Les Amants magnifiques, Interlude – Lully / Molière
“Dormez, dormez,” is part of an “interlude” in Molière-Lully’s Les Amants magnifiques, a comédie-ballet and divertissement royal. Tirsis, Lycaste and Ménandre sing together while Caliste sleeps.
(Tirsis, Lycaste and Ménandre) Dormez, dormez, beaux yeux, adorables vainqueurs, Et goûtez le repos que vous ôtez aux cœurs, Dormez, dormez, beaux yeux. [Sleep on, sleep on, fair eyes, lovely conquerors; And taste that peace which you wrest from all hearts; Sleep on, sleep on, fair eyes.]
(Tirsis)
Silence, petits oiseaux, Vents, n’agitez nulle chose, Coulez doucement, ruisseaux, C’est Caliste qui repose. Intermède (III. iv, p. 19)
[Now silence keep, ye little birds;/ Ye winds, stir nought around;/ Ye stream, run sweetly on:/ For Caliste is slumbering.]
I thought I would separate this interlude from a post on Les Amants magnifiques. Musical interludes are best heard and seen. This segment is a Pastoral. So, the characters are shepherds and shepherdesses.
Jean-Baptiste Lully – “Les Amants magnifiques” (LWV 42), comédie en cinq actes de Molière, mêlée de musique et d’entrées de ballet, créée à Saint-Germain-en-Laye devant le roi le 4 février 1670 dans le cadre du “Divertissement Royal”. Troisième intermède, scène 4 (Tircis, Lycaste et Ménandre) (YouTube)
La Princesse d’Élide (ThePrincess of Elis) was first performed on 8 May 1664 during Louis XIV’s 1664 divertissement royal, known as Les Plaisirs de l’Île enchantée (The Pleasures of the Enchanted Island). The comedy was one of Louis XIV’s divertissements, gatherings of courtiers and comedians, entertainers, which usually took place at Saint-Germain-en Laye, or another royal castle located outside Paris. Louis XIV was entertaining Mlle de La Vallière, a reluctant mistress, and the Queens, Louis’ mother, Anne of Austria, and his wife, Maria Theresa of Spain. The festivities took place between 7 and 13 May 1664. However, in 1664, the King was also celebrating a relatively early stage in the building of Versailles. The play was later performed at the Théâtre du Palais-Royal, in Paris.
Molière’s play is rooted in a Spanish comedy, El Desdén, conel desdén, (Scorn for Scorn) by Agustín Moreto. Desdén means disdain. La Princesse d’Élide is one of four plays Molière contributed to Louis’ lavish Versailles divertissement, two of which had been produced earlier: Les Fâcheux (The Bores; 1661) and Le Mariage forcé (The Forced Marriage; 29 January 1664). Tartuffe (12 May 1664) and La Princesse d’Élide (8 May 1664) premièred at Versailles’ fête. Tartuffe angered la cabale des dévôts.
Interludes consisting of ballets and music, sometimes performed by courtiers, are inserted between the five acts of the comedy. Moreover the comedy is a component of Les Plaisirs de l’Île enchantée. It is therefore embedded, in a somewhat loose form of “théâtre dans le théâtre,” a device explored recently by Georges Forestier and, earlier, by Swiss critic Jean Rousset, among others. The “play within the play,” un enchassement, is a frequently-used device which has prompted many fruitful reflections. However, our translator, Mr. Henri van Laun, looks upon the Princess of Elis as a lesser play compared to other plays by Molière. ‟…the genius of the adapter was cramped, and The Princess ofElis is certainly not one of his happiest efforts.” (Henri van Laun, p. 3.)
Molière’s genius was “cramped.” The beginning of La Princesse d’Elide’s Act One was written in verse, but Molière switched to prose before Act Two. He also shortened acts because of pressing engagements. The King needed him. Moreover, at times, the comedy, the interludes, and Les Plaisirs de l’Île enchantée, the entire festivity, tend to overlap, which makes for coherence as well as confusion. I will simplify matters by suggesting that spectators and readers of La Princesse d’Élide cannot always see the forest for the trees, but that the comedy is nevertheless a bijou, a jewel.
LA PRINCESSE D’ÉLIDE Mlle de Molière
AGLANTE, cousine de la Princesse Mlle Du Parc
CYNTHIE, cousine de la Princesse Mlle de Brie
PHILIS, suivante de la Princesse Mlle Béjart
IPHITAS, père de la Princesse Le sieur Hubert
EURYALE , ou le prince d’Ithaque Le sieur de La Grange
ARISTOMÈNE, ou le prince de Messène Le sieur du Croisy
THÉOCLE, ou le prince de Pyle Le sieur Béjart
ARBATE, gouverneur du prince d’Ithaque Le sieur de la Thorillière
MORON, plaisant de la Princesse Le sieur de Molière
UN SUIVANT Le sieur Prévost.
The Comedy
FirstInterlude (intermède)
Morning, personified as Aurora, dogs, and gentlemen are waking people up because of a hunt. Lyciscas, one Molière’s two roles, does not wish to rise. Molière also plays Moron, a “plaisant,” or court jester, or fool.
We have already discussed the plot of La Princesse d’Élide. As you know, it is outlined before each act in a text called the argument. Was this the way in which Molière wrote his comedies? At any rate, the argument for Act One is that a father, Iphitas, princed’Élide, has invited three princes to his court, la cour d’Élide, in the hope that his daughter, la princessed’Élide, will fall in love with one of the princes: Euryale, Théocle, and Aristomène.
Interestingly, the princes and princesses, la princessed’Élide and her cousins, Aglante and Cynthie, meet before Scene One. The princesse d’Élide and Euryale, prince d’Ithaque, fall in love at first sight. However, Euryale is a “loner” and the Princesse views marriage as debasing and no less than a form of death. To a large extent, the play is a debate between nature and nurture, or nature and culture. Will la princesse d’Élide overcome a view of marriage that precludes marrying, which would, most unusually, defeat nature?
La princesse d’Élide does not have jealous sisters, but she has two fine cousins: Aglante and Cynthie. A mere glimpse at the dramatis personæ reveals that three distinguished princes may each marry one of three lovely young princesses. Not only is it unlikely that the princesse will not fall in love, but la princesse d’Élide and Euryale fall in love before Act One. Moron will be our go-between. He is a bouffon, a king’s fool, but very clever, and he wishes for laprincesse to marry Euryale, prince d’Ithaque. It remains to be seen whether she will overcome her view of marriage as crude and the death of a woman. Moron, a role played by Molière, is described as clever.
Ce choix t’étonne un peu;/ Par son titre de fou tu crois le bien connaître:/ Mais sache qu’il [Moron] l’est moins qu’il ne le veut paraître,/ Et que malgré l’emploi qu’il exerce aujourd’hui/ Il a plus de bon sens que tel qui rit de lui:/ La Princesse se plaît à ses bouffonneries,/ Il s’en est fait aimer par cent plaisanteries,/155 Et peut dans cet accès dire et persuader/Ce que d’autres que lui n’oseraient hasarder(.) Euryale à Arbate (I. i, p. 10)
[My choice rather astonishes you; you misjudge him because he is a court fool; but you must know that he is less of a fool than he wishes to appear, and that, not-withstanding his present employment, he has more sense than those who laugh at him. The Princess amuses herself with his buffooneries: he has obtained her favour by a hundred jests, and can thus say, and persuade her to, what others dare not hazard.] Euryale, prince d’Ithaque, to Arbate, his governor (I. 1)
SCENE ONE
(Euryale prince d’Ithaque & Arbate, his governor)
In Scene One, Euryale, prince d’Ithaque, tells Arbate, his governor, that he has fallen in love with la Princesse d’Élide. Love is a feeling he has always avoided.
Si de l’amour un temps j’ai bravé la puissance,
Hélas! mon cher Arbate, il en prend bien vengeance! Euryale à Arbate (I. i, p. 7)
[If, for a time, I defied the power of love, alas! my dear Arbates, it takes ample vengeance for it now.] Euryale to Arbate (I. 1)
Destiny, he says, has brought them together:
Où le Ciel en naissant a destiné nos âmes. Euryale à Arbate (I. i, p. 7)
[Heaven at our birth destined our souls.] Euryale to Arbate (I. 1)
Knowing that she scorns marriage, le prince d’Ithaque has not told the princesse that he has fallen in love with her, which surprises Arbate, but le prince d’Ithaque knew she would turn him down. However, Moron has told the princesse that Euryale, le prince d’Ithaque, has fallen in love with her.
Cette chasse où, pour fuir la foule qui l’adore,/ Tu sais qu’elle est allée au lever de l’aurore, Est le temps dont Moron pour déclarer mon feu, a pris … Euryale (Prince d’Ithaque) à Arbate (I. i, p. 10)
[This chase, to which she went, you know, this morning early, in order to avoid the crowd of her adorers, is the opportunity which Moron has chosen to declare my passion.] Euryale to Arbate (I. 1)
We will learn, later, that the princesse d’Élide also fell in love the moment she saw Euryale. But, given her opinion of marriage, can anyone expect that love would make her change her mind. The suspense Molière creates in La Princesse d’Élide stems largely from our wondering whether love will cause the princesse to change her views on marriage.
SCENE TWO
(Moron, Arbate, Euriyale)
In Scene Two, Moron, a court jester, un bouffon, a court jester and a close friend of the princesse rushes in fearing he is followed by a boar, unsanglier. Later, the animal pursuing Moron will be a bear. At any rate, Moron tells Euryale that the princess prides herself in refusing to marry.
Le discours de vos feux est un peu délicat,240/ Et c’est chez la Princesse une affaire d’Etat;/ Vous savez de quel titre elle se glorifie, / qu’elle a dans la tête une philosophie/ Qui déclare la guerre au conjugal lien,/ Et vous traite l’Amour de déité de rien. Moron au prince (I. ii, p. 15)
[To talk of your flame is a delicate matter; it is a state affair with the Princess. You know in what title she glories, and that her brain is full of a philosophy which wars against marriage, and treats Cupid as a minor god.] Moron to the prince (I. 2)
SCENE THREE
In Scene Three, the princesse, Euryale, Arbate and Moron are joined by Aristomène and Théocle, two of the three princes who were invited to visit le princed’Élide. She was attacked by a boar and the two princes believe they saved her. She is thankful, but she says that she could have saved herself. They cannot understand, so she thanks them and says she will tell her father about their kindness and their love.
Je rends de tout mon cœur grâce à ce grand secours,/305 Et je vais de ce pas au Prince pour lui dire/ Les bontés que pour moi votre amour vous inspire. La Princesse à tous (I. iii, p.17)
[Yes, without you I had lost my life. I heartily thank you for your grand assistance, and will go at once to the Prince to inform him of the kindness with which your love has inspired you for me.] The Princess to all (I. 3)
Moron would like to help prince Euryale, but an idea has come the prince‘s mind, which reveals that galanterie will play a great role in this comedy.
Second interlude
A short intermède–argument follows. It contains two scenes: a praise of Philis and the tale about the bear. Moron is attacked by a bear and rescued by various courtiers.
ACTE TWO
Argument SCENE ONE
(La princesse, Aglante, Cynthie)
La Princesse, Aglante, and Cynthie discuss love. Cynthie believes that one cannot live if one does not love.
