming sabbatical, but I was assigned the preparation of new courses, one of which was Animals in Literature. It took away my sabbatical. I’m not writing my book online, but I am reading Molière and sharing this endeavour with my WordPress colleagues.

I realize that students can get information from my posts and other online sources. That’s fine. They may quote me, acknowledging their source, and posts can be republished. If writing my book proves impossible, I will nevertheless have discussed Molière publicly for a brief period of time and in a manner that introduces Molière to the general public. Quoting Molière in French and English is time consuming, but it is an imperative.

800px-honorc3a9_daumier_003-1-1 (2)

Crispin et Scapin par Honoré Daumier, 1865 (WikiArt.org)

comedy-scene-scene-from-molière.jpg!Large

Comedy Scene from Molière by Honoré Daumier (WikiArt.org)

Les Fourberies de Scapin

My Pléiade edition of Molière was published in 1956. It is an old edition that does not contain the lines where Scapin tells Argante that he himself, Argante, will not break Octave’s marriage because he loves his son. However, these lines are part of the editor’s Notes et Variantes. Occasionally, Molière recycled parts of his comedies. These were his. The conversation I quoted is all but repeated in Le Malade imaginaire. The editors of the 1682 edition of the complete works of Molière excluded that part of the conversation. But the Molière 21‘s editors of the Pléiade 2010 edition have re-entered the relevant dialogue in the latest Pléiade edition, which we are using.

In Les Fourberies de Scapin, Molière juxtaposed the power of fathers and a father’s love. This juxtaposition is essential to an understanding of the play. Molière knew that there were forced marriages. Octave barely believes that his father will let him marry Géronte’s daughter Hyacinte. So, Molière also knew that fathers loved their sons and that this love was more powerful than tradition: parents choosing their children’s spouse. Molière used a subtle path, a kind destiny. Our fathers, Argante and Géronte, had chosen to marry their sons to the women their sons love, one of whom, Octave, has already married Hyacinte.

Scapin and the innamorati

Scapin is a zanni, a valet in the service of Octave and, by the same token, in the service of the innamorati, the young couple(s). In the eighteenth century zanni became more daring. Beaumarchais wrote the Figaro Trilogy. His Marriage of Figaro would inspire Mozart and Lorenzo Da Ponte. It was transformed into a beloved opera: Le nozze di Figaro (K. 492, 1786). As well, Antoine Watteau painted ethereal fêtes galantes that are inextricably associated to the commedia dell’arte. Pierrot emerges: the sad clown.

More importantly, how does one cease discussing love? Love is une constante. Le Roman de la Rose was an apex in the treatment of courtly love. The eighteenth century also brought Marivaux. His play, Le Jeu de l’amour et du hasard, was performed by the Comédie-Italienne, on 23 January 1730. We need also mention Mozart/Da Ponte’s Così fan tutte, ossia La scuola degli amanti (K. 588, 1790), a charming love story. It is rooted in the Decameron.

Cupid and Psyche by William-Adolphe Bouguereau (Wikipedia)

Psyché

Our next play is Molière’s Psyché, which he wrote in collaboration with the legendary Pierre Corneille. It is a tragi-comédie in verse and a tragédie-ballet. Its composer is Jean-Baptiste Lully and its choreographer, Pierre Beauchamp. Psyché was first performed at the Théâtre des Tuileries, on 17 January 1671.

I wrote posts on 2nd century Apuleius’ Golden Ass. It contains the Tale of Cupid and Psyche, a “digression.” Apuleius had read Ovid’s (20 March 43 BCE – 17/18 CE)  Metamorphoses, an extremely influential work. Transformations have long fascinated human beings. Icarus wanted to fly. In 1886, Robert Louis Stevenson published The Strange Case of Dr Jekyll and Mr Hyde and, in 1915, Franz Kafka published The Metamorphosis. We do have the loup garou (the werewolf).

Psyche is a mythical figure.

