As you know, I wrote posts on every play Molière wrote. Molière is a major writer. In fact, the French language is often referred to as la langue de Molière. Quotations were in both French and English, and each one was followed by a link taking readers to the entire play.
Toutmolière.net / Molière 21 has been removed from the internet. So, links following my quotations no longer lead to the complete play. I believe a few of my posts are entries.
However, I hope sincerely that the toutmolière.net/ Molière 21 site will be reintroduced among necessary entries. I so enjoyed using these toutmolière.net.
English translations of my quotations were taken from an Internet Archive‘s translation of the plays of Molière. I had chosen Henri van Laun. The print is small but it can be enlarged. The full texts of certain plays is available courtesy of the Gutenberg Project, Wikisource, and other sources, but most of my Molière posts no longer have a link to the French text and I fear readers will not “run around.” A teacher’s presentation of a work is a key source of learning. Illustrations are also very important.
Many people are confined to their home or bed. They cannot go to a library or a bookstore, because there is no convenient transportation. Some are blind or have poor eyesight, so audio books are important. Henri van Laun was an excellent moliériste and translator. The print was small, but it could be enlarged.
I hope toutmolière.net /Molière 21 will reinsert Molière’s plays on the internet so people reading my 82 posts will be able to read more than its short quotations.
My doctoral thesis has been published on the internet by the University of British Columbia. However, the copy that was used has many spelling and surface errors. I will correct these.
Messieurs, je vous en prie, rendez-nous toutmolière.net.
We will survive. I was going through my Molière’s plays because I would like to present more fables by Jean de La Fontaine. Molière and Jean de La Fontaine were good friends and the same age. Both were influenced by Rabelais.
Moliere (French playwright and actor) statue in Paris, France (Getty Images)
In L’Impromptu de Versailles, 3, I included a quotation that prefigures Le Misanthrope. Alceste, the Misanthrope, depicts the court. A courtier swears he will do everything for another courtier, but it is mere politeness. Minutes later, he will be backbiting.
I suggested skipping this quotation because of its length. However, I decided to shorten the quotation and include it in full in a separate post. In this quotation, Molière, the director, le metteur en scène, is giving directions to the actor who will play Molière in the comedy the King commissioned, but he denigrates court as Alceste would. The fictitious Molière speaks as will Alceste two years later. The material of this post is the full quotation and its translation by Henri van Laun. Molière’s words as director are coloured.
Attendez, il faut marquer davantage tout cet endroit, écoutez-le-moi dire un peu. « Et qu’il ne trouvera plus de matière pour… — Plus de matière! Hé, mon pauvre Marquis, nous lui en fournirons toujours assez, et nous ne prenons guère le chemin de nous rendre sages pour tout ce qu’il fait et tout ce qu’il dit. Crois-tu qu’il ait épuisé dans ses comédies tout le ridicule des hommes? Et sans sortir de la cour, n’a-t-il pas encore vingt caractères de gens où il n’a point touché? N’a-t-il pas, par exemple, ceux qui se font les plus grandes amitiés du monde, et qui le dos tourné font galanterie de se déchirer l’un l’autre? N’a-t-il pas ces adulateurs à outrance, ces flatteurs insipides qui n’assaisonnent d’aucun sel les louanges qu’ils donnent, et dont toutes les flatteries ont une douceur fade qui fait mal au cœur à ceux qui les écoutent? N’a-t-il pas ces lâches courtisans de la faveur, ces perfides adorateurs de la fortune, qui vous encensent dans la prospérité, et vous accablent dans la disgrâce? N’a-t-il pas ceux qui sont toujours mécontents de la cour, ces suivants inutiles, ces incommodes assidus, ces gens, dis-je, qui pour services ne peuvent compter que des importunités, et qui veulent que l’on les récompense d’avoir obsédé le prince dix ans durant? N’a-t-il pas ceux qui caressent également tout le monde, qui promènent leurs civilités à droite et à gauche, et courent à tous ceux qu’ils voient avec les mêmes embrassades, et les mêmes protestations d’amitié? “Monsieur votre très humble serviteur. — Monsieur je suis tout à votre service. — Tenez-moi des vôtres, mon cher. — Faites état de moi, Monsieur, comme du plus chaud de vos amis. — Monsieur, je suis ravi de vous embrasser. — Ah! Monsieur, je ne vous voyais pas. Faites-moi la grâce de m’employer, soyez persuadé que je suis entièrement à vous. Vous êtes l’homme du monde que je révère le plus; il n’y a personne que j’honore à l’égal de vous. Je vous conjure de le croire; je vous supplie de n’en point douter. — Serviteur. — Très humble valet”. Va, va, Marquis, Molière aura toujours plus de sujets qu’il n’en voudra, et tout ce qu’il a touché jusqu’ici n’est rien que bagatelle, au prix de ce qui reste. » Voilà à peu près comme cela doit être joué. Molière (Sc. iv) [You must be more emphatic with this passage. Just listen to me for a moment. “And that he will find no more subjects for . . . No more subjects? Ah, dear Marquis, we shall always go on providing him with plenty, and we are scarcely taking the course to grow wise, for all that he can do or say. Do you imagine that he has exhausted in his comedies all the follies of men; and without leaving the Court, are there not a score of characters which he has not yet touched upon? For instance, has he, not those who profess the greatest friendship possible, and who, when they turn their backs, think it a piece of gallantry to tear each other to pieces? Has he not those unmitigated sycophants, those vapid flatterers, who never give a pinch of salt with their praises, and whose flatteries have a sickly sweetness which nauseate those who hear them? Has he not the craven courtiers of favourites, the treacherous worshippers of fortune, who praise you in prosperity, and run you down in adversity? Has he not those who are always discontented with the Court, those useless hangers on, those troublesome, officious creatures, those people who can count up no services except importunities, and who expect to be rewarded for having laid a ten years’ siege to the King? Has he not doubt Molière had much ado to keep himself out of an endless series of those who fawn on all the world alike, who hand their civilities from left to right, who run after all whom they see, with the same salutations, and the same professions of friendship? ‘Sir, your most obedient. Sir, I am entirely at your service. Consider me wholly yours, dear sir. Reckon me, sir, as the warmest of your friends. Sir, I am enchanted to embrace you. Ah! sir, I did not see you. Oblige me by making use of me; be assured I am wholly yours. You are the one man in the world whom I most esteem. There is no one whom I honour like you. I entreat you to believe it. I beg of you not to doubt it. Your servant. Your humble slave.’ Oh, Marquis, Marquis, Moliere will always have more subjects than he needs; and all that he has aimed at as yet is but a trifle to the treasure which is within his reach.”] Molière (Sc. 3, pp. 204-205)
FRANCE – JANUARY 01: Moliere (Jean- Baptiste Poquelin). Oil on Canvas. By Pierre Mignard (1612-1695). (Photo by Imagno/Getty Images) [Jean- Baptiste Moliere. oel/Lw. Von Pierre Mignard (1612-1695).]