Est-il rien de plus beau que l’innocente flamme/ Qu’un mérite éclatant allume dans une âme?/ Et serait-ce un bonheur de respirer le jour/ Si d’entre les mortels on bannissait l’amour?/ 365Non, non tous les plaisirs se goûtent à le suivre,/ Et vivre sans aimer n’est pas proprement vivre. Cynthie à Aglante et à la Princesse (II. i, p. 22)
[Is anything more beautiful than the innocent flame which brilliant merit kindles in the soul? What happiness would there be in life, if love were banished from among mortals? No, no, the delights which it affords are infinite, and to live without loving is, properly speaking, not to live at all.] Cynthie to Aglante and the princess(II. 1)
Notice
Molière switches to prose. He is obeying the King.
Aglante shares Cynthie’s view:
Pour moi je tiens que cette passion est la plus agréable affaire de la vie, qu’il est nécessaire d’aimer pour vivre heureusement, et que tous les plaisirs sont fades s’il ne s’y mêle un peu d’amour. Aglante à la Princesse et à Cynthie (II. i, p. 23)
[For my part, I think that this passion is the most agreeable business of life ; that, in order to live happily, it is necessary to love, and that all pleasures are insipid unless mangled with a little love.] Aglante to the Princess and Cynthie (II. 1)
SCENE TWO
Moron is asked by the princesses to defend love. Moron loves Philis.
SCENE THREE
The Prince is coming with the princes. The Princesse is afraid.
Ô Ciel! que prétend-il faire en me les amenant? Aurait-il résolu ma perte, et voudrait-il bien me forcer au choix de quelqu’un d’eux? La Princesse (II. iii, pp. 24-25)
[Heavens! what does he mean by bringing them to me? Has he resolved on my ruin, and would he force me to choose one of them?] The Princess (II. 3)
SCENE FOUR
(Iphitas, Euryale, Aristomène, Théocle, Cynthia, Philis, Moron)
The princesse is extremely afraid as she hears her father approaching.
Seigneur, je vous demande la licence de prévenirpar deux paroles la déclaration des pensées que vous pouvez avoir. Il y a deux vérités, Seigneur, aussi constantes l’une que l’autre, et dont je puis vous assurer également: l’une que vous avez un absolu pouvoir sur moi, et que vous ne sauriez m’ordonner rien où je ne réponde aussitôt par une obéissance aveugle. L’autre que je regardel’hyménée ainsi que le trépas, et qu’il m’est impossible de forcer cette aversion naturelle: me donner un mari, et me donner la mort c’est une même chose; mais votre volonté va la première, et mon obéissance m’est bien plus chère que ma vie: après cela parlez, Seigneur, prononcez librement ce que vous voulez. La Princesse à son père (II. iv, p. 25)
[My lord, I beg you to give me leave to prevent,[1]by two words, the declaration of the thoughts which you may perhaps foster. There are two truths, my lord, the one as certain as the other, of which I can assure you ; the one is, that you have an absolute power over me, and that you can lay no command upon me which I would not blindly obey; the other is, that I look upon marriage as death, and that it is impossible for me to conquer this natural aversion. To give me a husband and to kill me are the same thing; but your will takes precedence, and my obedience is dearer to me than life. After this, my lord, speak; say freely what you desire.] The Princess to her father (II. 5)
Third Interlude
An interlude separates ACT TWO from ACT THREE
It features Moron, Philis and a Satyr. It is a praise of love.
ACT THREE
In the “argument,” we are told avout races, songs and dances. The Princesse excelled, but the prince of Ithaque did not praise her, which she resents. The Prince of Ithaque tells Moron the following :
… elle en fit de grandes plaintes à la princesse sa parente; elle en parla à Moron, qui fit passer cet insensible pour un brutal: et enfin le voyant arriver lui-même, elle ne put s’empêcher de lui en toucher fort sérieusement quelque chose: il lui répondit ingénument qu’il n’aimait rien, et qu’hors l’amour de sa liberté, et les plaisirs qu’elle trouvait si agréables de la solitude et de la chasse rien ne le touchait. [… she complains of it to the Princess, her relative; she also speaks of it to Moron, who calls that unfeeling Prince a brute. At last, seeing him herself, she cannot refrain from making some serious allusions to it; he candidly answers that he loves nothing except his liberty, and the pleasures of solitude and the chase, in which he delights.]
SCENE ONE
(The Princess, Aglante, Cynthie, Philis)
Cynthie notes that the Euryale, who is speaking with the Prince, is very skilled.
SCENE TWO
(Euryale, Moron, Arbate)
Euryale is smitten:
Ah! Moron, je te l’avoue, j’ai été enchanté, et jamais tant de charmes n’ont frappé tout ensemble mes yeux et mes oreilles. Elle est adorable en tout temps, il est vrai: mais ce moment l’a emporté sur tous les autres, et des grâces nouvelles ont redoublé l’éclat de ses beautés.
Euryale à Moron (III. ii, p. 30)
[Ah, Moron! I confess I was enchanted; never have so many charms together met my eyes and ears. She is, in truth, adorable at all times, but she was at that moment more so than ever. Ah, Moron! I confess I was enchanted; never have so many charms together met my eyes and ears. She is, in truth, adorable at all times, but she was at that moment more so than ever.]
Euryale to Moron (III. 2)
SCENE THREE (La Princesse, Moron)
Moron tells the princess that she will not get anywhere with Euryale. Nothing will touch him. No, he has not praised her. The Princess has seen Moron speaking with the prince d’Ithaque. Believing that they know one another, she asks Moron to tell the prince that she wants to see him.
SCENE FOUR (La Princesse, Euryale, Moron, Arbate)
He’s a loner, she says to Euryale, prince of Ithaque, prompting him to say that others are loners and that these “others” may be found nearby. She goes on to explain that men and women are different. Women do not want to marry, but they want to be loved. This statement is puzzling because she ignores men. She is at odds with herself.
Il y a grande différence, et ce qui sied bien à un sexe, ne sied pas bien à l’autre. Il est beau qu’une femme soit insensible, et conserve son cœur exempt des flammes de l’amour; mais ce qui est vertu en elle, devient un crime dans un homme. Et comme la beauté est le partage de notre sexe, vous ne sauriez ne nous point aimer, sans nous dérober les hommages qui nous sont dus, et commettre une offense dont nous devons toutes nous ressentir. La Princesse à Euryale (III. iv, p. 33)
[There is a great difference. That which becomes well our sex does not well become yours. It is noble for a woman to be insensible, and to keep her heart free from the flames of love: but what is a virtue in her is a crime in a man; and as beauty is the portion of our sex, you cannot refrain from loving us without depriving us of the homage which is our due, and committing an offence which we ought all to resent.] The Princess to Euryale (III. 4)
Je ne vois pas, Madame, que celles qui ne veulent point aimer, doivent prendre aucun intérêt à ces sortes d’offenses. Euryale à la Princesse (III. iv, p. 33)
[I do not see, madam, that those who will not love should take any interest in offences of this kind.] Euryale to the Princess (III. 4)
Ce n’est pas une raison, Seigneur, et sans vouloir aimer, on est toujours bien aise d’être aimée. La Princesse à Euryale (III. iv, p. 33)
[That is no reason, my lord; for although we will not love, yet we are always glad to be loved.] The Princess to Euryale (III. 4)
Non! Madame, rien n’est capable de toucher mon cœur, ma liberté est la seule maîtresse à qui je consacre mes vœux, et quand le Ciel emploierait ses soins à composer une beauté parfaite, quand il assemblerait en elle tous les dons les plus merveilleux, et du corps et de l’âme. Enfin quand il exposerait à mes yeux un miracle d’esprit, d’adresse et de beauté, et que cette personne m’aimerait avec toutes les tendresses imaginables, je vous l’avoue franchement, je ne l’aimerais pas. Euryale à la Princesse (III. iv, p. 33)
[No, madam; nothing is capable of touching my heart. Liberty is the sole mistress whom I adore; and though Heaven should employ its utmost care to form a perfect beauty, in whom should be combined the most marvellous gifts both of body and mind ; in short, though it should expose to my view a miracle of wit, cleverness, and beauty, and that person should love me with all the tenderness imaginable, I confess frankly to you I should.] Euryale to the Princess (III. 4)
The Princesse then seeks Moron’s help. She wants Euryale to love her, and she thinks Moron can help. Moron tells the princesse that Euryale will never yield.
Si faut-il pourtant tenter toute chose, et éprouver si son âme est entièrement insensible. Allons, je veux lui parler, et suivre une pensée qui vient de me venir. La princesse à Moron (III. v. 35)
[We must, however, try everything, and prove if his soul be entirely insensible. Come, I will speak to him, and follow an idea which has just come into my head.] La princesse to Moron (III. 5)
Fourth Interlude
A fourth interlude featuring Moron, Tircis and Philis follows Act Three.
ACT IV
SCENE ONE
In Act Four, Scene One, the princesse wants Euryale to tell her which of the three princes he thinks she would choose. He cannot tell, so she says that the Prince of Messène would be her choice. So, jealousy will now move the action forward. Moron encourages both the Princesse and the Prince to continue using their strategy, i.e. feigned indifference, that will lead to jealousy on her part. The Prince strikes back and says he has chosen Aglante, her cousin as a future bride. The play has reached its apex.
In Scene Two, Moron hears the princesse unveiling her despair. In Scene Three, she goes to Aglante and tells her not to accept the prince d’Ithaque. In Scene Four, Aristomène is delighted to the tell all that the princesse will marry him. Everyone is disoriented.
This is marivaudage, or games lovers play. It can be considered a form of galanterie. Servants would normally play an important role in bringing lovers together. In other words, in La Princesse d’Élide, Molière lets the lovers fare for themselves. Moron watches amused. He wants the Princesse to marry le Prince d’Ithaque, but thinks this confusion will make the lovers yield. We are now on the battlefield of love. The lovers are hunting and there are boars and bears.
The princesse says the prince is an étourdi. But in Scene Five, la princesse reminds Aglante that she must refuse the prince d’Ithaque. But Moron, the clever buffoon, tells the princesse that if the prince d’Ithaque loved her, she would refuse him, like the dog in a manger, yet she does not want him to love another person, Aglante.
Mais, Madame, s’il vous aimait vous n’en voudriez point, et cependant vous ne voulez pas qu’il soit à une autre. C’est faire justement comme le chien du jardinier. Moron à la princesse (IV. iv, p. 42)
[But, madam, if he loved you, you would not have him, and yet you will not let him be another’s. It is just like the dog in a manger.] Moron to the princess (IV. 5)
In Scene Six, the princesse reflects on her behaviour.
J’ai méprisé tous ceux qui m’ont aimée, et j’aimerais le seul qui me méprise? Non, non, je sais bien que je ne l’aime pas. Il n’y a pas de raison à cela: mais si ce n’est pas de l’amour que ce que je sens maintenant, qu’est-ce donc que ce peut être? et d’où vient ce poison qui me court par toutes les veines, et ne me laisse point en repos avec moi-même? Sors de mon cœur, qui que tu sois, ennemi qui te caches, attaque-moi visiblement, et deviens à mes yeux la plus affreuse bête de tous nos bois, afin que mon dard et mes flèches me puissent défaire de toi. La Princesse, seule (IV. vi, p. 43)
[I have despised all those who have loved me, and shall I love the only one who despises me 1 No, no, I know well I do not love him; there is no reason for it. But if this is not love which I now feel, what can it be? And whence comes this poison which runs through all my veins, and will not let me rest? Out of my heart, whatever you may be, you enemy who lurk there! Attack me openly, and appear before me as the most frightful monster of all our forests, so that with my darts and javelins I may rid myself of you.] The princesse alone, soliloquy (IV. 7)
Fifth Interlude
In the Fifth interlude Philis says:
Si de tant de tourments il accable les cœurs,/ D’où vient qu’on aime à lui rendre les armes?