RELATED ARTICLES

Sources and Resources

Love to everyone 💕

Soave sia il vento (May the wind blow gently…)
Susan Chilcott (Fiordiligi) & Susan Graham (Dorabella)
Mozart Così fan tutte

pierrot-with-guitar.jpg!Blog

Pierrot with Guitar by Honoré Daumier, 1869 (WikiArt.org)

© Micheline Walker
1 September 2019
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“Les Fourberies de Scapin” (Part One)

28 Wednesday Aug 2019

Posted by in Comedy, Commedia dell'arte, Molière

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Les Fourberies de Scapin

Terence lived from c. 195/185 – c. 159? BCE and
Plautus from c. 254 – 184 BCE

Legend has it that Molière’s grandfather took him to see the Italians, and we know that Molière’s only teacher was Scaramouche (Scaramuccia). Therefore, despite links with Terence and Plautus and their source, Greek New Comedy, the plays of Menander chiefly, Molière was also inspired by his French contemporaries: Cyrano de Bergerac (Le Pédant joué), Jean Rotrou (La Sœur), and others.

Molière’s Les Fourberies de Scapin premièred at the Théâtre du Palais-Royal, on 24 May 1671. It was not as successful as expected when it was first performed, but it became and remained a popular play after Molière’s death, on 17 February 1673. Molière used many registres (levels), so Boileau wrote that he could no longer recognize the author of the Misanthrope in Les Fourberies de Scapin.

Dans ce sac ridicule où Scapin s’enveloppe,
Je ne reconnais plus l’auteur du Misanthrope
Art poétique, chant III, v. 395-400.
Toutmolière.net, Notice

The Plot

  • reversal
  • doublings
  • lazzi
  • anagnorisis

However, do not expect a clear barbon-berne-blondin plot, a straightforward “all’s well that ends well.” When this comedy begins, one of the two young couples has married without seeking the approval of the pater familias. Such approval will be sought and the young couples helper will be Scapin. Moreover, the play is a series of lazzi, tricks played by Scapin.

Our dramatis personæ is

ARGANTE, father to OCTAVE and ZERBINETTE.
GÉRONTE, father to LÉANDRE and HYACINTHA.
OCTAVE, son to ARGANTE, and lover to HYACINTHA.
LÉANDRE, son to GÉRONTE, and lover to ZERBINETTE.
ZERBINETTE, daughter to ARGANTE, believed to be a gypsy girl.
HYACINTHA, daughter to GÉRONTE.
SCAPIN, servant to LÉANDRE.
SILVESTRE, servant to OCTAVE.
NÉRINE, nurse to HYACINTHA.
CARLE, a trickster.
TWO PORTERS.

The scene is at NAPLES.

Doublings

  • two fathers: Argante and Géronte,
  • two sons: Octave and Léandre,
  • two ingénues: Zerbinette1 and Hyacinthe2
  • Scapin (servant to Léandre)
  • Sylvestre (servant to Octave)

1 Argante’s daughter
2 Géronte’s daughter

Ironically, Argante wants his son Octave to marry Hyacinthe. As for Géronte, he wants his son Léandre to marry Zerbinette, Argante’s daughter. We may expect recognition scenes (anagnorisis). 

ACT ONE

In Act One, Scene One, we learn that Octave’s father has returned from a trip and that his plans are for Octave to marry Géronte’s daughter. In the meantime, Octave has married Hyacinthe, a poor girl.

In Scene Two, Octave tells Scapin that he is desperate. Scapin isn’t.

À vous dire la vérité, il y a peu de choses qui me soient impossibles, quand je m’en veux mêler. J’ai sans doute reçu du Ciel un génie assez beau pour toutes les fabriques de ces gentillesses d’esprit, de ces galanteries ingénieuses à qui le vulgaire ignorant donne le nom de fourberies ; et je puis dire sans vanité, qu’on n’a guère vu d’homme qui fût plus habile ouvrier de ressorts et d’intrigues ; qui ait acquis plus de gloire que moi dans ce noble métier : mais, ma foi, le mérite est trop maltraité aujourd’hui, et j’ai renoncé à toutes choses depuis certain chagrin d’une affaire qui m’arriva.
Scapin à Octave  (I. ii)
To tell you the truth, there are few things impossible to me when I once set about them. Heaven has bestowed on me a fair enough share of genius for the making up of all those neat strokes of mother wit, for all those ingenious gallantries to which the ignorant and vulgar give the name of impostures; and I can boast, without vanity, that there have been very few men more skillful than I in expedients and intrigues, and who have acquired a greater reputation in the noble profession. But, to tell the truth, merit is too ill rewarded nowadays, and I have given up everything of the kind since the trouble I had through a certain affair which happened to me.
Scapin to Octave (I. 3)