L’Impromptu de Versailles, 3
DRAMATIS PERSONSÆ MOLIERE, a ridiculous Marquis, BRECOURT, a man of Quality. LA GRANGE, a ridiculous Marquis. Du CROISY, a poet. LA THORILLIERE, a fidgety Marquis. BEJART, a busybody. FOUR BUSYBODIES. Mademoiselle DUPARC, 6 a ceremonious Marchioness. Mademoiselle BEJART, a prude. Mademoiselle DEBRIE, a sage coquette. Mademoiselle MOLIERE, a satirical wit. Mademoiselle Du CROISY, a whining plague. Mademoiselle HERVE, a conceited chambermaid. Scene. VERSAILLES, IN THE KING’ S ANTECHAMBER
L’Impromptu de Versailles features Molière playing Molière and his troupe playing their role. They are characters in a play within a play, le théâtre dans le théâtre. Louis XIV has commissioned this short play because he wants Molière to defend himself against his accusers.
In Scene One, after his actors oppose performing a play, they have yet to rehearse and tell Molière that he is fortunate. He knows the play. But Molière bemoans his role, not to mention the power of a king. The play was performed on 14 October 1663, at Versailles. Molière and his actors knew the play Molière had written despite a script, L’Impromptu, according to which Molière knew the play, but his actors did not. L’Impromptu was performed at the Palais-Royal on 4 November 1663.
We know that Molière wanted to please an audience, but he also had to please, or not earn a living, or money to support his actors. So, they often rehearsed very quickly a play Molière had written in a matter of days. Louis XIV was aware of Molière’s self-ambition and named Lully “director of the Académie Royale de Musique” (1873-1887). (See Lully, Wikipedia.) Molière fell out with Jean-Baptiste Lully in 1672. His composer would be Marc-Antoine Charpentier. History would prove Molière the more remarkable genius. Moreover, Molière, not Lully, created the comédie-ballet. Moreover, the French court sought constant divertissements. It danced, and it sang. Therefore, Molière worried and said so. As a playwright, chef de troupe and actor, he worked to death. Molière died at the age of 51.
Et n’ai-je à craindre que le manquement de mémoire? Ne comptez-vous pour rien l’inquiétude d’un succès qui ne regarde que moi seul? Et pensez-vous que ce soit une petite affaire, que d’exposer quelque chose de comique devant une assemblée comme celle-ci? que d’entreprendre de faire rire des personnes qui nous impriment le respect, et ne rient que quand ils veulent? Est-il auteur qui ne doive trembler, lorsqu’il en vient à cette épreuve? Et n’est-ce pas à moi de dire que je voudrais en être quitte pour toutes les choses du monde? Molière (Sc I. i) [And have I nothing to fear but want of memory? Do you reckon the anxiety as to our success, which is entirely my own concern, nothing? And do you think it a trifle to provide something comic for such an assembly as this; to undertake to excite laughter in those who command our respect, and who only laugh when they choose? Must not any author tremble when he comes to such a test? Would it not be natural for me to say that I would give everything in the world to be quit of it.] Molière (Sc. I. 1, p. 192)
Mon Dieu, Mademoiselle, les rois n’aiment rien tant qu’une prompte obéissance, et ne se plaisent point du tout à trouver des obstacles. Les choses ne sont bonnes que dans le temps qu’ils les souhaitent ; et leur en vouloir reculer le divertissement est en ôter pour eux toute la grâce. Ils veulent des plaisirs qui ne se fassent point attendre, et les moins préparés leur sont toujours les plus agréables, nous ne devons jamais nous regarder dans ce qu’ils désirent de nous, nous ne sommes que pour leur plaire ; et lorsqu’ils nous ordonnent quelque chose, c’est à nous à profiter vite de l’envie où ils sont. Il vaut mieux s’acquitter mal de ce qu’ils nous demandent, que de ne s’en acquitter pas assez tôt ; et si l’on a la honte de n’avoir pas bien réussi, on a toujours la gloire d’avoir obéi vite à leurs commandements. Mais songeons à répéter s’il vous plaît. Molière (Sc. i) [Oh! Mademoiselle, Kings like nothing better than a ready obedience, and are not at all pleased to meet with obstacles. Things are not acceptable, save at the moment when they desire them; to try to delay their amusement is to take away all the charm. They want pleasures that do not keep them waiting; and those that are least prepared are always the most agreeable to them. We ought never to think of ourselves in what they desire of us; our only business is to please them; and, when they command us, it is our part to respond quickly to their wish. We had better do amiss what they require of us, than not do it soon enough; if we have the shame of not succeeding, we always have the credit of having speedily obeyed their commands. But now, pray, let us set about our rehearsal.] Molière (Sc. 1, p. 193)
Scene Three
Scene Three provokes a strange feeling, which is consistent with works of fiction. They may seem real. Roland Barthes has given a name to this phenomenon: l’effet de réel, which, in L’Impromptu de Versailles reaches dizzying heights. Molière protrayed his century and did so because he wrote “d’après nature.” He observed carefully, which led to the Querelle de l’École des femmes. On 4 June 1664, his realism unleashed fury. His Tartuffe was condemned and, to a certain extent members of la Compagnie du Saint-Sacrement could be fooled. They could see a real dévot, in a faux dévot. Molière rewrote his play until it could be performed with producing a scandal.
L’effet de réel also generates feelings. Form and feelings are not easily dissociated. Susanne K. Langer‘s Feeling and Form: A Theory of Art (1953) is very convincing. When the play begins, we are in the “green” room. For instance, Molière says that he does not want to be Molière and denies having played the marquis ridicule in La Critique de l’École des femmes, but a little further down the page, he admits having played the marquis ridicule. However, La Grange wants to bet, cent (a hundred) pistoles that Molière was the marquis ridicule and Brécourt has just arrived and says that both are “fools.” Suddenly, we remember Perrin Dandin.
Scene Four
Brécourt as umpire says that both Molière and La Grange are “fools,” which takes us back to La Critique’s Uranie who suggests that characters presented on the stage are “miroirs publics” (public mirrors) and “une thèse générale,” generalities. Molière does not attack anyone in particular, he depicts a group.
Comme l’affaire de la comédie est de représenter en général tous les défauts des hommes, et principalement des hommes de notre siècle; il est impossible à Molière de faire aucun caractère qui ne rencontre quelqu’un dans le monde; et s’il faut qu’on l’accuse d’avoir songé toutes les personnes ou l’on peut trouver les défauts qu’il peint, il faut sans doute qu’il ne fasse plus de comedies. Brécourt (Sc. iv) [As the business of comedy is to represent in a general way all the faults of men, and especially of the men of our day, it is impossible for Moliere to create any character not to be met with in the world; and if he must be accused of thinking of everyone in whom are to be found the faults which he delineates he must, of course, give up writing comedies.] Brécourt (Sc. iii, p. 203)
Moreover, Molière is not running out of material. The following quotation names all kinds of courtiers he could depict as hypocrites. They greet one another politely, only to indulge in backbiting. This tirade, a soliloquy, is a prelude to the Misanthrope, which would not be performed until 4th June 1666. Molière still has everything to say. A tirade follows, but it is too long to quote in its entirety. The full quotation has become a post entitled L’Impromptu, Sc. iv.