[If it fills every heart with so much pain/ Whence comes it that we like to yield to it ?] Philis to Clymène Si sa flamme, Philis, est si pleine de charmes,/ Pourquoi nous défend-on d’en goûter les douceurs?
[If, Phillis, its flame is so full of charms/ Why forbid us its pleasures to enjoy?]
Molière has blended a reflection of love and acceptance of its pleasures that overrides the comédie, the interludes and Les Plaisirs de l’Île enchantée. Despite the division into acts and interludes, the Princesse d’Élide offers continuity and coherence.
ACT FIVE
Prince Iphitas, the Prince of Élide is with the Prince d’Ithaque. The Princesse is hurt (jealous) because she feels he has sought someone else’s love. She says she has been scorned.
Il m’a méprisée. La Princesse à Iphitas, son père (V. ii, p. 47) [He has despised me.] La Princesse to Iphitas, her father (V. 2)
Yet, the princesse wants her father to prevent the prince d’Ithaque from marrying Aglante. Under such circumstances, the princesse’s father cannot deny Aglante a husband. The princesse, his daughter, cannot refuse the prince.
Mais afin d’empêcher qu’il ne puisse être jamais à elle, il faut que tu le prennes pour toi. Iphitas to his daughter, the princesse (V. ii, p. 48)
But to prevent his ever being hers, you must take him for yourself. Iphitas to his daughter (V. 2)
The prince d’Ithaque seems to have heard enough. He will speak for himself. Euryale, prince d’Ithaque has asked the prince d’Élide, Iphitas, to marry his daughter. The princesse has not quite recovered from the confusion that was created to elicit the truth. She loves Euryale, the prince d’Ithaque. However, she is not ready to marry.
As for Euryale, the prince d’Ithaque, he is ready to wait. Truth be told, if they married immediately, they would not have befriended one another and could not trust each other. For instance, the princesse is a friend of Moron and trusts him. The Prince d’Ithaque is not expressing an unrealistic endeavour. They may have fallen in love, but they barely know one another. In this play, galanterie is an imperative. Galanterie may involve feigned scorn, a stratagem than triggers jealousy. When Euryale says he has chosen Aglante, the Princess experiences the pain of unrequited love and calls on Moron to fetch Euryale. He will wait because he must wait.
Je l’attendrai tant qu’il vous plaira, Madame, cet arrêt de ma destinée, et s’il me condamne à la mort, je le suivrai sans murmure. Euryale à Iphitas et à la princesse (V. ii. p. 48)
[I shall wait as long as you please, madam, for this decree of my destiny; and, if it condemns me to death, I shall obey without murmuring.] Euryale to the princess(V. 2)
In Scene Three, Iphitas, le prince d’Élide, tells the two other suitors that he will not marry one of them to his daughter, but they may be happy to marry the princesse’s cousins who look forward to marriage.
In Scene Four
Philis tells everyone that Venus has announced a change of heart in the princesse d’Élide.
Sixth Interlude a Pastoral
Conclusion
This post is much too long but it is a school for love. The story has been told. Next, we comment.
[2]In seventeenth-century French, prévenir meant to come before. I believe Mr. van Laun may be using an archaic English meaning of “to prevent” which would be “to come before,” rather than “empêcher de” (to prevent) or “avertir” (to tell about or to warn).
I cannot post anything that requires more than one screen. In fact, I must use a keyboard that is placed on my screen. I cannot even scroll down properly. In short, I must wait for the new computer to be formatted. I may be away for a few days.
My post on the Molière’s Princess of Ellis has been written. As a wrote, the princesse’s father has invited three princes in the hope his daughter would fall in love with one of them. She falls in love with the prince d’Ithaque who must ignore her in order to be loved by her. But her view of marriage prevents marrying. She compares marriage to death, which it is if a husband forces his wife into intercourse and pregnancies.
There is nothing wrong with making love and having children, but Molière recognized that marriage enslaved a woman unless a husband was very respectful of his wife’s privacy and intimacy.
Yet, most of us are almost nothing without “the other” and our beloved little ones.
So, we have at least two main themes:
love as jealousy.
marriage as enslavement and death.
The interludes feature an attack by a boar and an attack by a bear, but at the very beginning of the play, Molière has placed a carpe diem, or seize the day, as illnesses could be overwhelming and death was Pascal’s “last and bloody act.” “Le dernier acte est toujours sanglant.” The play is embedded in interludes: dancing, singing, and the start and the end are Les Plaisirs de l’Île enchantée (The Pleasures of the Enchanted Island).
La Princesse d’Élide is rooted in a play by Spanish author Moreto entitled Scorn for Scorn (El Desdén, con el desdén), (le dédain, le mépris).
Let this little post be.
Love to everyone
Jean-Baptiste Lully, Aria de “La Princesse d’Elide”
Carlos Jaime (violín barroco)
In my last post, I noted that Les Amants magnifiques(The Magnificent Lovers) was a comédie-ballet héroïque. We discussed the comedy only. The interludes, I wrote, would be discussed separately. In fact, the video I showed was based on Les Amants magnifiques. Therefore, we saw a very short part of Apollo’s entrée, which follows the end of the “comedy.”
I also mentioned that the interlude separating Act One and Act Two of the comedy was a long interlude featuring a pastorale, shepherds and shepherdesses, as well as a scene of dépit amoureux, “love-tiff.” I wondered whether one could find a translation into English of the interludes. One can. Henri van Laun’s translation of Dramatic Works of Molière (Volume 5) contains the relevant translation. It is an Internet Archive publication and very precious. For Henri van Laun, there are five interludes. In the Pléiade edition, there are six.
According to toutmoliere.net, or members of the Molière 21 research group, Louis XIV did not dance in Molière’s Amants magnifiques. Therefore, if he fell, it could not have been at the very end of Act Five of the Amantsmagnifiques. In the video’s Apollo entrée and the divertissement, Apollo, was played by a person other than Louis XIV. The video I used is very short, but it encapsulates Louis XIV’s rather “inflated” opinion of himself: the Sun King. However, these words could be flattery. A divertissement royal was commissioned by the king and it provided a fine income. But the video’s message is clear. No one is God on this earth.
Les Fâcheux
Molière, with the participation of Jean-Baptiste Lully and Pierre Beauchamp, introduced the comédie-ballet at Vaux-le-Vicomte. Molière’s Les Fâcheux was performed when Nicolas Foucquet, hosted France’s “who’s who,” including a very young Louis XIV. It was a fête no one could match easily and it included Molière’s LesFâcheux. It was performed successfully and Molière had dedicated the play to Louis XIV, a very young Louis. Molière was one of Fouquet’s numerous protégés, as was Jean de La Fontaine, who would be a friend of Molière until the dramatist’s early death from tuberculosis.
Imitating Fouquet
You probably remember that Louis suspected embezzlement on the part of Fouquet and asked a musketeer to arrest him. Foucquet/Fouquet was tried, convicted, and spent the rest of his life, nineteen years, in the prison where the Man in the Iron Mask was also detained.
Louis’ Divertissements
Since Louis would not have a lesser castle than one of his subjects, he hired Foucquet’s architects and their teams, and had Versailles built. The event called for a divertissement royal, Les Plaisirs de l’Île enchantée. The fête occurred at an early point in the building of Versailles. Louis hoped he could outperform Fouquet’s fête, but he didn’t. We have also mentioned another divertissementroyal which occurred after the period of mourning that followed the death of Anne d’Autriche. Isaac de Benserade‘s Ballet des muses included two plays by Molière, but a third was added and performed on 13 or 14 February 1667. It was Le Sicilienou l’Amour peintre or Love makes the painter.
Les Amants magnifiques was also part of a divertissement royal. It was so lavish a divertissement that performing it in Paris would be too expensive. Molière wrote the play and the interludes and did very well. He was a good imitator and I believe he rose to the occasion.
The Interludes (Les Intermèdes)
There are six interludes in the 2010 Pléiade edition of Molière’s Œuvres complètes. Henri van Laun’s translation has five interludes.
Les Amants magnifiques
opens to the sound of Lully’s music with lyrics by Molière.
A second intermède occurs at the end of Act One. The dancers were Messieurs Beauchamp, Saint-André and Favier.
The third interlude, the longest, follows Act Two and consists of a Prologue introducing a pastoral featuring Lycaste, Ménandre and Tircis, and a scene of Dépit amoureux, translated as “love-tiff” by Henri van Laun.
A fourth interlude follows Act Three, and
afifth separates Acts Four and Five.
a sixth is the Jeux pythiens where Apollo is Louis XIV. The video at the foot of my last post forms part of the Amants magnifiques. It may be that Molière expected Louis to dance, but he didn’t (see the Notice in toutmolière.com).
At the end of Act Five, most, in not all, the play’s characters are on their way to the Pythian Games. I wrote most, because the two princes threatened vengeance. In fact, Cléonice had told Aristione that Anaxarque abused the princes.
Madame, je viens vous dire qu’Anaxarque a jusqu’ici abusé, l’un et l’autre prince, par l’espérance de ce choix qu’ils poursuivent depuis longtemps, et qu’au bruit qui s’est répandu de votre aventure, ils ont fait éclater tous deux leur ressentiment contre lui, jusque-là que, de paroles en paroles, les choses se sont échauffées, et il en a reçu quelques blessures dont on ne sait pas bien ce qui arrivera. Mais les voici. Cléonice to Aristione (V. i. p. 33)
[Madam, I am come to tell you that Anaxarchus had till now deceived both the princes, with the hope of favouring the choice upon which their souls were bent; and that, hearing what has taken place, they have both given way to their resentment against him, and things growing worse, he has received several wounds, from which it is impossible to say what may happen. But here they are both coming.] Cléonice to Aristione (V. 3)
The following is a quotation from the very last part of Les Amants magnifiques, Apollo’s entrée:
Je suis la source des clartés, Et les astres les plus vantés Dont le beau cercle m’environne, Ne sont brillants et respectés Que par l’éclat que je leur donne. Du char où je me puis asseoir Je vois le désir de me voir Posséder la nature entière, Et le monde n’a son espoir Qu’aux seuls bienfaits de ma lumière. Bienheureuses de toutes parts, Et pleines d’exquises richesses Les terres où de mes regards J’arrête les douces caresses.
(sixth interlude) [I am the source of all delight ; And the most vaunted stars, Whose beauteous circle is around me,/ Are only brilliant and respected,/ By the splendour which I give them,/ From the car on which I sit,/ I see the wish to behold me/ Shared by the whole of nature;/ And the wide world has but its hope/ In the sole blessings of my light./ Very happy everywhere,/ And full of exquisite wealth,/ The lands on which I throw/ The sweet caresses of my glances.]