In Scene Three, Hyacinthe says she fears losing Octave:

J’ai ouï dire, Octave, que votre sexe aime moins longtemps que le nôtre, et que les ardeurs que les hommes font voir, sont des feux qui s’éteignent aussi facilement qu’ils naissent.
Hyacinthe à Octave (I. iii)
[I have heard say, Octave, that your sex does not love so long as ours, and that the ardour men show is a fire which dies out as easily as it is kindled.
Hyacinthe to Octave (I. 3)

In Scene Three/Four, Scapin wants Octave to prepare for “firmness’
In Scene Three/Five, Octave runs off and Scapin says: “Leave it to me.”

Reason, Destiny, Age and Fear

In Scene Four/Six, Argante enters. He knows about Octave’s marriage and is angry. Scapin does not disagree. He too was angry, but he submitted to reason. As for Octave, he is young. Wouldn’t Argan have done the same in earlier years? Finally, Hyacinthe’s family expected him to respect Hyacinthe’s reputation:

Si fait, j’y ai d’abord été, moi, lorsque j’ai su la chose, et je me suis intéressé pour vous, jusqu’à quereller votre fils. (…) Mais quoi, je me suis rendu à la raison, et j’ai considéré que dans le fond, il n’a pas tant de tort qu’on pourrait croire.
Scapin à Argante (I. iv)
[Quite so. I was angry myself when I first heard it; and I so far felt interested in your behalf that I rated your son well. (…) But what of that? I submitted to reason, and considered that, after all, he had done nothing so dreadful.]
Scapin to Argante (I. 6)

Ah, ah, voici une raison la plus belle du monde. On n’a plus qu’à commettre tous les crimes imaginables, tromper, voler, assassiner, et dire pour excuse, qu’on y a été poussé par sa destinée.
Argante à Scapin (I. iv)
Oh, oh! You give me there a fine reason. One has nothing better to do now than to commit the greatest crime imaginable—to cheat, steal, and murder—and give for an excuse that we were urged to it by destiny.
Argante à Scapin (I. 6)

Voulez-vous qu’il soit aussi sage que vous ? Les jeunes gens sont jeunes, et n’ont pas toute la prudence qu’il leur faudrait, pour ne rien faire que de raisonnable[.]
Scapin à Argante (I. iv)
[Do you expect him to be as wise as you are? Can you put an old head on young shoulders, and expect young people to have all the prudence necessary to do nothing but what is reasonable?] (I. 6)

Eussiez-vous voulu qu’il se fût laissé tuer ? Il vaut mieux encore être marié, qu’être mort.
Scapin à Argante (I. iv)
[Would you have him suffer them to murder him?] It is still better to be married than to be dead.]
Scapin to Argante (I. 6)

Sylvestre, Octave’s valet, adds that Octave was married against his wish.

A Father’s Love

We are then treated to a lovely dialogue Argante says he will use punitive measures, against his son, i. e. break the contract and disinherit him. Scapin responds that he will not because he loves his son.

ARGANTE. Hoy. Voici qui est plaisant. Je ne déshériterai pas mon fils.
SCAPIN. Non, vous dis-je.
ARGANTE. Qui m’en empêchera ?
SCAPIN. Vous-même.
ARGANTE. Moi ?
SCAPIN. Oui. Vous n’aurez pas ce cœur-là.
Argante et Scapin (I. iv, pp. 14-15)
[ARG. Well! This is really too much! I shall not disinherit my son!
SCA. No, I tell you.
ARG. Who will hinder me?
SCA. You yourself.
ARG. I?
SCA. Yes; you will never have the heart to do it.]
Argante and Scapin (I. 6)

In Scene Five/Seven, Scapin enlists Sylvestre’s support. He knows how to disguise a face and a voice.

