I did not intend to write an article today. But I just realized that today is the anniversary of D-Day, and I have a story to tell. In fact, it is a story I have already told, but …
One of my uncles survived D-Day for reasons he cannot understand. He then went north to Holland where he was asked to accompany prisoners of war who were being transported. They were seated at the back of a truck. All was well.
Out of the blue, one of the prisoners leaped from his seat and lowered my uncle’s body. My uncle nearly fell and he lost his rifle. The prisoner of war then helped him get up and retrieved the rifle. My uncle could not understand what had happened. So, the soldier showed him a metal wire the truck had just driven past. It would have decapitated my uncle had this “enemy” not seen it and acted promptly.
This was a moment of grace and innocence. It was a moment so precious that my uncle never forgot. In peacetime, the two young men would have enjoyed a long conversation over coffee. War had separated them.
It has been seventy-five years. Yet, tears still come to my uncle’s eyes when he remembers.
Schubert, Trio op. 100 – Andante con moto Par le Trio Wanderer (Voyage d’hiver 2007 – Carte Blanche au Trio Wanderer, réalisation Jean-Pierre Barizien – CLC Productions)
Croyez-moi, hâtons-nous, ma Sylvie, Believe me, let us hasten, my Sylvia, Usons bien des moments précieux; and profit well by the precious time ; Contentons ici notre envie, let us here satisfy our desires. De nos ans le feu nous y convie: The passions of our age invite us ; Nous ne saurions, vous et moi, faire mieux you and I could not do better.
Quand l’hiver a glacé nos guérets, Winter has covered our fields with ice, Le printemps vient reprendre sa place, Spring comes to take her place again, Et ramène à nos champs leurs attraits; and to our pastures gives their charms. Mais, hélas! quand l’âge nous glace, But when, alas ! old age has chilled our feelings, Nos beaux jours ne reviennent jamais. our happy days return no more.
Ne cherchons tous les jours qu’à nous plaire, Let us seek all day naught but what pleases us; Soyons-y l’un et l’autre empressés; let us both be earnest about it ; Du plaisir faisons notre affaire, let pleasures be our business ; Des chagrins songeons à nous défaire: let us get rid of all our troubles; Il vient un temps où l’on en prend assez. a time will come when we shall have enough ofthem. Quand l’hiver a glacé nos guérets, … La Pastorale comique, Sc xiii, p. 7. The Comic Pastoral, Sc 15, p. 51. (transl. Henri van Laun)
As you know, I hope to publish a book about Molière. I have not read all of Molière for decades. My PhD thesis was a discussion of six plays. The University of British Columbia’s Library has sent me a PDF copy, which I will convert into text I can edit.
Although I will seldom include the libretto in my little book, I am reading the plays of Molière in their entirety. The carpe diem located above is an “air.”
I love Mr. Phillips’ tree. This is the work of a very good artist. I am reminded of the West Coast of Canada, where I lived for several happy years. Looking at that tree cheered me up. It is an old tree, but age has graced it.
Let me tell a story. Monday, I had a doctor’s appointment. I took a cab. I have been feeling a little depressed and feared driving. So many drivers exceed the speed limit or will not allow a person to change lanes.
On my way back home, the cab driver, who was not an immigrant, many are, told me that, if immigrants were unhappy here, they should go back home. We didn’t need them.
So, I told him that they were home.
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THE ROYAL BABY
Fortunately, the Royal baby was born on an otherwise sad Monday. I was very happy to learn that the Duchess of Sussex was delivered of her baby boy safely. I was afraid it would be a difficult birth and hoped she would give birth in a hospital.
Prince Harry said that he was very proud of his wife. I am also very proud of Meghan. The baby is beautiful, and I have never seen a happier Prince Harry.
Congratulations to the happy parents and their Royal baby: Archie Harrison Mountbatten-Windsor. I love him.
This is a short post. My next post is nearly ready. I am not discussing Mélicerte, but Mélicerte and La Pastorale comique were both performed at Saint-Germain-en-Laye and the action of both plays takes place in the Vale of Tempe, in Greece.