(Henri van Laun, p. 192)
“Dormez, dormez,” a video inserted at the foot of this post, also quotes Les Amants magnifiques. Tirsis, Lycaste and Ménandre sing together while Caliste sleeps.
Tirsis, Lycaste and Ménandre Dormez, dormez, beaux yeux, adorables vainqueurs, Et goûtez le repos que vous ôtez aux cœurs, Dormez, dormez, beaux yeux.
[Sleep on, sleep on, fair eyes, lovely conquerors; And taste that peace which you wrest from all hearts; Sleep on, sleep on, fair eyes.]
Tirsis
Silence, petits oiseaux, Vents, n’agitez nulle chose, Coulez doucement, ruisseaux, C’est Caliste qui repose. Intermède (III. iv, p. 19)
[Now silence keep, ye little birds; Ye winds, stir nought around ; Ye stream, run sweetly on: For Caliste is slumbering.] Interlude
(Henri van Laun, p. 171)
Reading from Molière by Jean-François de Troy (Paris 1679 – Rome 1752) c. 1728 (Photo credit: Wikipedia)
I do not think Molière’s plays are now considered either farces or grandes comédies. Such was the case when I was a student. But we also have the divertissements. La Princesse d’Élide is une comédie galante. I may bring up the notion of “galant music.”
We must also discuss love. Ériphile has been asked to choose a spouse. She loses this privilege, but the comedic “will,” ensures she marries the man she loves. It’s a form of destiny. But Anaxarque was plotting her demise and our “princes” knew. However, they did not know which prince Anaxarque, our charlatan “astrologer,” would choose. It was Iphicrate.
In this post, we read the comedy. However, the comedy has interludes written by Molière. Every stage effect was used to please the King and his Court. Excluding the intermèdes (interludes) seems inappropriate, but I felt we should read the comedy first.
In Les Amants magnifiques, we are in the Vale of Tempe, the location where the events of Mélicerte and La Pastorale comique take place. The location was suggested by Louis XIV and so was the subject: rival lovers. You may remember that these two plays were incomplete. Molière may have looked upon these plays as pièces de circonstances, or plays that would not be needed once the festivities were over. When the obligatory period of mourning for Anne d’Autriche, Louis’ mother, drew to a close, the Court moved to Saint-Germain-en-Laye, a royal residence. At the heart of festivities was Isaac de Benserade‘s Ballet des Muses FR. Molière’s contribution was the ballet’s third entrée. Mélicerte was played from 2 December 1666 to 5 January 1667 when La Pastorale comiquewas first performed. A third play, Le Sicilien, ou l’Amour peintre was staged on 13 or 14 February, at Saint-Germain. It was a late entry, the fourteenth. It would not be played for a wider audience until 10 June 1667. Molière had fallen ill.
Les Amants magnifiques, The Magnificent Lovers, is described as a five-act comédie héroïque and a comédie-ballet, in prose. It was part of a grand divertissement commissioned by Louis XIV and Madame de Montespan. It was apièce à machines that incorporated every stage effect. The play was meant to dazzle the audience.
Various members of the Court played roles in The Magnificent Princes‘ intermèdes: singers and dancers. They are named in La Pléiade‘s 1956 edition of Molière’s Œuvres complètes. Louis didn’t dance and would never dance again.
Until Les Amants magnifiques FR, the King had commissioned Isaac de Benserade to write divertissements. However, Isaac de Benserade had displeased Madame de Monstespan. So, considerable trust was invested in Molière. Les Amants magnifiques, including the interludes. was written by Molière to music by Jean-Baptiste Lully. The lavish play was too expensive to be performed in Paris. It premièred on 4 February 1670, at Saint-Germain-en-Laye, during Carnival season, and it closed after five performances. Linked to this play is La Princesse d’Élide(1664), written for another divertissement: Les Plaisirs de l’Île enchantée, festivities that took place early during the construction of Versailles.
It was first performed on 4 February 1670 at Saint-Germain,
before the King and his Court.
Our dramatis personæ is:
Iphicrates & Timocles, princes in love with Eriphyle.
Sostratus, a general, also in love with Eriphyle.
Anaxarchus, an astrologer.
Cleon, his son.
Chorœbus, in the suit of Aristione.
Clitidas, a court jester, one of the attendants of Eriphyle.
Aristione, a princess, mother to Eriphyle.
Eriphyle, a princess, daughter to Aristione.
Cleonice, confidante to Eriphyle.
La Princesse Ériphile graces the image at the top of this post. Her mother, Princesse Aristione, has asked her to choose her own husband. Two princes are courting her: Iphicrate and Timoclès. They are the “amants magnifiques” (the magnificent lovers). She must choose between the two, which is impossible. Ériphile does not love the princes and would reject both. Her dilemma resembles Psyché’s who is also incapable of choosing between two princes. Choosing one would hurt the other. Moreover, neither Psyché nor Ériphile love their princes.
ACT ONE
Sostrate tells Clitidas that he is in love
Rank: an obstacle
Sostrate is asked to find out which prince she has chosen
In Act One, Clitidas notices that Sostrate, a general in the army, is buried in his own thoughts. After much prying, on the part of Clitidas, Sostrate tells him that he loves Ériphile, but that his rank and fortune do not allow him to reveal his feelings and hope to marry her. How can he, a general, compete with two princes. Sostrate will therefore die without revealing his feelings:
Mourir sans déclarer ma passion. Sostrates à Clitidas (I. i, p. 4)
[To die without telling my love.] Sostrates to Clitidas (I. 1)
However, in Scene Two, Sostrate is asked by Aristione, Ériphile’s mother to see which of the two princes Ériphile loves, a source of irony. Sostrate would like to refuse, but must serve Aristione:
Puisque vous le voulez, Madame, il vous faut obéir, mais je vous jure que dans toute votre cour vous ne pouviez choisir personne qui ne fût en état de s’acquitter beaucoup mieux que moi d’une telle commission. Sostrate à Aristione (I. ii, p. 7)
[Since it is your wish, Madam, I must obey; but I assure you that there is not one person in the whole of your court who would be less qualified for such a commission than myself.] Sostrate à Aristione (I. 2)
Ériphile missed a divertissement planned by the one of the rival princes.
Madame, elle s’est écartée, et je lui ai présenté une main qu’elle a refusé d’accepter. Timoclès à Aristione (l. ii, p. 6)
[She is gone away, Madam. I offered her my arm, which she refused to accept. Timoclès to Aristione (I. 2)
Later, Cléonice, Ériphile’s confidante says:
On trouvera étrange, Madame, que vous vous soyez ainsi écartée de tout le monde. Cléonice à Ériphile (I. v, p. 9)
[It will be thought strange, Madam, that you should keep away from everybody] Cléonice to Ériphile (I. 6)
Sostrate also missed the entertainment. Why did Ériphile and Sostrate stay away?
Pour moi, Madame, connaissant son indifférence et le peu de cas qu’elle fait des devoirs qu’on lui rend, je n’ai voulu perdre auprès d’elle, ni plaintes, ni soupirs, ni larmes. Sostrate à Aristione (I. ii, p. 6)
[For my part, Madam, knowing her indifference and the little value she sets upon the homage that is paid to her, I did not mean to waste either sighs or tears upon her.] Sostrate to Aristione (I. 2)
So, from the beginning of the play, Ériphile shows little interest in her suitors. An interméde separate Act One and Act Two. It is a gift from Cléonice, Ériphile’s confidante, and it features three Pantomines.
ACT TWO
Sostrate has placed Ériphile above everything.
marivaudage prefigured
the confession: no one and nothing is above Ériphile
In Act Two, Scene Two, Clitidas tells Ériphile that Sostrate has placed her above everything else and loves her:
Il m’a demandé si vous aviez témoigné grande joie au magnifique régale que l’on vous a donné; m’a parlé de votre personne avec des transports les plus grands du monde, vous a mise au-dessus du Ciel, et vous a donné toutes les louanges qu’on peut donner à la princesse la plus accomplie de la terre, entremêlant tout cela de plusieurs soupirs qui disaient plus qu’il ne voulait. Enfin, à force de le tourner de tous côtés, et de le presser sur la cause de cette profonde mélancolie, dont toute la cour s’aperçoit, il a été contraint de m’avouer qu’il était amoureux. Clitidas à Eriphile (II. ii, p. 11)
[He asked me if you were very pleased with the royal entertainments that are offered to you. He spoke of your person with the greatest transports of delight, extolled you to the sky, and gave you all the praises that could be given to the most accomplished princess in the world, and with all this uttering many sighs which told me more than he thought. At last, by dint of questioning him in all kinds of ways, and pressing him to tell me the cause of his melancholy, which is noticed by everyone at court, he was forced to acknowledge that he is in love.] Clitidas to Ériphile (II. 3)
Ériphile is miffed. This is marivaudage, a form of galanterie found in the works of Pierre de Marivaux. It governs the action of Marivaux’s Le Jeu de l’amour et du hasard. In fact, Ériphile is not miffed. Clitidas tricks her by changing his statement. Sostrate is in love with Arsinoé, not Ériphile. Clitidas realizes that Ériphile is not pleased. He has, therefore, elicited the truth by provoking jealousy.
Non, non, Madame, je vois que la chose ne vous plaît pas. Votre colère m’a obligé à prendre ce détour, et pour vous dire la vérité, c’est vous qu’il aime éperdument. Licidas à Ériphile (II. ii, p. 11)
[No, no, Madam; I see that this offends you. Your anger forced me to make use of this subterfuge; and, to tell you the truth, it is you he loves to distraction.] Licidas to Ériphile (II. 3)
In Act Two, Scene Three, Sostrate does as he has been told. He asks Ériphile which of the two princes she prefers.
Whom would Sostrate chose between her rival princes? Sostrate so loves Ériphile that only a god would qualify to marry Ériphile.
Si l’on s’en rapporte à mes yeux, il n’y aura personne qui soit digne de cet honneur. Tous les princes du monde seront trop peu de chose pour aspirer à vous; les Dieux seuls y pourront prétendre, et vous ne souffrirez des hommes que l’encens, et les sacrifices. Sostrate à Ériphile (II. iii, p. 13)
[If I were to be judge, I should find no one worthy of that honour. All the princes of the world would be too mean to aspire to you; the gods alone can pretend to you, and you would have from men but incense and sacrifice.] Sostrate to Ériphile (II. 4)
In short, it is for Ériphile to choose between the rival princes. As for Sostrate, although he loves Ériphile, he remains a mere general.
Acts Two and Three are separated by a rather long intermède that includes a lovely scene of dépit amoureux, spite between lovers, a pastoral shepherds and shepherdesses. The interludes also feature satyrs, dryads, fauns, nymphs, etc. It will be discussed separately.
ACT THREE
Aristione chooses Sostrate to know which of the two princes she prefers.