ACT TWO

  1. Géronte tells Argante that his son may not be innocent. Scapin talked.
  2. Argante meditates.
  3. Léandre is angry at Scapin. They nearly fight. Léandre has a sword. Octave intervenes.
  4. Gypsies capture Zerbinette. She must be bought back.
  5. Scapin will seek help from Hyacinthe’s ‘brother’ Sylvestre. He does not want Argante to go to court.

DETAILS AND CONTINUATION

In Scene One, Géronte and Argante are together. Géronte suggests to Argante that his son Léandre may not be innocent. Scapin spoke.

Cela veut dire, Seigneur Géronte, qu’il ne faut pas être si prompt à condamner la conduite des autres; et que ceux qui veulent gloser, doivent bien regarder chez eux, s’il n’y a rien qui cloche.
Argante à Géronte (II. i, pp. 17-18)
[I mean, Mr. Géronte, that we should never be so ready to blame the conduct of others, and that those who live in glass houses should not throw stones.]
Argante to Géronte (II. 1)

Votre Scapin, dans mon dépit, ne m’a dit la chose qu’en gros; et vous pourrez de lui, ou de quelque autre, être instruit du détail. Pour moi, je vais vite consulter un avocat, et aviser des biais que j’ai à prendre. Jusqu’au revoir.
Argante à Géronte (II. i, p. 18)
[Your servant Scapin, in his vexation, only told me the thing roughly, and you can learn all the particulars from him or from some one else. For my part, I will at once go to my solicitor, and see what steps I can take in the matter. Good-bye.]
Argante to Géronte (II. 1)

In Scene Two, Géronte meditates. What could his son have done?

In Scene Three, Léandre who is delighted to see his father, learns that Scapin has spoken about him.

Géronte. Scapin pourtant a dit de vos nouvelles.
Léandre. Scapin!
(II. ii, p.19)
Géronte. And yet Scapin has told me all about you.
Léandre. Scapin!
(II. 3)

In Scene Three/Four, Léandre feels betrayed by Scapin.

Me trahir de cette manière! Un coquin, qui doit par cent raisons être le premier à cacher les choses que je lui confie, est le premier à les aller découvrir à mon père. Ah! je jure le Ciel que cette trahison ne demeurera pas impunie.
Léandre à Octave ([I.iii, p. 20)
[To betray me after that fashion! A rascal who for so many reasons should be the first to keep secret what I trust him with! To go and tell everything to my father! Ah! I swear by all that is dear to me not to let such villainy go unpunished.]
Léandre to Octave (I. 4)

Léandre picks up a sword.

Léandre. Ah, ah, vous voilà. Je suis ravi de vous trouver, Monsieur le coquin.
Scapin. Monsieur, votre serviteur. C’est trop d’honneur que vous me faites.
Léandre (en mettant l’épée à la main.)  Vous faites le méchant plaisant. Ah! je vous apprendrai…
Scapin (se mettant à genoux.) Monsieur.
Octave (se mettant entre-deux, pour empêcher Léandre de le frapper.) Ah, Léandre. Non, Octave, ne me retenez point, je vous prie.
Léandre et Scapin (1.iii, p. 20)

Léandre. Ah, ah! here you are, you rascal!
Scapin. Sir, your servant; you do me too much honour.
Léandre. (drawing his sword). You are setting me at defiance, I believe…Ah! I will teach you how….
Scapin. (falling on his knees). Sir!
Octave. (stepping between them). Ah! Léandre.
Léandre. No, Octave, do not keep me back.
Scapin to Léandre. Eh! Sir.
Léandre and Scapin (II. 5)

Les fourberies de Scapin par Moreau le Jeune

Les Fourberies de Scapin par Moreau le Jeune  (théâtre-documentation.com)

Les fourberies de Scapin par Ed. Héd. (1)

Les Fourberies de Scapin par Edmond Hédouin (théâtre-documentation.com

Zerbinette enlevée, captured

In Scene Four/Six, Carle tells that Zerbinette has been captured. A ransom is needed within two hours.