Attendez, il faut marquer davantage tout cet endroit, écoutez-le-moi dire un peu. «Et qu’il ne trouvera plus de matière pour… — Plus de matière! Hé, mon pauvre Marquis, nous lui en fournirons toujours assez, et nous ne prenons guère le chemin de nous rendre sages pour tout ce qu’il fait et tout ce qu’il dit. Crois-tu qu’il ait épuisé dans ses comédies tout le ridicule des hommes? Et sans sortir de la cour, n’a-t-il pas encore vingt caractères de gens où il n’a point touché? N’a-t-il pas, par exemple, ceux qui se font les plus grandes amitiés du monde, et qui le dos tourné font galanterie de se déchirer l’un l’autre? Voilà à peu près comme cela doit être joué. Molière (Sc. iv) [You must be more emphatic with this passage. Just listen to me for a moment. “And that he will find no more subjects for . . . No more subjects? Ah, dear Marquis, we shall always go on providing him with plenty, and we are scarcely taking the course to grow wise, for all that he can do or say. Do you imagine that he has exhausted in his comedies all the follies of men; and without leaving the Court, are there not a score of characters which he has not yet touched upon? For instance, has he not those who profess the greatest friendship possible, and who, when they turn their backs, think it a piece of gallantry to tear each other to pieces?] Molière (Sc. 3, pp. 204-205)
In Scene Five, all members of Molière’s troupe are delighted because authors have got together to write a play against Molière, entitled Le Portrait du peintre. Vengeance is expected on Molière’s part. We suspect, first, that others attack him because they see themselves in the ridiculous characters his plays depict. What we see and hear is unlikely to correspond to what is said. Second, Molière was the better playwright.
Brécourt feels that a new play, a superior play, is the appropriate response.
Molière describes the society of his century “d’après nature.” In other words, he depicts his society realistically, which is the source of the querelle de l’École des femmes and will also be the source of Tartuffe‘s condemnation. Molière’s knowledge of human nature brings to mind humanists such as Montaigne, l’humayne condition, and Rabelais‘ various characters.
The End of a Project
I have now written posts on every play Molière wrote. Some posts are less bilingual than others which can be remedied. I do not think, however, that I can write a full book on Molière. I no longer live near a research library and my memory is failing me. I forget the spelling of words. But my posts will be my contribution to Molière scholarship, other than articles I have written. I am glad Internet Archives published Henri van Laun’s translation of every play Molière wrote.
I have chosen music composed by Louis XIII. Louis XIII did not live with his wife, yet he fathered two children. The kings of France loved entertainment.
Sources and Resources L’Impromptu de Versailles is a toutmolière.net publication. L’Impromptu de Versailles is an Internet Archive publication. La Critique de l’École des femmes is a toutmolière.net publication. The School for Wives criticized is an Internet Archive publication. Our translator is Henri van Laun. Wikipedia: various entries. The Encyclopædia Britannica: various entries.
I tried to indicate the scenes of L’Impromptu de Versailles in a manner other than copying from the PDF version. It was not possible. The toutmolière.net site divides Molière’s plays into acts and scenes, but one must copy the text from the PDF version. The PDF versions, French and English, are paginated.
Also, Scene v was included in yesterday’s L’Impromptu de Versailles.2. It was removed without my noticing. I reinserted its skeletal version before retiring last night. It is short, but it completes the narrative. From Scene vi to Scene x, Molière is asked to go on stage and perform. In Scene xi, the King relieves him and asks that a play the comedians know well be performed.
Help, help…
How does one indent in the Block Editor and where are symbols and characters located? I have tried everything, but failed miserably.
MOLIÈRE, marquis ridicule. BRÉCOURT, homme de qualité. DE LA GRANGE, marquis ridicule. DU CROISY, poète. LA THORILLIÈRE, marquis fâcheux. BÉJART, homme qui fait le nécessaire. MADEMOISELLE DU PARC, marquise façonnière. MADEMOISELLE BÉJART, prude. MADEMOISELLE DE BRIE, sage coquette. MADEMOISELLE MOLIÈRE, satirique spirituelle. MADEMOISELLE DU CROISY, peste doucereuse. MADEMOISELLE HERVÉ, servante précieuse.
La scène est à Versailles dans la salle de la Comédie. The scene is at Versailles in the room used for plays.
L’Impromptu de Versailles presents a problem. Scenes are uneven. I, therefore, consulted Jacques Schérer’s La Dramaturgie classique en France. Schérer’s book is the standard reference on form in seventeenth-century French drama and other dramatic works. One can combine short scenes and long scenes. First, a scene is not an act. There is no entr’acte or intermission in a one-act plays. Scene One is very long, but Scene Two is shorter. A bore, un fâcheux, whose name is La Thorillière wants to know everything about a play that is not ready. He wants to know the name of the play and if it was commissioned by Louis XIV. He knows the King has commissioned the play, but he asks. Bores will waist anyone’s time. He tells Mademoiselle du Croisy that she is lovely and that without her the comedy would be worthless:
Sans vous la comédie ne vaudrait pas grand’chose. [Without you, the comedy would not be worth much.] La Thorillière to Mademoiselle du Croisy (I. ii, p. 8) (I. 2, p. 200)
Molière then asks his actresses to chase away La Thorillière Monsieur nous avons ici quelque chose à répéter ensemble. Mademoiselle de Brie à La Thorillière But … Mademoiselle de Brie to La Thorillière (I. 2, p. 200)
Before leaving La Thorillière says that he will tell the King that Molière and his comedians are ready.
If we return to Scene One, where Mademoiselle Béjart reminds Molière that he once wanted to write a comedy about comedians. Why didn’t he? He could have mocked actors from l’Hôtel de Bourgogne at that time. Molière had something else in mind:
J’avais songé une comédie, où il y aurait eu un poète que j’aurais représenté moi… I thought of a comedy in which there should have been a poet, whose part I would have taken myself, Molière à ses comédiens ( I. i, p. 4) (I. 1, p. 194)
What Molière had in mind was being asked if he had comedians who could do justice to a script, which is what he has done his entire life as chef de troupe. As of this comment, we know that much of the comedy will be about Molière who will again be pressed, as he has always been.
Molière is then asked to imitate the actors of l’Hôtel de Bourgogne, his rivals. Their schedule is the same, so he has not seen them sufficiently to imitate them, which he goes on to do: Montfleury, Mademoiselle Beauchâteau, Hauteroche, Villiers …
Scene Three
In Sc. iii, Molière tells Molière tells La Grange that he does not want to play Molière.