J’estime tant Sostrate, que soit que vous vouliez vous servir de lui pour expliquer vos sentiments, ou soit que vous vous en remettiez absolument à sa conduite, je fais, dis-je, tant d’estime de sa vertu et de son jugement, que je consens de tout mon cœur à la proposition que vous me faites. Aristione à tous(III. i, p. 24)
[I have such a high regard for Sostratus that, whether you mean to employ him to explain your feelings or to leave him entirely to decide for you, I consent heartily to this proposition.] Aristione to all (III. 1)
Sostrate wishes to refuse, but he can’t. This request comes from a princess:
Par quelle raison donc, refusez-vous d’accepter le pouvoir qu’on vous donne, et de vous acquérir l’amitié d’un prince qui vous devrait tout son bonheur? Timoclès à Sostrate (III. i, p. 24)
[For what reason could you have had, Sostratus, for refusing it?] Timoclès to Sostrate (III. 4) Par la raison que je ne suis pas en état d’accorder à ce prince ce qu’il souhaiterait de moi. Sostrate à Timoclès (III. i, p. 24)
[The fear of not acquitting myself well.] Sostrate to Timoclès (III. 4)
At this point, Anaxarque propose that Heaven, le Ciel, choose between the two suitors.
En est-il un meilleur, Madame, pour terminer les choses au contentement de tout le monde, que les lumières que le Ciel peut donner sur ce mariage? J’ai commencé comme je vous ai dit, à jeter pour cela les figures mystérieuses que notre art nous enseigne, et j’espère vous faire voir tantôt ce que l’avenir garde à cette union souhaitée. Après cela pourra-ton balancer encore? La gloire et les prospérités que le Ciel promettra, ou à l’un, ou à l’autre choix, ne seront-elles pas suffisantes pour le déterminer, et celui qui sera exclus, pourra-t-il s’offenser quand ce sera le Ciel qui décidera cette préférence? Anaxarque à tous (III. i, p. 25)
Both princes agree with Anaxarque, but Ériphile is suspicious. If le Ciel chooses her future husband, she will not be able to refuse. How can one oppose le Ciel? She will no longer be free to choose her husband, which was her mother’s wish and sensible.
Mais, Seigneur Anaxarque, voyez-vous si clair dans les destinées, que vous ne vous trompiez jamais, et ces prospérités, et cette gloire que vous dites que le Ciel nous promet, qui en sera caution, je vous prie? Ériphile to Anaxarque (III. i, p. 25)
As for Sostrate, he disagrees with the proposed solution and Aristione, Ériphile’s mother is perplexed.
ACT FOUR
In Act Four, Scene One, Aristione would like her daughter to tell all. Ériphile cannot. The man she loves is of a rank her mother would deem acceptable. Ériphile knows that Sostrate is a man of merit, but a general, would not be considered a judicious choice by her mother. If le Ciel is to intervene, Ériphile requires a deus ex machina
Parlez à cœur ouvert, ma fille, ce que j’ai fait pour vous mérite bien que vous usiez avec moi de franchise. Tourner vers vous toutes mes pensées, vous préférer à toutes choses, et fermer l’oreille en l’état où je suis, à toutes les propositions que cent princesses en ma place écouteraient avec bienséance, tout cela vous doit assez persuader que je suis une bonne mère, et que je ne suis pas pour recevoir avec sévérité les ouvertures que vous pourriez me faire de votre cœur. Aristione to Ériphile (IV. i, p. 28)
[Speak openly, daughter; what I have done for you well deserves that you should be frank and open with me. To make you the sole object of all my thoughts, to prefer you above all things, to shut my ears, in the position I am in, to all the propositions that a hundred princesses might decently listen to in my place—all that ought to tell you that I am a kind mother, and that I am not likely to receive with severity the confidences your heart may have to make.] Aristione to Ériphile (IV. 1) Si j’avais si mal suivi votre exemple, que de m’être laissée aller à quelques sentiments d’inclination que j’eusse raison de cacher, j’aurais, Madame, assez de pouvoir sur moi-même pour imposer silence à cette passion, et me mettre en état de ne rien faire voir qui fût indigne de votre sang. Ériphile to Aristione (IV. i, p. 28)
[If I had so badly followed your example as to have allowed an inclination I had reason to conceal to enter my soul, I should have power enough over myself to impose silence on such a love, and to do nothing unworthy of your name.] Ériphile to Aristione (IV. 1)
In Act Four, Scene Two, a false Venus arrives in her chariot and decrees that Aristione should consider giving her daughter to the person who saves her life.
Princesse, dans tes soins brille un zèle exemplaire,/ Qui par les Immortels doit être couronné,/ Et pour te voir un gendre, illustre et fortuné,/ Leur main te veut marquer le choix que tu dois faire;/ Ils t’annoncent tous par ma voix,/ La gloire et les grandeurs, que, par ce digne choix,/ Ils feront pour jamais entrer dans ta famille,/ De tes difficultés termine donc le cours;/ Et pense à donner ta fille/ À qui sauvera tes jours./ Vénus à Aristione (IV. ii, p. 28-29)
[Princess, in you shines a glorious example, which the immortals mean to recompense; and that you may have a son-in-law both great and happy, they will guide you in the choice you should make. They announce by my voice the great and glorious fame which will come to your house by this choice. Therefore, put an end to your perplexities, and give your daughter to him who shall save your life.] Vénus to Aristione (IV. 2)
In Act Four, Scene Three, we learn that Venus is a false Venus. Cléon and his father Anaxarque are arranging for men to capture Aristione. Iphicrate will save her.
Va-t’en tenir la main au reste de l’ouvrage, préparer nos six hommes à se bien cacher dans leur barque derrière le rocher; à posément attendre le temps que la princesse Aristione vient tous les soirs se promener seule sur le rivage, à se jeter bien à propos sur elle, ainsi que des corsaires, et donner lieu au prince Iphicrate de lui apporter ce secours, qui sur les paroles du Ciel doit mettre entre ses mains la princesse Ériphile. Anaxarque à Cléon (IV. iii, p. 29)
[Be it your part to go and get our six men to hide themselves carefully in their boat behind the rock, and make them wait quietly for the time when the princess comes alone in the evening for her usual walk. Then they must suddenly attack her like pirates, in order to give the opportunity to Prince Iphicrates to rush to her rescue, and lend her the help which is to put Eriphyle in his hands according to the words of Venus.] Anaxarque to Cléon (IV. iv)
In Act Four, Scene Four a dejected Ériphile fears destiny. What has she done to deserve attention from the Gods? She does not love the princes who are the only candidates.
Hélas! quelle est ma destinée, et qu’ai-je fait aux Dieux pour mériter les soins qu’ils veulent prendre de moi? Ériphile à Cléonice et Sostrate (IV. iv, p. 30)
[Alas! how hard is my destiny! What have I done to the gods that they should interest themselves in what happens to me?] Ériphile to Cléonice and Sostrate (IV. 5)
ACT FIVE
In Act Five, Scene One, we are told that Aristione was attacked by a boar, but was saved by Sostrate. Sostrate being a hero, he may marry Ériphile. Men were to attack Aristione, not a boar.
Anaxarque misused both princes. But Sostrate saved Aristione. So, ironically, he daughter will marry the man who saved her mother life. As false as Venus is, Heaven has decided that Ériphile must marry her mother’s saviour, who is Socrates. Aristione forgives the princes and all, or most, go to the Jeux Pythiens.
Je pardonne toutes ces menaces, aux chagrins d’un amour qui se croit offensé, et nous n’en verrons pas avec moins de tranquillité la fête des jeux Pythiens. Allons-y de ce pas, et couronnons par ce pompeux spectacle cette merveilleuse journée. Aristione aux princes (V. iv, p. 34)
[I forgive all these threats for the sake of the sorrow of a love which thinks itself insulted; and we will none the less go and see the Pythian Games in all peace. Let us go at once, and let us crown by the glorious spectacle this wonderful day.] Aristione to the princes (V. 4)
The above is incomplete. In Les Amants magnifiques, the plot is embedded in mostly pastoral and mythological interludes. Louis XIV is Apollon. We are in the Vale of Tempe, an idyllic location, but a princess who seems “free” to choose her husband is not “free.” Rank and fortune preclude a marriage between Sostrate and Ériphile.
However, Aristione is attacked by a boar and Venus, albeit a false Venus, has decreed that Ériphile is to wed her mother’s saviour is Sostrate, The gods have spoken. and Ériphile must marry Sostrate.
So, once again, comedy, or destiny, is complicit with Ériphile and Sostrate, the young lovers of comedy. It’s an all’s well that ends well, but a complex tout est bien qui finit bien.
Obedience to parents is a matter Molière raises in his plays. In Mélicerte. Myrtil will not let a father prevent his marrying a woman other than Mélicerte. But Venus has decreed that Ériphile would marry her mother’s saviour. Sostrate.
So, once again, comedy, or destiny, is complicit with Ériphile and Sostrate, the young lovers of comedy. It’s an all’s well that ends well, but an ambiguous tout est bien qui finit bien. After its Saint-Germain-en-Laye performances, Les Amants magnifiques was not performed, at least, not in Molière’s lifetime.
AlthoughLe Sicilien ou l’amour peintreforms part ofIsaac de Benserade’s Ballet des Muses, and is a comédie-ballet, written by Molière and composed by Jean-Baptiste Lully, it differs from the third entrée: the incomplete Mélicerte and Comic Pastoral. Mélicerte and the Comic Pastoral were pièces de circonstance or plays written for a momentary event. The mourning period that followed the death of Anne d’Autriche, Louis XIV’s mother, was drawing to a close and would give way to festivities that were to take place at Saint-Germain-en-Laye. In other words, these were pièces de circonstance, momentary plays. Molière never wrote the third act of Mélicerte FR and removed the Comédie pastorale‘s FR theatrical scenes. Le Sicilien ou l’Amour peintre was a late entry, the fourteenth. It was first performed on 13 or 14 February at Saint-Germain-en-Laye. It was not shown at the Théâtre du Palais-Royal until 10 June 1667, due to the severe illness Molière’s suffered after the festivities at Saint-Germain-en-Laye.
Moreover, in Le Sicilien, gone are shepherds and shepherdesses.These inhabited the literature of an earlier seventeenth century. The second half of the seventeenth century is often referred to as le Grand Siècle (1661-1715). Louis XIV’s reign began in 1661. The quest for a Golden Age is a permanent feature of literature, and would characterize eighteenth-century fêtes galantes. These would be oniriques, or dream-like. As for Le Sicilien ou l’Amour peintre, its main subject matter would be galanterie and the galant homme. Adraste, disguised as an artist and a Frenchman, is a galant homme. Juxtaposed to Adraste is Dom Pèdre, whose jealous nature keeps him from learning the spellbinding words of galanterie. He loves Isidore, a freed Greek slave, but he so fears losing her that he doesn’t use the words that could endear him to her. We remember l’École des femmes, The School for Wives‘ Arnolphe.
In fact, one could sum up Le Sicilen ou l’Amour peintre by quoting The School for Wives (L’École des femmes). Arnolphe is too jealous to make himself loved. He admonishes Agnès, innocence personified, but Horace knows the appropriate “deux mots,” couple of words, that make him attractive.
Tenez, tous vos discours ne me touchent point l’âme.
Horace avec deux mots en ferait plus que vous. Agnès à Arnolphe (V. iv, p. 73) [All you say does not touch my heart.
Horace could do more with a couple of words.] Agnès to Arnolphe (V. 4. p. 157)
Le Sicilien ou l’Amour peintre is a one-act pastoral and comédie-ballet. The Ballet des Muses consisted of ballets mainly. Voltaire loved it. He wrote: « C’est la seule petite pièce en un acte où il y ait de la grâce. »[1] ‟It is the only little play in one act that has grace.” Molière had graced his one-act Sicilien and, although it was performed as the last ballet at Saint-Germain, it was also performed in Paris. It fared better at Saint-Germain than in Paris, which does not make it a lesser play. However, finding roots is difficult. One may grope, but Molière’s earlier plays are his main source.