Vos Égyptiens sont sur le point de vous enlever Zerbinette; et elle-même, les larmes aux yeux, m’a chargé de venir promptement vous dire, que si dans deux heures vous ne songez à leur porter l’argent qu’ils vous ont demandé pour elle, vous l’allez perdre pour jamais.
Carle (II. iv, p. 23)
[The gypsies are on the point of carrying off Zerbinette. She came herself all in tears to ask me to tell you that, unless you take to them, before two hours are over, the money they have asked you for her, she will be lost to you for ever.]
Carle (II, 6)

Scapin has been insulted, but he will help.  He must get the money from our two fathers.

Je veux tirer cet argent de vos pères. Pour ce qui est du vôtre, la machine est déjà toute trouvée: et quant au vôtre, bien qu’avare au dernier degré, il y faudra moins de façon encore; car vous savez que pour l’esprit, il n’en a pas grâces à Dieu grande provision, et je le livre pour une espèce d’homme à qui l’on fera toujours croire tout ce que l’on voudra. Cela ne vous offense point, il ne tombe entre lui et vous aucun soupçon de ressemblance; et vous savez assez l’opinion de tout le monde, qui veut qu’il ne soit votre père que pour la forme.
Scapin à tous (II. iv, p. 25)
[I must extract this money from your respective fathers’ pockets. (To OCTAVE) As far as yours is concerned, my plan is all ready. (To LÉANDRE) And as for yours, although he is the greatest miser imaginable, we shall find it easier still; for you know that he is not blessed with too much intellect, and I look upon him as a man who will believe anything. This cannot offend you; there is not a suspicion of a resemblance between him and you; and you know what the world thinks, that he is your father only in name.]
Scapin to Léandre and Octave (II. 7)

In Scene Five/Eight, Scapin seeks money from Argante. A ‘brother’ of Hyacinthe will fight.

J’ai donc été trouver le frère de cette fille qui a été épousée. C’est un de ces braves de profession, de ces gens qui sont tous coups d’épée ; qui ne parlent que d’échiner, et ne font non plus de conscience de tuer un homme, que d’avaler un verre de vin. Je l’ai mis sur ce mariage; (…) Enfin je l’ai tant tourné de tous les côtés, qu’il a prêté l’oreille aux propositions que je lui ai faites d’ajuster l’affaire pour quelque somme; et il donnera son consentement à rompre le mariage, pourvu que vous lui donniez de l’argent.
Scapin à Argante ([II. v, p. 27)
[The brother of the young girl whom your son has married. He is one of those fire-eaters, one of those men all sword-thrusts, who speak of nothing but fighting, and who think no more of killing a man than of swallowing a glass of wine. I got him to speak of this marriage; (…) I managed him so that at last he lent a ready ear to the propositions I made to him of arranging the matter amicably for a sum of money. In short, he will give his consent to the marriage being cancelled, provided you pay him well.]
Scapin to Argante (II. 8)

Sylvestre is Octave’s valet in disguise.

I am skipping part of Scene Five/Eight. Scapin pleads with Argante not to go to court.

ACT TWO, SCENE SIX

The following scene, Scene VI, is borrowed from Plautus. Sylvestre, who says to Scapin that he is Hyacinthe’s brother, wants to see Argante and kill him for wishing to annul Octave’s marriage to his sister Hyacinthe. Argante is standing behind, but Scapin insists the person Sylvestre sees is not Argante.

(Sylvestre is not a brother to Hyacinthe but Octave’s valet in disguise. His assistance has been requested. [See II. v, p. 27 ; II. 8]).

Que diable allait-il faire dans cette galère?

In Act Two, Scene Seven, Scapin tells Géronte that his son Léandre is being held for ransom on a Turkish boat.  It is une fourberie, a trick, a lazzi, but Géronte must provide money.