These two plays were never performed at the Théâtre du Palais-Royal, la troupe du roi‘s Paris venue.Le Sicilien ou l’Amour peintre was performed at both locations: Saint-Germain, successfully, and the Théâtre du Palais-Royal, less successfully.
Love to everyone 💕 (I edited or eliminated comments I made in the Comments section of my post on Molière’s Mélicerte. There are events I should forget. I’m still alive.)
Ode for the Birthday of Queen Anne, HWV 74
Alison Balsam and Lestyn Davies The English Concert, Trevor Pinnoc
Walter J. PHILLIPS R.C.A. (Can. 1884 – 1963) (Invaluable)
Long posts cause earlier drafts to surface. In fact, putting in images causes earlier drafts to surface. Therefore, as first published, my post was a draft …
I am getting older, but matters are not too severe. I make spelling errors and get confused looking for the English translation of the original French text. Wikisource publishes fine translations.
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However, I did take my post away and wrote a conclusion I had hesitated to publish. The many spectacles point to a rather dark world vision on the part of Molière. Was/is society this powerless and humanity, so frail? Molière is a very complex author.
Ironically, Molière had started to die when he played the Imaginary Invalid, on 17 February 1673. That was reality.
It could be that an editor removed a few lines or a paragraph or two from the draft. It was very long. Although a paragraph or quotation may have been removed, the post is complete, and its conclusion, entirely mine.
I thank you for your kindness and apologize for not having read as many of your posts as I normally do during the last few days. Weeks have started to go by so quickly.
I had expressed regret that my brother died when he could have survived. He would have been 76 yesterday. I have just returned from a memorial service in his honour.
I also shared my view of the strange manner in which certain doctors believe anxiolytics and sleeping pills are the same medication. They may belong to the same family, but one does not take sleeping pills before getting into one’s car.
As well, I mentioned being told that I was responsible for the hemorrhage I suffered. I should have known that aspirins thin the blood.
Moreover, I am seeing abuse of the elderly. If one loses one’s driver’s license, one also loses one’s autonomy and helpers may start controlling your life.
Finally, promoters have found ways of having hastily constructed near or above a grocery store to make life easier for persons who are ageing. These apartments cost a fortune. One can buy or rent. Promoters want to make millions and do, at the expense of the elderly.
We now enter Molière’s Imaginary Invalid. During the fourth performance of the play, Molière collapsed. He fainted. However, he decided to finish the performance. He was then taken home, hemorrhaged and died. He suffered from tuberculosis.
Louis XIV authorized his being buried in consecrated grounds, but he was buried at night.
My computer truly harmed my post on Les Femmes savantes. It devoured entire sections. So, I will publish it again, when it has been revised. First, I must rest. I had not kept an entire copy of the post in Word.
It is interesting to see that in Les Femmes savantes, Molière transferred the power vested in men to a tyrannical woman. The play is not about knowledge on the part of woman, but on the very genuine abuse young women suffered in seventeenth-century France. One marries a person one is attracted to and who will be a friend for life.
Trissotin and Vadius are pedants who can no more control their anger than Philaminte. To make matters worse, Trissotin is also trying to marry Henriette so he can help himself to the family’s wealth. He’s a parasite.
A knowledgeable woman would not be fooled by pedants and swindlers. As for Trissotin and Vadius, they would not be allowed in a Salon.
Now that the papers have been signed, it could well be that a petit savant will be allowed entrance into the world. In French venir au mondemeans to be born.
I did not include a discussion of Les Femmes savantes in my thesis. I worked on the problematic plays. Henriette resembles Tartuffe‘s Elmire, Orgon’s wife, an admirable woman.
Events are definitely keeping me humble. In comedy, this is the place to be.