Cela est bon pour toi, mais pour moi je ne veux pas être joué par Molière. [That may do for you; but I do not wish Moliere to take me off.] Molière à La Grange (iii, p.10) (3, p. 202)
He claims he did not play the Marquis ridicule in La Critique, which he did according to La Grange.
Quoi! tu veux soutenir que ce n’est pas toi qu’on joue dans le marquis de La Critique [Yet I think, Marquis, that it is you he takes off in The School for Wives criticised.] La Grange à Molière (iii, p.10/) (3, p. 202)
In the end, he admits that he indeed played the marquis ridicule. A large group of marquis ridicule are featured in Molière’s plays. They are the courtiers depicted in the Misanthrope. Climène is Arsinoé who was Célimène earlier in life.
Il est vrai c’est moi. Détestable, morbleu, détestable! Tarte à la crème. C’est moi, c’est moi, assurément, c’est moi. [Just so; it is I. ‘Detestable; egad! detestable! Cream tart!’ Oh, it is I, it is I, assuredly it is I!] Molière à La Grange(iii, p.10) (3, p. 202)
Je gage cent pistoles que c’est toi. [I bet a hundred pistoles that it is you.] La Grange à Molière (iii, p. 10) (3, p. 202) Et moi cent pistoles que c’est toi. [And I bet a hundred it is you.] Molière à La Grange (iii, p. 10) (3, p. 202)
However, La Grange wants to ask an umpire to tell whether Molière played a marquis ridicule in La Critique. Brécourt will be the judge.
Scene Four
Brécourt tells La Grange and Molière that they are fools. He has heard Molière himself say that he did not depict individuals. Such is Uranie’s explanation in La Critique de l’École des femmes. Molière’s portraits are « miroirs publics » (sc. vi, near footnote 22).
Il disait que rien ne lui donnait du déplaisir, comme d’être accusé de regarder quelqu’un dans les portraits qu’il fait. Que son dessein est de peindre les mœurs sans vouloir toucher aux personnes; et que tous les personnages qu’il représente sont des personnages en l’air, et des fantômes proprement qu’il habille à sa fantaisie pour réjouir les spectateurs. [He said that nothing annoyed him so much as to be accused of animadverting upon anyone in the portraits he drew; that his design is to paint manners without striking at individuals, and that all the characters whom he introduces are imaginary phantoms, so to speak, which he clothes according to his fancy in order to please his audience …] Brécourt à La Grange et Molière (iv, p. 11 ) (I. 3, p. 203)
The above is a reiteration of Uranie’s thèse générale (sc vi, before footnote 24).
Molière then asks if perhaps Molière has not run of subject matter (la matière). There follows a litany of hypocritical exchanges worthy of a bilious Alceste (The Misanthrope). I will have to provide the tirade in a separate post. Molière (sc. iv, pp. 17-18) (sc. 3, pp. 204-205)
Scene Five
As Scene v begins, Mademoiselle de Brie introduces Lysidas (the pedant in La Critique) who will tell that a play has been written which les grands comédiens, actors working for l’Hôtel de Bourgogne,[1] will perform. Molière knew, but he cannot remember the full name of the playwright. The name is Boursaut, says Du Croisy, but others have lent a hand. Since authors considered Molière their greatest enemy all have got together, including Lysidas I presume. Tout le Parnasse. Several authors have written the play, but they have hidden behind the name of yet unknown author.
In Scenes vi, vii, viii, ix and x, the nécessaire/Béjart/busybody ask Molière to begin the play. In Scene xi, Béjart tells all that Louis XIV has delayed the performance and that the comedians can play a comedy they know. He is a deus ex machina, which is an acceptable way of creating a happy ending.
Sources and Resources L’Impromptu de Versailles is a toutmolière.net publication. L’Impromptu de Versailles is an Internet Archive publication. La Critique de l’École des femmes is a toutmolière.net publication. The School for Wives criticised is an Internet Archive publication. Our translator is Henri van Laun. Images belong to théâtre-documentation.com (BnF). Wikipedia: various entries. The Encyclopædia Britannica: various entries.
____________________ [1] There were several theatres in Paris. The grands comédiens performed à l’Hôtel de Bourgogne.
Love to everyone 💕
Scaramouche (Fiorilli) teaching Élomire (Molière) his student, frontispiece to Le Boulanger de Chalussay’s attack on Molière, 1670 (Wikipedia)
MOLIÈRE, marquis ridicule. BRÉCOURT, homme de qualité. DE LA GRANGE, marquis ridicule. DU CROISY, poète. LA THORILLIÈRE, marquis fâcheux. BÉJART, homme qui fait le nécessaire. MADEMOISELLE DU PARC Marquise façonnière (mannerist). MADEMOISELLE BÉJART, prude. MADEMOISELLE DE BRIE, sage coquette. MADEMOISELLE MOLIÈRE, satirique spirituelle. MADEMOISELLE DU CROISY, peste doucereuse. MEDEMOISELLE HERVÉ, servante précieuse.
La scène est à Versailles dans la salle de la Comédie. We are at Versailles in the hall where plays are performed.
L’Impromptu de Versailles FR (L’Impromptu de Versailles EN) is the second play Molière wrote in response to criticism of L’École des femmes. There was, in fact, a Querelle de l’École des femmes. We have read La Critique de l’École des femmes, the first play Molière wrote to defend himself. It premiered on 2nd June 1663. As for L’Impromptu de Versailles, the one-act play was commissioned by Louis XIV, and it was first performed at Versailles on 14th October 1663.
Molière’s two plays differ from one another quite drastically. Both are one-act plays, but L’Impromptu de Versailles is a form of théâtre dans le théâtre, a play within a play. Théâtre dans le théâtre are plays that may vary from one another. Therefore, I will say no more than the comedians who perform L’Impromptu de Versailles are mostly the same as the comedians featured in La Critique de l’École des femmes, but that they use their “real” name. Diderot‘s Paradoxe sur le Comédien (actor) is prefigured.
I will also note that the fil conducteur (the thread) of the play is the story of comedians who are pressed for time by King Louis XIV who commissioned the play. In scenes vii, viii, ix and x, of a total of eleven scenes, a nécessaire, played by Béjart, asks for the play to begin. However, in scene xi, a brief scene, Molière’s comedians are told by the nécessaire, that the King is postponing the performance of the play he commissioned. Molière’s troupe may perform a play they already know. So, Louis XIV’s demand is lifted by Louis XIV himself, now transformed into a deus ex machina, a plot device that allows the happy ending of comedy. The use of a deus exmachina suggests that the society of the play cannot resolve the problems it is facing. Innerness is suggested. In the case of L’Impromptu de Versailles, the use of a deus ex machina also points to the circularity of the plot.
“Antiphanes was one of the device’s earliest critics. He believed that the use of the deus ex machina was a sign that the playwright was unable to properly manage the complications of his plot.
when they don’t know what to say and have completely given up on the play just like a finger they lift the machine and the spectators are satisfied.” Antiphanes (See Deus ex machina, Wikipedia)
Professor Georges Forestier[1] writes that Molière would be the dramatist, who would append a comédie to the tail end of (à la queue de) L’École des femmes. La queue (the tail) is part of the animal.