This scene is famous because it is the source of an expression that is still used. As Géronte puts together the money the Turks want, Géronte keeps saying:

Que diable allait-il faire dans cette galère?
[What the deuce did he want to go in that galley for?]

geronte-scapin

Géronte et Scapin  (Gallica)

In Act Two, Scene Eight

Scapin gives back to Octave the money he took from his father Argante. He then gives Léandre the money he needs to purchase Zerbinette.

Conclusion

I must close. We know there will be a recognition scene (anagnorisis). Argante and Géronte do not know their sons have found the very wife they had chosen from them. Hyacinthe has married Octave, but Zerbinette hasn’t married.

RELATED ARTICLES

Sources and Resources

Love to everyone 💕

« Le sort me fait souffrir »
Le Poème Harmonique, Vincent Dumestre
L’Humaine comédie, Estienne Moulinié

Scapin (Les fourberies de Scapin) (2)

© Micheline Walker
27 August 2019
WordPress

 

 

 

 

 

Molière’s “Jalousie du Barbouillé”

20 Monday May 2019

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

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la jalousie du barbouille

La Jalousie du Barbouillé (documentation.théâtre.com)

I have not found illustrations for La Jalousie du Barbouillé. The image above is a detail from an illustration by Abraham Bosse, showing Turlupin and Gaultier-Garguille, French farceurs at the Hôtel de Bourgogne. The Hôtel de Bourgogne, was the foremost venue for Paris actors and farceurs. Another venue was Le Théâtre du Marais, a jeu de paume, an interior tennis court.

La Jalousie du Barbouillé is a one-act farce, first performed in 1660. It is often associated with Le Médecin volant. Both are early plays. However, Le Barbouillé seems the blueprint for George Dandin, first performed in 1668. George Dandin is a rich peasant who foolishly marries into an impoverished aristocracy. La Jalousie du Barbouillé was staged a few times after it premièred, but the farce was unexpectedly removed from Molière’s répertoire and the text itself vanished. It was found by Jean-Baptiste Rousseau in the eighteenth century, but was not included in the complete works of Molière until the 1819 edition.

Sources

The Molière21 research group warn that ancestors to Molière’s plays are probably too numerous to list. Cuckoldry and jealousy have long been the subject of farces and fabliaux. Cuckoldry also provided canevas, plots, to the commedia dell’arte. However, Wikipedia’s entry on La Jalousie du Barbouillé mentions sources. One is the commedia dell’arte‘s Villano gelosi, another is a tale from Boccacio’s Decameron, Le Jaloux corrigé. Moreover, the angry or disconsolate Barbouillé and Dandin are incarnations of Pedrolino (Pierrot), the rejected and sad clown.

Our dramatis personæ are:

Le Barbouillé, husband to Angélique.
The Doctor.
Angélique.
Valère, lover to Angélique.
Cathau, maid to Angélique.
Gorgibus, father to Angélique.
Villebrequin (accompanies Gorgibus).
La Vallée.

Le Jaloux

La Jalousie du Barbouillé features one of Molière’s main figures: the  jaloux. Le jaloux combines two comedic functions. On the one hand, he is “in love,” but on the other hand, he is the blocking character of comedy, the alazṓn of Greek Old Comedy. If he has yet to marry, he resembles Arnolphe. Reprimands and imprecations are his native and only tongue. We have just read Le Sicilien ou l’Amour peintre. Had Dom Pèdre known the laws of gallantry, Isidore may not have fled with Adraste.

After le Jaloux marries, he remains a jaloux because he fears cuckoldry, which is his fate. The cocu is the laughing-stock of the society of the play. In La Jalousie du Barbouillé, his name suggests that his face is smeared: barbouillé.