Our dramatis personæ are
DON PEDRO, a Sicilian gentleman
ADRASTE, a French gentleman, in love with Isidore
ISIDORE, a Greek girl, Don Pedro’s slave.
A SENATOR. HALT, a Turk, Adraste’s slave.
ZAIDE, a young slave girl.*
Two SERVANTS. MUSICIANS. A SLAVE, singing. SLAVES, dancing. MOORS OF BOTH SEXES, dancing. *Zaïde is CLIMÈNE, Adraste’s sister.
Adraste would like to speak to Isidore.
In scene five, he complains that Don Pedre is keeping Isidore out of sight. He has seen her and believes they are in love, but he tells Hali that it seems impossible to speak to Isidore. Lovers need to speak to one another.
Quoi! tous nos soins seront, donc, inutiles? et, toujours, ce fâcheux jaloux se moquera de nos desseins? Adraste à Hali (Sc. v, p. 6)
[What ! Shall all our trouble be for nothing ? Shall this tiresome, jealous fellow always laugh at our attempts?] Adraste to Hali (Sc. v, p. 65)
Non, le courroux du point d’honneur me prend; il ne sera pas dit qu’on triomphe de mon adresse; ma qualité de fourbe s’indigne de tous ces obstacles; et je prétends faire éclater les talents que j’ai eus du Ciel. Hali à Adraste (Sc. v, p. 6)
[No. I get angry, and my honour is at stake; it shall not be said that anyone has outwitted me. My reputation as a rogue disdains all these obstacles ; and I am determined to show the talents that Heaven has given me.] Hali to Adraste (Sc. 5, p. 66)
A stratagem is planned. Pedro will be fooled into thinking that Adraste is Damon, an artist who is supposed to paint a portrait of Isidore. Don Pedro introduces the artist:
Voici un gentilhomme que Damon nous envoie, qui se veut bien donner la peine de vous peindre. Dom Pèdre à Isidore (Sc. xi, p. 13) [This is a gentleman whom Damon sends us, and who will be kind enough to undertake your portrait.] Don Pedro to Isidore (Sc.12, p. 72)
When he meets Isidore, the artist embraces her, so Don Pedro is miffed. Isidore, however, “accepts this honour:”
Holà, Seigneur Français, cette façon de saluer n’est point d’usage en ce pays. (Don Pedro) [Hullo! Sir Frenchman, this way of saluting is not the fashion in this country.] C’est la manière de France. (Adraste)
[It is the fashion of France.] La manière de France est bonne pour vos femmes; mais pour les nôtres, elle est, un peu, trop familière. (Don Pedro)
[The fashion of France may suit your ladies; but for ours, it is somewhat too familiar.] Je reçois cet honneur avec beaucoup de joie; l’aventure me surprend fort; et, pour dire le vrai, je ne m’attendais pas d’avoir un peintre si illustre. (Isidore) [I accept this honour with much pleasure. The adventure surprises me immensely; and, to tell the truth I did not expect to have such an illustrious painter.]
(Sc. xi, p. 13/Sc.12, p. 72)
Despite the presence of Dom Pèdre, Adraste courts Isidore whom, until then, he has only seen. Isidore doesn’t know whether he is truthful, but Adraste is convincing:
Oui, charmante Isidore, mes regards vous le disent depuis plus de deux mois, et vous les avez entendus: je vous aime plus que tout ce que l’on peut aimer, et je n’ai point d’autre pensée, d’autre but, d’autre passion, que d’être à vous toute ma vie. Adraste à Isidore (Sc. xii, p. 16)
[Yes, charming Isidore, my looks have told you as much for the last two months, and you have understood them. I love you more than aught else, and have no other thought, no other aim, no other passion, than to be yours all my life.] Adraste to Isidore (Sc. 8, p. 75)
Je ne sais si vous dites vrai, mais vous persuadez. Isidore à Adraste (Sc. xii, p. 16)
[I do not know whether you speak the truth ; but you make me believe you.] Isidore to Adraste (Sc. 8, p.75)
[What are you waiting for?] Adraste to Isidore (Sc. 14, p. 76)
[To make up my mind.] Isidore to Adraste (Sc. 14, p. 76)
[Ah ! when people love with all their hearts, they
make up their minds quickly.] Adraste to Isidore (Sc. 14, p. 76)
[Very well then ! yes, I consent to it.] Isidore to Adraste (Sc. 14, p. 76)
In Scene XIV, Climène, Adraste’s sister, bursts onto the scene, asking to be protected from a jealous husband. Don Pedro is surprised. He believes Frenchmen are not jealous. But the French, it appears, excel in every way.
Les Français excellent toujours dans toutes les choses qu’ils font[.]
So, Don Pedro lets Climène/Zaïde enter wearing a veil. He lest her join the artist and Isidore, not knowing that he will be tricked. Climène gives Isidore her veil, which is how Adraste and Isidore leave unnoticed.
Ah! Seigneur cavalier, sauvez-moi, s’il vous plaît, des mains d’un mari furieux dont je suis poursuivie. Sa jalousie est incroyable, et passe dans ses mouvements tout ce qu’on peut imaginer. Il va jusques à vouloir que je sois, toujours, voilée; et pour m’avoir trouvée le visage un peu découvert, il a mis l’épée à la main, et m’a réduite à me jeter chez vous, pour vous demander votre appui contre son injustice. Mais je le vois paraître. De grâce, Seigneur cavalier, sauvez-moi de sa fureur. Climène/Zaïde à Dom Pèdre (Sc. xiv, p. 18) [Ah, Sir, save me, I beseech you, from the hands of an enraged husband who is close upon my heels. His jealousy is incredible, and surpasses in its violence every-thing imaginable. He carries it so far as to wish me to be always veiled ; and for having found me with my face a little uncovered he has drawn his sword, and he has compelled me to throw myself upon you, and to ask for your protection against his injustice. But I see him coming ; for heaven’s sake, honoured Sir, save me from his fury.] Zaïde/Climène to Don Pedro (Sc. 15, p. 77) Entrez là-dedans, avec elle, et n’appréhendez rien. Dom Pèdre à Climène/Zaïde (Sc. xiv, p. 18)
[Go in there with her, and fear nothing.] Don Pedro to Zaïde/Climène (Sc. 15, p. 77)
“Salons” nurtured both l’honnête homme and le galant homme. Le galant homme is not un homme galant, a womanizer. Le galant homme is refined and knows how to please a woman, as does l’honnête homme. Charles Sorel is the author of Les Lois de la galanterie (1644), and Nicolas Faret wrote L’Honnête homme ou l’Art de plaire à la cour(1630). Molière himself sought to please … an audience.
In short, in Le Sicilien, Molière remembers jealous and possessive men. These men court women speaking the language of accountants. Moreover, they often resort to the law. They have rights. Don Pedro speaks to the Senator who can only think of a mascarade he has written. It’s a dialogue de sourds. Molière remembers Arnolphe. He also remembers Horace who tells each one of his plans to Arnolphe, but defeats Arnolphe.
According to Marcel Gutwirth, Molière main characters are le Jaloux, jealous men, l’Imposteur (le faux dévot) and the zanni, clever servants and fourbes, tricksters.[2] However, among these three types are Argan (The Imaginary Invalid), Harpagon (The Miser) and Arnolphe. These characters are obsessed. Harpagon is quite happy to retrieve his cassette.
Molière did not finish Mélicerte and destroyed La Comédie pastorale, the Comic Pastoral‘s theatrical scenes. As for Le Sicilien ou l’amour peintre, The Sicilian; or, Love Makes the Painter, it was an afterthought, or so it appears. But we have just read three humble, but delightful little plays, as moliéresque as can be.
Would that I had written: “Quand l’hiver a glacé nos guérets, …” (La Pastorale comique)
_________________________ [1] Maurice Rat, ed., Les Œuvres complètes de Molière (Paris: Gallimard [La Pléiade], 1956), p. 950. [2] Marcel Gutwirth, Molière ou l’invention comique (Paris: Ménard, 1966), p. 24.
We have read all the plays in which Molière satirised doctors and we know why. In 17th century Europe, medicine was not sufficiently advanced for doctors to help patients. However, there were doctors. The sick sought their assistance believing they could be cured. They could not be cured and doctors knew. Yet, doctors collected fees that made many of them wealthy. As well, there were charlatans. I omitted a short scene in which L’Amour médecin’s Sganarelle goes to buy orviétan[1] from a charlatan.
(seul) Me voilà justement un peu plus incertain que je n’étais auparavant. Morbleu, il me vient une fantaisie. Il faut que j’aille acheter de l’orviétan, et que je lui en fasse prendre. L’orviétan est un remède dont beaucoup de gens se sont bien trouvés. Sganarelle (II. vi, p. 13)
[(the two doctors leave) Here I am now a little more uncertain than I was before. The devil! A fantasy has come to me. I have to go buy some snake oil and make her take it — snake oil is a remedy which many people are very fond of.] Sganarelle (II. 6, pp. 16-17)
Thibaut and his son Perrin consult Sganarelle, who has been made into a doctor. Thibaut tells Sganarelle that Perrin’s mother suffers from hypocrisie (hypocrisy).
Alle est malade d’hypocrisie, Monsieu. Thibaut to Sganarelle (III. ii, p. 24)
[She’s got the hypocrisy, Sir.] Thibaut to Sganarelle (III. 2, p. 24)
The use of the word hypocrisie instead of hydropisie is ironic, but consistent with Molière’s satirical portrayal of doctors. Moreover, Sganarelle is not hearing anything because he has yet to be paid. After he is paid deux écus, Sganarelle can hear, which is another satirical element:
Voilà un garçon qui parle clairement, qui s’explique comme il faut. Vous dites que votre mère est malade d’hydropisie, qu’elle est enflée par tout le corps, qu’elle a la fièvre, avec des douleurs dans les jambes : et qu’il lui prend, parfois, des syncopes, et des convulsions, c’est-à-dire des évanouissements ? Sganarelle to Perrin (III. ii, p. 24)
[Now I understand! Here’s a boy who speaks clearly and explains things as he should. You say your mother is suffering from hydropsia, is swollen everywhere, and has a fever, with pains in the legs, and sometime she is taken with fits and convulsions, that is to say, with fainting?] Sganarelle to Perrin (III. 2, p. 39)
Sganarelle has learned that doctors collect first. However, he can hear hydropisie, dropsy, instead of hypocrisie and his diagnostic could be accurate.
I will insert these omissions in their appropriate posts.
I wrote one chapter of my thesis on George Dandin. I re-read it during the week-end and I had the feeling I was reading a text written by an author other than myself. I have also written a post on George Dandin. He is an agroikós, a rustic character, featured in Middle Greek comedy. The comedy of Ancient Greece, Attic comedy, is usually divided into three periods and I will associate at least one writer which each period. Greece’s best-known comic playwrights are:
Aristophanes (c. 446 – c. 386 BCE) is associated with Old Comedy,
Antiphanes (c. 408 to 334 BCE), with Middle Comedy (the agroikos), and
Menander (c. 342/41 – c. 290 BCE) with New Comedy.