Puisque chacun en serait content, Chevalier [Dorante], faites un mémoire de tout, et le donnez à Molière que vous connaissez, pour le mettre en comédie. Uranie à Dorante (I, vi) [As every one is satisfied, Chevalier, write out our discussion, and give it to Moliere, whom you know, to work into a play.] Uranie to Dorante (I. 7, p. 178)
Yet at some point, Molière says to Brécourt, one of his actors, that he will not play Molière and that he did not play the marquis ridicule of La Critique de l’École des femmes. In a play, one represents someone else for the duration of the play and one may play a character that doesn’t match one “real” self
A Théâtre dans le théâtre (a play within a play)
In Georges Forestier’s Théâtre dans le théâtre,[2]L’Impromptu de Versailles is number 21 of the plays considered plays within plays in the broadest acceptation of the term.
In scene one, Molière attempts to gather his actors so they may rehearse a play they do not know. Molière’s comment that actors are literally “strange animals to drive” (conduire) is Molière’s. He is chef de troupe and gathering his comedians.
Ah ! les étranges animaux à conduire que des comédiens. Molière (I, i. p. 2) (I. 1, p. 192) [Oh, what an awkward team to drive are actors! {Enter Mesdemoiselles Bejart, Duparc, Debrie, Molière, Du Croisy, and Hervé}.] Molière (I, i. p. 2) (I. 1, p. 192)
All complain.
Le moyen de jouer ce qu’on ne sait pas? [How are we to play what we do not know?] La Grange (I, i. p. 2) (I. 1, p. 192) Pour moi, je vous déclare que je ne me souviens pas d’un mot de mon personnage. [As for me, I declare that I do not remember a word of my part.] Mademoiselle du Parc (I, i. p. 2) (I. 1, p. 192) Je sais bien qu’il me faudra souffler le mien, d’un bout à l’autre. [I am sure I shall have to be prompted from beginning to end.] Mademoiselle de Brie (I, i. p. 2) (I. 1, p. 192) Et moi, je me prépare fort à tenir mon rôle à la main [And I just mean to hold mine in my hand.] Mademoiselle Béjart (I, i. p. 2) (I. 1, p. 192) Et moi aussi. [So do I.] Mademoiselle Molière (I, i. p. 2) (I. 1, p. 192) Pour moi, je n’ai pas grand’chose à dire. [For my part, I have not much to say.] Mademoiselle Hervé (I, i. p. 2) (I. 1, p. 192) Ni moi non plus, mais avec cela je ne répondrais pas de ne point manquer. [Nor I either; but, for all that, I would not promise not to make a slip.] Mademoiselle du Croisy (I, i. p. 2) (I. 1, p. 192) J’en voudrais être quitte pour dix pistoles. [I would give ten pistoles to be out of it.] Du Croisy (I, i. p. 2) (I. 1, p. 192) Et moi pour vingt bons coups de fouet, je vous assure. [I would stand a score of good blows with a whip to be the same, I assure you.] Brécourt (I, i. p. 2) (I. 1, p. 192)
Having complained, they start imitating the actors who have criticized them. Most are employed by l’Hôtel de Bourgogne. In the meantime, Molière has a play in mind and distribute the roles each will play.
made theatre history by reproducing with astonishing realism the actual greenroom, or actors’ lounge, of the company and the backchat involved in rehearsal.
The realism of L’Impromptu is such that we do not think the actors are already on the stage. Molière gave a short one-line comment to each character objecting to performing a play they do not have the time to prepare. So, as the characters say that they are not ready to perform a play they do not know, the rapid sequence of répliques (retorts) emphasizes haste. The rapid succession of répliques is a figure of speech called stichomythia.
I will pause here leaving out elements that can be addressed separately.
Sources and Resources L’Impromptu de Versailles is a toutmolière.net publication L’Impromptu de Versailles is an Internet archive publication La Critique de l’École des femmes is a toutmolière.net publication The School for Wives criticised is an Internet Archive publication Our translator is Henri van Laun Images belong to théâtre-documention.com (BnF) Wikipedia: various entries The Encyclopædia Britannica: various entries
_________________________ [1] Georges Forestier, Le Théâtre dans le Théâtre (Genève: Droz, 1996), pp. 150… [2]Georges Forestier, op. cit. , p. 352.
Jean Rondeau & Thomas Dunford record “Les Baricades Mïstérieuses” by François Couperin
URANIE (hostess). ÉLISE (her cousin). CLIMÈNE (a prude). GALOPIN, laquais. LE MARQUIS. DORANTE ou LE CHEVALIER. LYSIDAS, poète.
In Scene v of La Critique de l’École des femmes, Dorante enters Uranie’s salon. She has been expecting him. Dorante wants everyone to continue discussing L’École des femmes.
… et jamais on n’a rien vu de si plaisant, que la diversité des jugements, qui se font là-dessus. Car enfin, j’ai ouï condamner cette comédie à certaines gens, par les mêmes choses, que j’ai vu d’autres estimer le plus. Dorante à tous (I. v) [You are on a subject which, for four days, has been the common talk of Paris; and never was anything more amusing than to hear the various judgments that are passed upon it.] Dorante to all (I. 6, 162)
So, one wonders just how our characters will walk towards the dining-room laughing and read L’École des femmes after dinner. The change may begin when Dorante says to the Marquis that he is not talking about him. He turns the matter into a miroir public:
Parbleu ! Chevalier Dorante, tu le prends là… Le Marquis à Dorante (I, v) [Egad, sir, you are carrying this . . .] Le Marquis to Dorante (I. 6, p. 164) Mon Dieu, Marquis, ce n’est pas à toi que je parle ; c’est à une douzaine de Messieurs qui déshonorent les gens de cour par leurs manières extravagantes, et font croire parmi le peuple que nous nous ressemblons tous. Dorante au Marquis (I, v) [Why, Marquis, I am not speaking to you. I am addressing a round dozen of those gentries who disgrace courtiers by their nonsensical manners, and make people believe we are all alike.] Dorante to the Marquis (I. 6, p.164)
Dorante says later that prudes use a defence mechanism. They have lost their charm, so their refuge is prudery. They are vain, as are most characters Molière berates. They love the world, and they love attention. They will not sit apart from others. Note, moreover, that the prude Dorante mentions is not Climène. It is la marquise Araminte. The society of the play would not allow Climène to be attacked. In his descriptions, Dorante, lechevalier, uses what will be called miroirs publics (I, vi).
In fact, the society of the play ends up disagreeing with considerable pleasure. No one changes, but all start laughing at themselves. Before they walk to the dining-room, Uranie suggests that they should write a comedy.