Angélique

Yes, Angélique has met Valère and, serving the couple, is Cathau, Angélique’s maid. She is on the lookout. If she sees Gorgibus, Angélique’s father, she warns Valère and Angélique, who stop speaking as lovers do. Valère knows how to change topics:

Mademoiselle, je suis au désespoir de vous apporter de si méchantes nouvelles ; mais aussi bien les auriez-vous apprises de quelque autre ; et, puisque votre frère est fort malade…
Valère à Angélique (Sc. iv, p. 5)
[Mademoiselle, I am very sorry to bring you such bad news, but, you would have heard it from some one else, and since your brother is ill…]
Valère to Angélique (Sc. 4)

The Barbouillé’s Soliloquy

As the curtain lifts, the Barbouillé engages in a soliloquy, as will George Dandin. His soliloquy, or tirade, is a litany of the wrongs he endures, saddled as he is, with a flirtatious wife. He wishes her dead, but would be hanged if he had no proof of adultery:

Il faut avouer que je suis le plus malheureux de tous les hommes ! J’ai une femme qui me fait enrager : au lieu de me donner du soulagement et de faire les choses à mon souhait, elle me fait donner au diable vingt fois le jour ; au lieu de se tenir à la maison, elle aime la promenade, la bonne chère, et fréquente je ne sais quelle sorte de gens. Ah ! pauvre Barbouillé, que tu es misérable ! Il faut pourtant la punir. Si tu la tuais… L’intention ne vaut rien, car tu serais pendu. Si tu la faisais mettre en prison… La carogne en sortirait avec son passe-partout. Que diable faire donc ? Mais voilà monsieur le docteur qui passe par ici, il faut que je lui demande un bon conseil sur ce que je dois faire.
Barbouillé (Sc. I, p. 1)
[Everybody must acknowledge that I am the most unfortunate of men! I have a wife who plagues me to death; and who, instead of bringing me comfort and doing things as I like them to be done, makes me swear at her twenty times a day. Instead of keeping at home, she likes gadding about, eating good dinners, and passing her time with people of I don’t know what description. Ah! poor Barbouillé, how much you are to be pitied! But she must be punished. Suppose you killed her…? It would do no good, for you would be hung afterwards. If you were to have her sent to prison…? The minx would find means of coming out. –What the deuce are you to do?
But here is the doctor coming out this way; suppose I ask his advice on my difficulties.]
Barbouillé (Sc. 1)

The Barbouillé seeks the help of a doctor, a pedant, who is passing by. This doctor cannot give advice. The Barbouillé says a few words, which is all our pedant requires to display his knowledge. Doctors have the reputation of presenting bills. At the end of Scene two, the Doctor therefore indulges in a long tirade aimed at showing that expense is no object. He does’nt take money. The tirade being too long, I will indicate that it is at the very end of Scene ii, p. 4, FR Scene 2, EN.

Gorgibus

In the meantime, Monsieur Gorgibus, Angélique’s father, walks on stage, accompanied by Villebrequin, his entourage. Gorgibus fears cuckoldry as much as the Barbouillé, if not more. Should his daughter commit adultery, which is almost unavoidable, Gorgibus’ reputation would suffer. He is forever visiting his daughter and her husband, begging them to stop quarrelling. They quarrel. (Sc. v, p. 5):

Hé quoi? toujours se quereller! vous n’aurez point la paix dans votre ménage?
Gorgibus au Barbouillé (Sc. v)
[What! will you always be quarrelling! Will you never have peace at home?]
Gorgibus to Barbouillé (Sc. 5)

An incoherent doctor butts in. For instance, he asks the Barbouillé not to use the word enrager: j’enrage [I am bursting with rage.], which is not the correct verb.[1] Whether the Barbouillé uses enrager or an another word is irrelevant. He is a nuisance. As the scene ends, the doctor is dragged away, a cord attached to his foot.

Au milieu de tout ce bruit, le Barbouillé attache le Docteur par le pied, et le fait tomber ; le Docteur se doit laisser sur le dos ; le barbouillé l’entraîne par la corde qu’il lui a attachée au pied, et, pendant qu’il l’entraîne, le Docteur doit toujours parler, et compter par ses doigts toutes ses raisons, comme s’il n’était point à terre.
(Sc. vi, pp. 8-9)
[In the midst of all this, Le Barbouillé ties the Doctor by the legs with a rope, throws him down on his back, and drags him away; the Doctor goes on talking all the time, and counts all his arguments on his fingers, as if he were not on the ground.]
(Sc. 6)

Cuckoldry

In La Jalousie du Barbouillé, Molière rehearses George Dandin ou le Mari confondu, performed in 1668. The two comedies share an episode. The Barbouillé’s Angélique is late returning home and finds herself locked out of the Barbouillé’s house. The Barbouillé will not open the door to let his wife enter. 