Love to everyone 💕
J. P. É. Martini: Plaisir d’amour (1785) for soprano and fortepiano / Le Poème Harmonique
Claire Lefilliâtre
Serge Goubiod
Marco Horvat Sylvie Moquet (viola)
Françoise Enock,
Friederike Heumann (viola da gamba) Vincent Dumestre (cittern, baroque guitar, theorbo)
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Quand le Roi a fait battre tambour (bis) When the King had the drums beat,
Pour saluer ses dames,To greet his ladies,
La première qu’arriva The first to arrive
Lui a ravi son âme. Took his soul away.
– Marquis, dis-moi, la connais-tu ? – Marquis, tell me, do you know her?
À qui est cette dame ? Whose lady is she?
Le marquis lui a répondu : (bis) The marquis answered
– Sire roi, c’est ma femme. –Sir King, she’s my wife.
– Marquis, t’es plus heureux qu’un roi (bis) – M., you are happier than a king
D’avoir femme si belle. To have so lovely a wife.
Si tu voulais l’honneur donner,If you gave me the honour,
De coucher avec elle. Of sleeping with her.
– Sir’, vous avez tout le pouvoir – Sir, you have all the power
Tout pouvoir et puissance. All power and might. Mais si vous n’étiez pas le roi, (bis) But if you were not the king, J’en aurais ma vengeance. I would avenge myself.
– Marquis, ne te fâche donc pas, (bis) – M., don’t get angry,
T’auras ta récompense : You’ll have your reward:
Je te ferai dans mes armées I will make you, in my armies,
Beau maréchal de France. A fine marshall of France.
– Adieu, ma mie, adieu, mon cœur, (bis) – Farewell my love, farewell my heart,
Adieu mon espérance ! Farewell my hope!
Puisqu’il faut servir le roi, Since one must the king serve,
Séparons-nous d’ensemble. Let us part.
– Le roi l’a prise par la main, (bis) –The king took her by the hand,
L’a menée dans sa chambre ; And led her to his room;
La belle en montant les degrés While climbing the steps, the lady
A voulu se défendre. Tried to defend herself.
– Marquise, ne pleurez pas tant ! (bis) – Marquise, do not cry so much!
Je vous ferai Princesse ; I’ll make you a Princess;
De tout mon or et mon argent, Of all my gold and my silver.
Vous serez la maîtresse. You will be the mistress.
– Gardez votre or ! Et votre argent ! (bis) – Keep your gold and keep your silver!
N’appartient qu’à la Reine ; To the Queen alone it belongs;
J’aimerais mieux mon doux Marquis I’d rather have my gentle Marquis
Que toutes vos richesses ! Than all of your riches!
– La reine a fait faire un bouquet (bis) – The Queen had a bouquet
De belles fleurs de lyse Of pretty lilies made
Et la senteur de ce bouquet, And the scent of this bouquet,
Fit mourir marquise. The Marquise, it killed.
Le roi lui fit faire un tombeau The King had a coffin made
Tout en fer[1] de Venise Of iron from Venice
A fait marquer tout à l’entour And had it engraved all around
« Adieu belle marquise » “Farewell beautiful marquise”[2]
[1] “fer” (iron) could be “verre” (glass). One can barely tell the difference. [2] This song may be otherwise told and translated (see YouTube). I used and translated the Poème Harmonique‘s lyrics. In the 18th century, le roi was le roé, moi and toi were moé and toé, and avoir and pouvoir were avoér and pouvoér.
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A kind reader recommended Émile Gaboriau‘s “Les Cotillons célèbres” (1861). He wrote that Gaboriau “describes in a humorous style the mistresses of Louis XIV, the Regent and Louis XV, including the Marquise de Pompadour.” It’s a lovely book and Gaboriau was very prolific.
My last post on Molière’s Dom Juan is informative: the Russian connection. However, the text I published was replaced by various drafts. Nothing could lead me back to the text I had published. I returned the post to “private,” to no avail.
Moreover, whenever I tried to quote Molière, in French and English, my post disappeared.
One must keep humble, so I decided to stop working on it. It was published!