Il se passe des choses assez plaisantes dans notre dispute. Je trouve qu’on en pourrait bien faire une petite comédie, et que cela ne serait pas trop mal à la queue de L’École des femmes. Uranie à tous (I. vi) [There are many funny things in our discussion. I fancy a little comedy might be made out of them, and that it would not be a bad wind-up to The School for Wives.] Uranie to everyone (I. vii, p. 177)
To emphasize that Agnès accepts the pleasure that falling in love has brought to her life, I added to La Critique de l’École des femmes:Details, the line where Agnès says:
Le moyen de chasser ce qui fait du plaisir. Agnès à Arnolphe (V, iv). [But do we drive away what gives us pleasure?] Agnès to Arnolphe (V. 4, p. 136)
Ironically by not educating Agnès, Arnolphe has created a character who is not burdened by préventions, and can accept pleasure, as do spectators who have liked the play. She has no use for the Maximesdu mariage and would not be a précieuse ridicule. Magdelon is horrified at the thought of sleeping next to a nude male.
Pour moi, mon oncle, tout ce que je vous puis dire c’est que je trouve le mariage une chose tout à fait choquante. Comment est-ce qu’on peut souffrir la pensée de coucher contre un homme vraiment nu ? Cathos à Gorgibus (I, iv, Les Précieuses ridicules) [As for me uncle, all I can say is that I think marriage is a very shocking business. How can one endure the thought of lying by the side of a man, who is truly naked?] Cathos to Gorgibus (I. 4, p. 148, The Pretentious Young Ladies)
Agnès is a woman and she is a very intelligent woman. She perhaps speaks with the voice of an innocent young girl, but this young girl is a grown woman. She does not even try to spare Arnolphe because she speaks “sans prévention.”1She does not have prejudices (préventions) or idées reçues, but her instinct does not fail her. She speaks d’après nature.
Comedy has rules, one of which is decorum, bienséances, but Dorante would like to know if the rule of all rules isn’t to please:
Je voudrais bien savoir si la grande règle de toutes les règles n’est pas de plaire ; et si une pièce de théâtre qui a attrapé son but n’a pas suivi un bon chemin. Dorante à tous (I, vi) [I should like to know whether the great rule of all rules is not to please; and whether a play which attains this has not followed a good method?] Dorante to all (I. 7, p. 173)
Hence, how do we drive away what gives us pleasure and the rule of all rules: to please … and to be pleased.
A few weeks ago, a PDF article on L’École des femmes appeared on my computer screen. I saw the word “pleasure” in the title. I will have to find the article and read it.
Dorante also says that Molière’s narratives are action, and that this action occurs in the dialogue, which Gabriel Conesa has illustrated convincingly in his Dialogue moliéresque.
Sources and Resources La Critique de l’École des femmes is a toutmolière.net publication The School for Wives Criticised is an Internet Archive publication Our translator is Henri van Laun Images belong to théâtre-documention.com (BnF) Wikipedia: various entries The Encyclopædia Britannica: various entries
1 The meaning of the word “prévention” has changed. It is no longer associated with prejudices.
_________________________ Bourbeau-Walker, Micheline. « L’échec d’Arnolphe : loi du genre ou faille intérieure », in Papers on French Seventeenth Century Literature, (Seattle-Tübingen, 1984, Vol. XI, No 20), pp. 79-92. ISSN 0343-0758
Oui, mais qui rit d’autrui, Doit craindre, qu’en revanche, on rie aussi de lui. Arnolphe à Chrysalde (I, i) [Yes; but he who laughs at another must beware, lest he inturn be laughed at himself.] Arnolphe to Chrysalde (I. 1, p. 96)
Irony is the literary device underlying L’École des femmes. In Act One, scene one, Arnolphe (see toutmolière.net) describes Agnès to Chrysalde. Agnès is innocent to the point of making him laugh:
La vérité passe encor mon récit./ Dans ses simplicités à tous coups je l’admire,/160 Et parfois elle en dit, dont je pâme de rire./ L’autre jour (pourrait-on se le persuader)/ Elle était fort en peine, et me vint demander,/ Avec une innocence à nulle autre pareille,/ Si les enfants qu’on fait, se faisaient par l’oreille. Arnolphe à Chrysalde (I. i) [What I have told you falls even short of the truth: I admire her simplicity on all occasions; sometimes she says things at which I split my sides with laughing. The other day would you believe it? she was uneasy, and came to ask me, with unexampled innocence, if children came through the ears.] Arnolphe to Chrysalde (I. 1, p. 99)
There can be no doubt that laughing at others will cause others to laugh at Arnolphe when and if he is cuckolded. But, worse, Arnolphe will be cuckolded before he marries.
Expectations
Arnolphe
Climène the prude
le Marquis
Lysidas, the poet
As you know, communication cannot occur when an interlocuteur hears and sees what he expects to hear and see, which is irony. The Marquis, who has not even seen L’École des femmes, cannot say a word about it. Yet he maintains that the play is détestable. When Dorante asks him to say why the play is “détestable,” he cannot substantiate his “détestable.” All he can say is that the play is détestable because it is détestable, which is not an answer. He cannot dislike a play he hasn’t see, but he can dislike having been squeezed and frippé by the crowd at the entrance to the theatre. He has also heard laughter, which in his eyes is proof positive that the play is a flop, when in fact laughter proves that the play is enormously successful.
Molière seems way ahead of his time. This is the Theatre of the Absurd(le Théâtre de l’Absurde). Yet, it isn’t. Molière depicts humans “d’après nature,” as they are. By doing so, he illustrates flaws in information and communication that now constitute a theory (“noise” in Information Theory).
In other words, the Marquis has been told that the play is a flop, and expects to see a flop. In fact, laughter has caused him not to pay any attention to the play. He is, therefore, undone.
As for the poet Lysidas, he liked the play but says that the connoisseurs have not. So, he claims that L’École des femmes does not respect the rules of classical theatre, which it does. His response and the Marquis’s response have been conditioned by the attacks Molière faces and which he addresses by writing La Critique de l’École des femmes. Truth be told, the prude, the Marquis, and the poet reject The School for Wives because their judgement is flawed by “noise.” They see and hear what they have been told to see and hear. Spectators and readers will laugh honestly, but not a précieuse, a Marquis, or a poet.
Irony
In L’École des femmes, however, the main irony resides in Arnolphe’s failure to defeat Horace. Arnolphe has done the utmost to make sure Agnès knows no more than where to put the tarte à la crème, the cream tart. Moreover, young Horace, who does not know that Arnolphe is Monsieur de la Souche, tells Arnolphe, whom he trusts, all the stratagems he will use to take Agnès away from Monsieur de la Souche’s house, a doubling. Yet, although he is armed to the teeth, Arnolphe loses Agnès.
But an unforeseen event, the fortuitous return of a father, may prevent Horace and Agnès from marrying, despite their own stratagems. Oronte, Horace’s father, wants Horace to marry Enrique’s long-lost daughter. So, ironically, Oronte’s son Horace goes to Arnolphe to tell his woes and then asks our jaloux to protect him by keeping Agnès.