Oui? Ah! ma foi, tu peux aller coucher d’où tu viens, ou, si tu l’aimes mieux, dans la rue, dans la rue : je n’ouvre point à une coureuse comme toi. Comment, diable! être toute seule à l’heure qu’il est!  Je ne sais si c’est imagination, mais mon front m’en paraît plus rude de moitié.
Barbouillé à Angélique (Sc. xi, p. 10)
[Yes, you catch me! You may go and sleep where you come from; I shall not open to a gad-about like you. What! alone at this time of night! I don’t know if it is fancy, but my forehead seems to me already rougher by half.]
Barbouillé to Angélique (Sc. 11)

The Barbouillé so insists on keeping the door closed that Angélique says she will do something he will regret.

Sais-tu bien que si tu me pousses à bout, et que tu me mettes en colère, je ferai quelque chose dont tu te repentiras?
Angélique au Barbouillé (Sc. xi, p. 11)
[Do you know that if you push me too far, and put me in a passion, I may do something which will make you repent your unkindness.]
Angélique to Barbouillé (Sc. 11)

Tiens, si tu ne m’ouvres, je m’en vais me tuer devant la porte ; mes parents, qui sans doute viendront ici auparavant de se coucher, pour savoir si nous sommes bien ensemble, me trouveront morte, et tu seras pendu.
Angélique au Barbouillé (Sc. xi, p. 11)
[I declare that if you do not open to me, I will kill myself before the door; my parents will no doubt come here before going to bed, to see if we are all right together, and they will find me dead, and you will be hanged.]
Angélique to Barbouillé (Sc. 11)

She then makes believe she’s killed herself. Frightened, he goes out of the house, allowing her to enter. It was a trick which George Dandin will play on his wife, in the hope he will be vindicated. He would have the upper hand from the point of you of the law. (Act III. final scenes)

Comments

Le jaloux is doomed, whether or not he is in the right. Courting, le Jaloux cannot make himself loved. He cannot be loved. Once he marries, Molière’s jaloux is cuckolded, un cocu and barbouillé, smeared. He is the laughing-stock of the play’s society and he shames his in-laws, however vigilant a Gorgibus or a Barbouillé. Gorgibus asks his daughter to kiss her “husband:”

Allons, ma fille, embrassez votre mari, et soyez bons amis.
Gorgibus à Angélique (Sc. xii, p. 12)
[Come, daughter, kiss your husband, and be friends.]
Gorgibus to Angélique (Sc. 13)

One does not ask a woman to kiss her husband, nor does one ask a husband to apologize to his wife (George Dandin, p. 291). Angélique and Valère will become lovers. The Sotenville (George Dandin) are prosperous again, but they have sold a daughter and Dandin regrets marrying into the aristocracy. He blames himself.

As the curtain falls, Villebrequin, who has refused the hear sixty to eighty pages of instruction from a reappearing doctor, suggests all go to supper. 

Allons-nous-en souper ensemble, nous autres.
Villebrequin à tous (Sc. xiii, p. 13)
Let us all go and have some supper together.
Villebrequin to all (Sc. 13)

This invitation is formulaic and The Jealousy of the Barbouillé, an enigmatic comedy. “Nous autres” go to supper, but George Dandin, a second Barbouillé, feels he may as well drown (George Dandin, p. 291).

RELATED ARTICLES

Sources and Resources

____________________
[1] It is the correct verb.

With kind regards to everyone. 💕
(Apologies for a belated post.)

Four_Commedia_dell’Arte_Figures_claude-gillot

Claude Gillot (1673–1722), Four Commedia dell’arte Figures: Three Gentlemen and Pierrot, c. 1715 (Wiki2.org)

169331 (2)

© Micheline Walker
20 May 2019
WordPress