My main point is finding that ”Dom Juan (original spelling) is a comedy that uses the “deceiver deceived” (trompeur trompé) plot formula. Imagine a balloon and a needle. Dom Juan keeps defying heaven and earth and shows he is a mediocre human being, despite his rank, that of Grand Seigneur. By delaying the revenge, Dom Carlos shows that noblesse oblige. He is one of Done Elvire’s two brothers.
In Molière’s Dom Juan, the legendary burlador, is a méchant homme. He’s hoping his father will die as soon as possible. Dom Louis, Dom Juan’s father, believes that noblesse oblige. Aristocrats should be honnêtes hommes and never boast. According to La Rochefoucauld, un grand seigneur is an honnête homme and honnêteté precludes boasting: « L’honnête homme est celui qui ne se pique de rien. » A gentleman does not boast.
For Dom Juan, his title provides liberty. It’s a mask.
I did not include the scene where Dom Juan explains his “morality:” two and two are four. If two and two are four and four and four are eight, God strikes.
Nor did I include a brief discussion of love. According to Don Juan, love is kept alive through jealousy. One loves a person who is loved. Madame de La Fayette wrote a novel in which the moment love is reciprocated, it dies. Her novel, a masterpiece of psychological novel, is entitled La Princesse de Clèves(1678). It will be discussed separately.
Molière’s Dom Juan is “the last part in Molière’s hypocrisy trilogy, which also includes The School for Wives and Tartuffe.”
There are indications I will not live eternally, but I have an unfinished project: publishing a book on Molière.
This goal may be unrealistic. However, I will not be given another chance. It will be a short book and I may not have reviewed recent literature on the subject as thoroughly as I would like to. Yet, I wrote a PhD thesis on Molière, and a PhD thesis is a scholarly venture. Moreover, I was expected to “dust it off,” a thesis is a thesis, and publish it.
Dusting it off is what I plan to do. In other words, it will not sound too scholarly. I will quote fellow moliéristes, but will focus on my findings.
L’Avare (www.gettyimages.fr)
Problematic Plays
Tartuffe, 1664 – 1669
Dom Juan, 1665
Le Misanthrope, 1666
L’Avare, 1668
Were it not for the intervention of a second father, the young couples in L’Avare(The Miser), 1668, could not marry. They would be at the mercy of Harpagon’s greed.
Matters are worse in Tartuffe, 1664 -1669. Were it not for the intervention of the king, not only would the young lovers not marry, but Orgon’s family would be ruined. In The Misanthrope,1666, Alceste is his own worst enemy. In Dom Juan, 1665, Dom Juan is removed by a deus ex machinaand he has left Elvira, his wife.
Presentation
Chapters may resemble Molière’s “L’Avare:” Doublings, a post. This post is informative, but not too scholarly. It also illustrates my main finding. In Molière’s plays, the young lovers cannot marry without an intervention, or putting on a play (Le Bourgeois gentilhomme). In L’Avare, they are saved by a second father: doublings. Molière uses stage devices, such as a deus ex machina, to save the society of the play.
Therefore, if a blocking character is removed, he is apharmakos (a scapegoat).
L’Avare, 1668, (The Miser) is rooted in Roman playwright Plautus‘ Aulularia. Plautus died in 184 BCE. Molière’s miserly father is a Shylock(The Merchant of Venice, c. 1600, by Shakespeare). There are misers in the commedia dell’arte, and Molière knew the stock characters of the commedia dell’arte. Comedy has a tradition. Greek playwright Aristophanes is considered its father. Molière also wrote farces. These date back not only to medieval France, but to the Atellane farces, which featured stock characters, as does the commedia dell’arte.
Conclusion & remerciements
I feel very young, but time goes by so quickly. It would please me to tell more about Molière, but it has to be now. It’s my last chance and there you are, supporting me.
I wish to thank a very kind gentleman who sent me images of Colette‘s La Chatte by Raoul Dufy.
Pierre-Loïc,
Je vous remercie bien sincèrement d’avoir pensé à moi. Ces dessins de Dufy me font plaisir. Votre générosité m’a beaucoup touchée.
Colette a eu une « dernière chatte », et j’ai, pour ma part, une dernière occasion.