Jugez, en prenant part à mon inquiétude,/ S’il pouvait m’arriver un contre-temps plus rude;/ Cet Enrique, dont hier je m’informais à vous,/1635 Cause tout le malheur dont je ressens les coups;/ Il vient avec mon père achever ma ruine,/ Et c’est sa fille unique à qui l’on me destine. Horace à Arnolphe (V, vi) [Feel for my anxiety and judge if a more cruel disappointment could happen to me. That Enrique, whom I asked you about yesterday, is the source of all my trouble. He has come with my father to complete my ruin; it is for his only daughter that I am destined.] Horace to Arnolphe (V. 6. p. 139)
An Anagnorisis
Fate may harm an authoritarian pater familias, but it is kind to young lovers and will not let the trompeur deceive anyone. It so happens, ironically, that Enrique’s daughter is Agnès and that he has returned much enriched. So, we have an anagnorisis. Horace had asked Arnolphe to hide Agnès so he would not lose her, which is the height of irony, Arnolphe being his rival. However, Agnès is Enrique’s daughter and the bride Oronte has chosen for his son. Moreover, Enrique is opposed to forced marriages and if there is a marriage, he will repay Arnolphe the full cost of bringing up Agnès. Agnès will owe nothing. Comedy may at times border on fairy tales. The young couple will marry. But, as mentioned above:
Oui, mais qui rit d’autrui, Doit craindre, qu’en revanche, on rie aussi de lui. Arnolphe à Chrysalde (I, i) [Yes; but he who laughs at another must beware, lest he inturn be laughed at himself.] Arnolphe to Chrysalde (I. 1, p. 96)
The play seems an exemplum (an example that illustrates a moral), as in a sermon or a fable. Comedy favours the marriage of a young couple. In Act Three, scene two of L’École des femmes, Arnolphe has Agnès read: Les Maximes du Mariage ou Les Devoirs de la femme mariée. Act Three, scene two pp. 37-40. Pleasure rules.
Le moyen de chasser ce qui fait du plaisir ? Agnès à Arnolphe (V, iv) [How can we drive away what gives us pleasure?] Agnès to Arnolphe (V. 4. p, 137)
If obscénité there is in L’École des femmes and La Critique, it resides in the mind of prudes and it is the role some women choose to make up for their evanescent youth and beauty. They play a new role, but they are still on stage. The Marquis proves that the play is immensely successful. People were laughing. As noted above, Molière is way ahead of himself. This isthéâtre de l’absurde (the Theatre of the Absurd). Yet, it isn’t. Molière depicts humans “d’après nature,” as they are. But by doing so, he illustrates flaws in information and communication that now constitute a theory (“noise” in Information Theory).
I will leave you to read whatever information I have had to leave out.
L’École des femmes is a five-act play written at a relatively early date after Molière’s return to Paris. Molière had fled Paris after his first troupe, l’Illustre Théâtre, faced bankruptcy. L’Illustre Théâtre was founded on 30 June 1643 but, in August 1645, Molière was imprisoned briefly. After his release, he changed his name and left Paris. While touring the provinces, he was based in Pézenas, until he returned to Paris, in the late 1650s.
L’École des femmes was first performed on 26 December 1662. It is a mature play, written in alexandrine verses, which suggests Molière may have written plays while touring the provinces. A story about a suitcase has long circulated, but the suitcase has yet to be found. L’École des femmes premièred at the Palais-Royal when Molière and his comedians were la troupe de Monsieur Frère Unique du Roi, Louis XIV’s only brother, known as Monsieur. Molière’s Précieuses ridicules, first performed on 18 November 1659, was enormously successful, but L’École des femmes caused a scandal, albeit minor compared to the storm unleashed by Tartuffe ou l’Imposteur (1664). There was uneQuerelle de l’École des femmes.
Molière chose to respond to objections concerning l’École des femmes by writing La Critique de l’École des femmes, which premièred on 1st June 1663. The play was followed by L’Impromptu de Versailles, first performed on 14th October 1663. Both are single-act plays that Britannica calls “discussions.” In other words, neither play features a young couple or young couples whose marriage is threatened by a blocking-character.
URANIE. ÉLISE. CLIMÈNE. GALOPIN, laquais. LE MARQUIS. DORANTE ou LE CHEVALIER. LYSIDAS, poète.
SCENE ONE
We are at Uranie’s house. She and her cousin Élise have been alone for hours. Élise is visiting. Both Uranie and Élise have seen Molière’s L’École des femmes (The School for Wives). It would appear that the persons they know are attending a performance of Molière’s play. However, someone is at the door. It is Climène, a précieuse, and la plus grande façonnière (mannerist) du monde.
SCENE TWO
Galopin lets Climène, our précieuse, into the house. Uranie does not want to see her, but it is too late. She is still outdoors but she knows Uranie is at home.
SCENE THREE
Uranie and Élise have also seen L’École des femmes, but they have liked the play.
“Je ne suis pas si délicate, Dieu merci; et je trouve pour moi, que cette comédie serait plutôt capable de guérir les gens, que de les rendre malades.” Uranie à Climène et Élise (Scène iii) [I am not so delicate, thank Heaven! For my part, I fancy that this comedy would be more likely to cure folks, than to make them sick.] Uranie to Climène and Élise (Scene 3)
Later, she will stay that:
“L’honnêteté d’une femme n’est pas dans les grimaces; et je ne vois rien de si ridicule, que cette délicatesse d’honneur, qui prend tout en mauvaise part ; donne un sens criminel aux plus innocentes paroles ; et s’offense de l’ombre des choses.” Uranie à Climène (Scène iii) [A woman’s modesty (honnêteté) does not consist in grimacing. It ill becomes us to be overwise. Affectation of this kind is worse than anything; and I see nothing more ridiculous than that delicate honour which takes everything amiss, gives a bad meaning to the most innocent words, and is startled at shadows.] Uranie à Climène (Scene 3)
“Ah ! ruban, tant qu’il vous plaira; mais ce, le, où elle s’arrête, n’est pas mis pour des prunes. Il vient sur ce, le, d’étranges pensées. Ce, le, scandalise furieusement ; et quoi que vous puissiez dire, vous ne sauriez défendre l’insolence de ce, le.” Climène à Uranie (Scene iii) [Oh yes, the ribbon! But that “the,” when she checks herself, is not put there for nothing. Odd ideas are suggested by this “the.” That “the” is tremendously scandalous.] Climène to Uranie (Scene 3)
The Marquis arrives. He has attended a performance of L’École des femmes which he considers
“…la plus méchante chose du monde. Comment, diable! à peine ai-je pu trouver place. J’ai pensé être étouffé à la porte, et jamais on ne m’a tant marché sur les pieds. Voyez comme mes canons et mes rubans en sont ajustés, de grâce.” Le Marquis à tous (Scène IV) [The most wretched piece imaginable. What the deuce! I could hardly get a seat. I thought I should have been crushed to death at the door, and I was never so trampled upon. Pray see what a state my rolls and ribbons are in!] The Marquis to everyone (Scene 4)
If he found himself trampled by a crowd, Molière’s play is one the public wishes to see. It is not the most wretched piece imaginable. It is a success. Irony is Molière’s main weapon is La Critique.