I should also mention Philemon (c. 362 BCE– c. 262 BCE). He is associated with New Comedy.
Molière was also familiar with Rome’s Atellanfarce and with the comedies of Rome’s Plautus (c. 254 – 184 BCE) and Terence (c. 195/185 – c. 159? BC). As well, he knew the commedia dell’arte‘s stock characters. These may be archetypes and are discussed in Northrop Frye‘s Anatomy of Criticism(1959), which, I believe, is essential reading. We have seen the alazṓn, the blocking character of comedy, and the eirôn, the alazṓn’s opponent. The alazṓn has many names. I have also mentioned the pharmakós. The pharmakós is the scapegoat.
George Dandin is an agroikos. This play was discussed in a post, but the pastorals were not. They are:
____________________ [1]L’orviétan était un remède miracle, une sorte de panacée qu’un charlatan italien, Jeronimo Ferranti, prétendait avoir apporté d’Orvieto et qui fut vendu avec beaucoup de succès par lui-même et ses descendants jusqu’au XVIIIe siècle. [Orvietan was a miracle cure, a sort of panacea that an Italian charlatan, Jeronimo Ferranti, claimed he brought from Orvieto, and which he and his descendants sold successfully until the 18th century.] toutmolière.net
[2]I have used the wordagôn. It means struggle and appears in several contexts. (See Agôn, Wiki2.org.)
Sganarelle (father of Lucinda) (Moliere)
Lucinda
Clitandre (lover to Lucinda)
Lucrece (cousin of Sganarelle)
Lisette (Lucinda’s servant)
Aminte (neighbor of Sganarelle)
Mr. Guillame (a seller of tapestry)
Mr. Josse
Dr. Tomes
Dr. Des Fernandes
Dr. Macroton
Dr. Bahays
Mr. Filerin
A Notary
Champagne (Sganarelle’s valet)
LE BALLET
Frontispice [cover] de l’édition de 1682 drawn and engraved by François Chauveau (BnF)
As a farce, L’Amour médecin was written in prose and contains three acts. Farces allow some physical comedy. As a comedy of manners, it is Molière’s second satire on medicine, the first is Le Médecin volant (The Flying Doctor), written in 1645 and played in 1659. The third and fourth are Le Médecin malgré lui (1666) and Le Malade imaginaire imaginaire(1673). L’Amour médecin is rooted in Le Médecin volant, in Charles Sorel’s Olynthie, a short story, and in earlier farces.
Venue
L’Amour médecinwas first performed at Versailles on 15 September 1665. Molière’s troupe was la troupe du Roi and Louis was demanding. L’Amour médecin was written, and roles learned and rehearsed, in five days. After it premièred at Versailles, L’Amour médecin was performed at the théâtre du Palais-Royal,la troupe du Roi‘s main venue.
Sganarelle
In L’Amour médecin, the role of Sganarelle, created in Le Médecin volant, is that of heavy father. Sganarelle was played by Molière during Molière’s life time. In Dom Juan, he is a valet.
Four Doctors
It should be noted that L’Amour médecin‘s doctors were given the names of real doctors. They were not simple miroirs publics. They have identifiable names and are known doctors, but all reflect Molière’s and many of his contemporaries’ view of doctors. Doctors killed, but did so officially, according to established covenants, and wearing the clothes that match the job. In the case of doctors, Molière had Guy Patin in mind, and Les Femmes savantesTrissotin, a pedant, is modeled after l’abbé Charles Cotin, a learned gentleman, but …
At any rate, L’Amour médecinwas a very successful comedy and, despite a cast of several doctors, the plot was simple, a characteristic of Molière’s plays.
In L’Amour médecin, Lucinde is feigning illness, but her father believes she is very sick. Neighbours and relatives have their opinion to give. Monsieur Guillaume, who sells tapestries, thinks a tapestry showing a forest should adorn her room. Monsieur Josse thinks the gift of “finery and fancy dress,” as well as jewels may save Lucinde’s life. Aminte believes that Lucinde should marry, but Lucrèce objects. Pregnancies would kill Lucinde, given her humeur, the four temperaments.
Et moi, je tiens que votre fille n’est point du tout propre pour le mariage. Elle est d’une complexion [humeur] trop délicate et trop peu saine, et c’est la vouloir envoyer bientôt en l’autre monde, que de l’exposer comme elle est à faire des enfants. Le monde n’est point du tout son fait, et je vous conseille de la mettre dans un couvent, où elle trouvera des divertissements qui seront mieux de son humeur. Lucrèce à tous (I. i, p. 3)
[And as for me, I hold that your daughter is not at all fit for marriage. She has a very delicate complexion [humor] and not very healthy and it would be a determination to send her soon to the other world by exposing her, the way she is — to having children. The world is not at all her thing — and I advise you to put her in a convent — where she will find diversions more in accord with her humor.] Lucrèce to all (I, 1, p.7)
Sganarelle feels that, the remedies they propose show that his niece, neighbours and friends have something to gain by following Sganarelle’s advice. He uses the word intéressé.[1]
Tous ces conseils sont admirables assurément: mais je les tiens un peu intéressés … (.) Sganarelle à tous
[… you advise me quite well for yourselves …(.)] (I. 1, p.7) Sganarelle to all
Sganarelle dismisses them all saying that his plan is to keep his daughter. He and Lucinde have a conversation.
However, after asking Lucinde what could cure her, Lucinda nods when Sganarelle asks:
Aimerais-tu quelqu’un et souhaiterais-tu d’être mariée? Sganarelle à Lucinde (I. ii, p. 3)
[Might you be in love and wish to be married?]
(my translation)
In 17th-century France and in Molière’s comedies, jealousy transforms a lover’s discourse into imprecations that alienate a young woman, the ingénue. Incestual love is out of the question. Sganarelle loves his daughter as fathers do. So, let us suggest a twist on the reversal all comedies feature. Comedies promotes the marriage of the young lovers. Le blondin berne le barbon. (The young man fools the old man.) In L’Amour médecin, the young man is Clitandre. Lucinde has not told Lisette about Clitandre, which may reveal hopelessness. In comedy, maids, servants, valets, and, at times, siblings are the brilliant minds who ensure that a young woman is not handed over to a man she does not love.
I re-read a few chapters (préciosité) of one of Georges Mongrédien’s books on the 17th century in France. According to Mongrédien,[2] Molière did not oppose préciosité, despite his Précieuses ridicules. These were affected ladies whom he simply humiliated. Although comedy is rooted in ancient fertility riduals, Molière, does not allow young women to be forced into marrying men they find repulsive. At that time in history, women often died in childbirth or were pregnant year after year, which could lead to a premature death. However, we are alive. So, many women have survived pregnancies and many, if not most have never been subjected to yearly pregnancies.
In short, L’Amour médecin is comedy as usual, which the title of the play suggests. In fact, L’Amour médecin is Molière’s only comedy the contents of which are revealed in the title. Lucinde wishes to live a normal life and, for many women, life has long been considered improbable without the company of a man.L’honnête homme was born in the salons and salons also shaped galanterie. Mademoiselle de Scudéry‘s Carte de Tendre is a product of the salons. However, although our pater familias is thealazṓn of Greek old comedy, he wishes to keep his daughter for himself, which is absurd.
A-t-on jamais rien vu de plus tyrannique que cette coutume où l’on veut assujettir les pères? Rien de plus impertinent, et de plus ridicule, que d’amasser du bien avec de grands travaux, et élever une fille avec beaucoup de soin et de tendresse, pour se dépouiller de l’un et de l’autre entre les mains d’un homme qui ne nous touche de rien? Non, non, je me moque de cet usage, et je veux garder mon bien et ma fille pour moi.
Sganarelle à Lisette et Lucinde (I. v, p. 6)
[Has there ever been seen a greater tyranny than this custom they want to impose on fathers, nothing more impertinent and more ridiculous than to amass wealth with great work and to raise a daughter with great care and tenderness to be despoiled of both by the hands of a man who pays us nothing? No, no — I mock that custom and I intend to keep my wealth and my daughter for myself.]
Sganarelle to Lisette and Lucinde (I. p. 10)
ACT TWO
The Doctors
blood-letting
an emitic
enemas & broths
In Act 2, Lisette fumes when she hears that Sganarelle is calling in a team of doctors.
Ma foi, Monsieur, notre chat est réchappé depuis peu, d’un saut qu’il fit du haut de la maison dans la rue, et il fut trois jours sans manger, et sans pouvoir remuer ni pied ni patte; mais il est bien heureux de ce qu’il n’y a point de chats médecins: car ses affaires étaient faites, et ils n’auraient pas manqué de le purger, et de le saigner. Lisette à Sganarelle (II. i, p. 8) [My word, sir, our cat survived a jump from the roof of a house to a street, and it went 3 days without eating and it couldn’t move foot or paw — but it was really lucky there were no cat doctors, for her affair would have been done — and they wouldn’t have failed to purge and bleed her.] Lisette to Sganarelle (II.1, p.3)
The cure is blood-letting according to Monsieur Tomés. An emetic is required, claims Monsieur De Fonandrés. As for Monsieur Macroton, the remedy at hand are enemas and broths
Il vaut mieux mourir selon les règles, que de réchapper [to recover] contre les règles. Monsieur Bahys aux médecins et à Sganarelle (II. v, p. 13) [It’s better to die according to the rules than to escape despite the rules.] Monsieur Bahys to colleagues (II. 5, p. 16)
As the scene ends, Sganarelle goes to see a charlatan. He doubts the doctors attending to his daughter and goes to purchase Orviétan[3] from a charlatan.
ACT THREE
the doctors
Clitandre as doctor
Sganarelle is fooled
During Act 2, the doctors disagree. So, at the beginning of Act 3, they reflect upon their quarrel and conclude that they are endangering their profession. They could not cure, not in the 17th century, but human beings who fell ill consulted and this is how doctors made a comfortable living. So, to a large extent, doctors preyed on vulnerable human beings and thus constituted a group of impostors, a dramatist’s target. They worked for the money.
Je n’en parle pas pour mon intérêt. Car, Dieu merci, j’ai déjà établi mes petites affaires. Qu’il vente, qu’il pleuve, qu’il grêle, ceux qui sont morts sont morts, et j’ai de quoi me passer des vivants. Mais enfin, toutes ces disputes ne valent rien pour la médecine. Monsieur Filerin aux autres médecins (III. i, p. 15)
[I’m not speaking only for my interest, for thank God, I’m very well off — let it snow, let it pour, let it hail. Those who are dead are dead and I have somewhat to spend with the livery — but in the end all these disputes are not good for medicine.] Doctor Filerin other to colleagues (III. 1, p. 19)
Yet, a new doctor is introduced. Lisette and Clitandre have organized a stratagem. Clitandre will make believe he is a doctor and he will be a doctor who has already cured Lucinde. Lisette introduces him and Sganarelle notices that there is not much beard to this doctor. Clitandre tells Sganarelle that he treats both the mind and the body. He has succeeded in curing Lucinde by learning that she wanted to marry. What a silly thought! Sganarelle agrees. A very astute Clitandre takes Sganarelle’s pulse and tells him that his daughter is very sick. Sganarelle is surprised, but Clitandre explains that there is sympathy between a father and a daughter.
Sg. Vous connaissez cela ici?