SCENE FIVE
When Dorante, an ancestor to Philinte, the Misanthrope‘s raisonneur, finally joins the group, le Marquis cannot substantiate his accusation. He cannot say why the play is “détestable.”
“Elle est détestable parce qu’elle est détestable.” Le Marquis à tous (Scène v) [It is detestable because it is detestable.] Le Marquis to everyone (Scene 6)
The Marquis’ opinion is based on his not being able to enter the theatre. There was a crowd at the door. But worse is the laughter he heard. It cripples the play:
“Il ne faut que voir les continuels éclats de rire que le parterre y fait. Je ne veux point d’autre chose pour témoigner qu’elle ne vaut rien.” Le Marquis (Scène V) [You have only to mark the continual bursts of laughter from the pit. I wish no more to prove its utter worthlessness.] Le Marquis (Scene 6)
Worse still, the Marquis has not “listened to the play.”
“Que sais-je moi ? je ne me suis pas seulement donné la peine de l’écouter. Mais enfin je sais bien que je n’ai jamais rien vu de si méchant, Dieu me damne; et Dorilas, contre qui j’étais a été de mon avis.” Le Marquis (Scène V) [How can I ? I did not so much as give myself the trouble to listen to it. But yet I assure you I never saw anything so wretched, as I hope to be saved ; and Dorilas, who sat opposite to me, was of my mind.] Le Marquis to Dorante (Scene 6)
Laughter is what Molière wants to generate. L’École des femmes is a comedy. Therefore, the Marquis’ statement is extremely ironic. The Marquis is like the balloon one pricks. He is totally deflated. He will walk away saying cream tart, cream tart… Arnolphe tells Chrysalde that knowing where one uses cream tart, une tarte à la crème, is the only knowledge Agnès requires.
SCENE SIX
The poet Lysidas enters the conversation. He has liked the play, la comédie, he just saw.
“Je la trouve fort belle.” Lysidas à tous (Scène VI) [I think it very fine.] Lysidas to everyone (Scene 7)
THE RULES: THE UNITIES, ETC.
Not to shock the company, Lysidas reverses his statement slighty, but convincingly. Connaisseurs do not approve of L’École des femmes. Yet, rules are not broken. Nor are they in La Critique. There is one plot, all happens in Uranie’s salon, one place, and everything happens in less than twenty-four hours. The three unities are the chief rules. They make the play credible (vraisemblance) and obscenity is in the mind of the audience (bienséances).
“Il est vrai qu’elle n’est approuvée par les connaisseurs.” Lysidas à tous (Scene VI) True, it is not admired by connoisseurs. Lysidas to every one (Scene 7)
He ends up thinking it is “misérable” (wretched).
“Parbleu! tous les autres comédiens qui étaient là pour la voir en ont dit tous les maux du monde.” (Scene VI) [Gad, all the other actors who went to see it spoke all the ill they could of it.] Lysidas (Scene 7)
MIROIRS PUBLICS
Molière does not target one person in his satires, says Uranie. His depictions are public mirrors.
“Ce sont miroirs publics où il ne faut jamais témoigner qu’on se voie, et c’est se taxer hautement d’un défaut que se scandaliser qu’on le reprenne.” Uranie à tous (Scène vi) [They are public mirrors, in which we must never pretend to see ourselves. To bruit it about that we are offended at being hit, is to state openly that we are at fault.] Uranie to everyone (Scene 7)
TRAGEDY AND COMEDY COMPARED
“Lorsque vous peignez des héros, vous faites ce que vous voulez; ce sont des portraits à plaisir, où l’on ne cherche point de ressemblance; et vous n’avez qu’à suivre les traits d’une imagination qui se donne l’essor, et qui souvent laisse le vrai pour attraper le merveilleux. Mais lorsque vous peignez les hommes, il faut peindre d’après nature; on veut que ces portraits ressemblent; et vous n’avez rien fait si vous n’y faites reconnaître les gens de votre siècle.” Dorante à tous (Scène vi) [These are fancy portraits, in which we do not look for a resemblance ; you have only to follow your soaring imagination, which often neglects the true in order to attain the marvellous. But when you paint men, youmust paint after nature. We expect resemblance in these portraits ; you have done nothing, if you do not make us recognise the people of your day. In a word, in serious pieces, it suffices, to escape blame, to speak good sense, and to write well. But this is not enough in comedy.] Dorante to everyone (Scene 7)
But making gentlefolk laugh is a “strange undertaking.”
“… et c’est une étrange entreprise que celle de faire rire les honnêtes gens.” Dorante (Scène vi) [You must be merry ; and it is a difficult undertaking to make gentle folk laugh.] Dorance (Scene 7)
THE RULE OF RULES: TO PLEASE AND TO BE PLEASED
The great rule, the rule of rules, is to please an audience. The Marquis and Lysidas have seen people laugh.
“Je voudrais bien savoir si la grande règle de toutes les règles n’est pas de plaire; et si une pièce de théâtre qui a attrapé son but n’a pas suivi un bon chemin?Veut-on que tout un public s’abuse sur ces sortes de choses, et que chacun n’y soit pas juge du plaisir qu’il y prend? ” Dorante à tous (Scène vi) [I should like to know whether the great rule of all rules is not to please; and whether a play which attains this has not followed a good method ? Can the whole public be mistaken in these matters, and cannot everyone judge what pleases him?] Dorante to everyone (Scene 7)
The rule of rules is to please. So, to appreciate a comedy, one yields to the pleasure it provides. The great rule is not only to please, but also to allow oneself to be pleased.
“Laissons-nous aller de bonne foi aux choses qui nous prennent par les entrailles, et ne cherchons point de raisonnements pour nous empêcher d’avoir du plaisir.” Dorante à tous (Scène vi) [Let us give ourselves up honestly to whatever stirs us deeply, and never hunt for arguments to mar our pleasure.] (Scene 7)
Sources and Resources La Critique de l’École des femmes is a toutmolière.net publication The School for Wives Criticised is an Internet Archive publication Our translator is Henri van Laun Images belong to théâtre-documention.com (BnF) Wikipedia: various entries The Encyclopædia Britannica: various entries
I am nearly done, so please be patient. La Critique de L’École des femmes is an extraordinary play but life has slowed me down. Moreover, confinement takes its toll. I have been indoors since early March.
The American Presidential Election has also been on my mind. It was a close race, but I am proud of the American people. We need to put an end to the pandemic. Wearing a mask is essential. Gatherings are out of the question, and one must wash one’s hands.
So I return to my post. Whoever is reading my post must not delete paragraphs to make it shorter. I can delete what is not essential, but we are reading the play. A mere description will not yield good results. The quality of La Critique de L’École des femmes stems mainly from its dialogues.
Micheline's Blog 
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