Cl. Oui, par la sympathie qu’il y a entre le père et la fille. Sganarelle et la réponse de Clitandre (III. v, p. 18)
[Cl. (taking Sganarelle’s pulse) Your daughter is really sick] Clitandre to Sganarelle (III. 5, p. 21)
The plan is to make Lucinde believe she is getting married. As you know, in Molière, one plays along with a patient’s fancy, which is what Toinette and Béralde will do inLe Malade imaginaire(The Imaginary Invalid),to help the young lovers and Argan. She will enable Clitandre to speak with Lucinde, Lisette tells Sganarelle that Clitandre must speak to his patient alone.
The cure is a marriage. It will not be a real marriage, in Sganarelle’s eyes, but he will be made to sign the documents, as will Lucinde. Clitandre has arrived, ring in hand and a notary waiting outside. Sganarelle is going: “folle,folle, folle” as he himself marries off his daughter, endowing her generously.
Sg. Oh! la folle! Oh! la folle! Oh! la folle! (III. vi, p. 20)
[Sg. Oh — madwoman — madwoman!] (III. 5, p. 23)
The spectator can hear Lisette’s “un mari, un mari, un mari.” L’Amour médecin is a comédie-ballet so Clitandre invites Sganarelle to be entertained.
Li. Un mari, un mari, un mari. (I. iii, p. 5)
[Li. A husband, a husband, a husband.] (I. 3, p. 9)
Sganarelle has been fooled into allowing his daughter to marry. Illusion was reality. A play rescued Lucinde.
Sg. Voilà une plaisante façon de guérir. Où est donc ma fille et le médecin?
Li. Ils sont allés achever le reste du mariage. Sganarette et Lisette (III. Scène dernière, pp. 21-22)
[Sg. Here’s a pleasant way of curing! Where are the doctor and my daughter? Li. They want to consummate the marriage.] Sganarelle and Lisette (III. Last scene, p. 24)
Conclusion
Molière’s L’Amour médecin is one of the finest illustrations of the comic scenario. The blocking-character is “hoisted by his own petard.” A maid helps the young lovers. Clitandre is a psychologist. The father is fooled, but he will no doubt recover. So, basically, “all’s well that ends well.”
Among friends and colleagues, La Mothe Le Vayer, in particular, Molière accepted that nature was both good and bad, but that it couldn’t be changed. La Mothe le Vayer wrote a letter defending Molière’s Tartuffe.
____________________ [1]In 17th-century France,La Rochefoucauldis associated with the discourse on self-interest (intérêt). [2] Georges Mongrédien, La Vie littéraire au XVIIe Siècle (Paris : Taillandier, 1956), pp. 187-253. [3]L’orviétan était un remède miracle, une sorte de panacée qu’un charlatan italien, Jeronimo Ferranti, prétendait avoir apporté d’Orvieto et qui fut vendu avec beaucoup de succès par lui-même et ses descendants jusqu’au XVIIIe siècle. [Orvietan was a miracle cure, a sort of panacea that an Italian charlatan, Jeronimo Ferranti, claimed he brought from Orvieto, and which he and his descendants sold successfully until the 18th century.] toutmolière.net
NETHERLANDS – CIRCA 2002: Angelica and Cleanthes’ duet, scene from the second act of The Imaginary Invalid by Moliere (1622-1673), 1673, by Cornelis Troost (1696-1750) oil. The Netherlands, 18th century. Berlin, Bauhaus-Archiv, Museum Für Gestaltung (Bauhaus Museum) (Photo by DeAgostini/Getty Images)
During the weekend, I reread parts of W. G. Moore’s Molière, a New Criticism and I added this sentence to my article: “[t]he plot of Le Malade Imaginaire is … little more than the various gullibilities of a hypochondriac.”[1] This sentence and the image at the top of this post simplify Le Malade Imaginaire. Argan needs help and finds a doctor in the young man his daughter wishes to marry, not to mention that he may help himself …
Early in the play, I. i & ii, Argan is counting his money and then rings for help. He is alone and he is gullible and vulnerable. When Toinette enters his room, she says to Argan that he is being milked, which explains why he needs a doctor as a relative.
In the image placed above, Angélique and Cléante are singing in order to communicate their feelings. This is is not a play-within-a-play. It is a ploy, but Argan and the doctors are watching. Argan does not want a young man, including a singing teacher, to be alone with Angélique. Argan wants Angélique to marry a doctor. Idée fixe.
An Anagnorisis
Therefore, we could look at the third and final act as a form of anagnorisis, effected through a play-within-a-play and serving Argan’s needs first, and, second, the young couple’s needs.
First, the doctors leave because they have been insulted. Argan is desperate, but in comes Toinette playing doctor. These scenes are theatrical, but Argan’s fancy will not go away. He is a hypochondriac, which is a real illness, so he needs a doctor (V. viii). By helping her master, Toinette also helps Angélique and Cléante.
Toinette as doctor leaves and re-enters as Toinette.
Second, Argan agrees to feign death twice, although it scares him.
Argan’s wife is seen as a fortune hunter
Argan recognizes his own blood in Angélique’s grief.
Argan lifts obstacles to the marriage of the young lovers. Cléante may marry Angélique, if he agrees to become a doctor, which he does.
But Béralde also suggests that Argan could be his own doctor. Brilliant! The inference is that problems can be solved from within:
Mais, mon frère, il me vient une pensée. Faites-vous médecin vous-même. La commodité sera encore plus grande, d’avoir en vous tout ce qu’il vous faut. Béralde à Argan (V. scène dernière, p. 68)
[But, brother, it just strikes me; why don’t you turn doctor yourself? It would be much more convenient to have all you want within yourself.] Béralde to Argan (V. last scene)
However, Argan needs doctors, and Cléante says he is ready to do anything.
En tout cas, je suis prêt à tout. Cléante à tous (V. scène dernière, p. 68)
[Anyhow, I am ready for everything.] Cléante to all (V. 5. Last scene)
The rest is an interlude during which Argan is turned into a doctor. So, all’s well that ends well.
—ooo—
Viewed as an agnanorisis, the spectacles of the final act boil down to
delivering Argan of parasites (not doctors), and
ensuring the young couple marries.
But most importantly, it is suggested that we can find help within ourselves, or within our household. Toinette and Béralde do not mistreat Argan. He is a beloved father and although comedy leads to the marriage of young lovers, which means overcoming a father’s, the pater familias, resistance, the final society of the play includes the father. Everyone accepts Argan’s fancy. We all have petites lubies, whims.
When I was a student, professors used the terms play-within-a-play and théâtre dans le théâtre interchangeably. The main example was Pierre Corneille‘s L’Illusion comique (1636), which was also considered a mise en abyme. Additionally we read Jean Rotrou‘s Le Véritable Saint-Genest (1647).In fact, Rotrou wrote a play entitled L’Hypochondriaque (1631), but it is not a forerunner of Le Malade imaginaire.
Antecedents to The Imaginary Invalid are Molière’s plays on doctors:
However, Le Médecin malgré luiis rooted in a thirteenth-centuryfabliau entitled Le Vilain Mire (Wikisource FR). Mire meant médecin in medieval French. Le Médecin malgré luiwill be discussed in my next post which will also include a few words on Le Médecin volant and L’Amour médecin. These are very short farces.
I did not mention Élomire hypocondre ou les Médecins vengés (1670, according to Maurice Rat [2]). It is a comedy published by Le Boulanger de Chalussay. The text is available through Amazon and other booksellers. Élomire is an anagram of Molière. Molière was not a hypochondriac. He suffered from pulmonary tuberculosis. The comedy was never performed.
____________________ [1]Will G. Moore, Molière a New Criticism(Oxford: Oxford University Press, 1949), p. 72. [2] Maurice Rat, ed., Les Œuvres complètes de Molière (Gallimard: Bibliothèque de la Pléiade, 1956). p. 998.
—ooo—
I thank you most sincerely for helping me write my book.
Monsieur Jourdain, bourgeois.
Madame Jourdain, his wife. Lucile, their daughter.
Nicole, maid. Cléonte, suitor of Lucile.
Covielle, Cléonte’s valet.
Dorante, Count, suitor of Dorimène.
Dorimène, Marchioness.
Music Master.
Pupil of the Music Master.
Dancing Master.
Fencing Master.
Master of Philosophy.
Tailor.
Tailor’s apprentice.
Two lackeys.
Many male and female musicians, instrumentalists, dancers, cooks,
tailor’s apprentices, and others necessary for the interludes.
The Plot
l’ingénue (the young woman)
le jeune premier (the young man)
valets, maids, etc. (helpers)
We know the plot of the Would-be Gentleman. Monsieur Jourdain, who is attempting to elevate himself from bourgeoisie to gentilhommerie, wants his daughter to marry an aristocrat. Therefore, Monsieur Jourdain is a threat to Lucile and Cléonte, his daughter and the young man she wishes to marry, a bourgeois.
Helping Lucile, l’ingénue, is Nicole, a saucy servant. Helping Cléonte, the jeune premier, is Covielle, a valet. In some comedies, the young lovers are helpless and would never marry, were it not for the stratagems or their valets and servants. In the commedia dell’arte, zanni are very clever. They are tricksters. Covielle may not be a Brighella, but he devises the turquerie that fools our would-be gentleman, Monsieur Jourdain. Cléonte plays along.
The Maîtres
music
dance
fencing
philosophy
Monsieur Jourdain believes one can learn gentilhommerie and hires a group of maîtres. The music and dance masters are the first to arrive at the bourgeois‘ house and mention that Monsieur Jourdain’ wish to be an aristocrat, provides them with a good income. The music master says:
This is a nice source of income for us — this Monsieur Jourdain, with the visions of nobility and gallantry that he has gotten into his head. You and I should hope that everyone resembled him. (I. 1) [Il est vrai. Nous avons trouvé ici un homme comme il nous le faut à tous deux. Ce nous est une douce rente que ce Monsieur Jourdain, avec les visions de noblesse et de galanterie qu’il est allé se mettre en tête. Et votre danse, et ma musique, auraient à souhaiter que tout le monde lui ressemblât.] (I. i, p. 2)
However, the music master says that applause and praise do not necessarily bring money and that Monsieur Jourdain is in fact quite clever.
J’en demeure d’accord, et je les goûte comme vous. Il n’y a rien assurément qui chatouille [tickles] davantage que les applaudissements que vous dites; mais cet encensne fait pas vivre. (I. i, p. 2)
[ I agree, and I enjoy them as you do. There is surely nothing more agreeable than the applause you speak of; but that incense does not provide a living.] (I. 1) Il a du discernement dans sa bourse. (I. i, p. 2)
[He has discernment in his purse. His praises are in cash, and this ignorant bourgeois is worth more to us, as you see, than the educated nobleman who introduced us here.] (I. 1)
In scene two, a musician sings a new song:
I languish night and day, my suffering is extreme Since to your control your lovely eyes subjected me; If you thus treat, fair Iris, those you love, Alas, how would you treat an enemy? (I. 2)
Monsieur Jourdain finds the song a “little mournful” (lugubre) He proposes a song that has a sheep in it: “Il y a du mouton dedans.”
I thought my Jeanneton As beautiful as sweet; I thought my Janneton Far sweeter than a sheep. Alas! Alas! She is a hundred times, A thousand times, more cruel Than tigers in the woods! (Monsieur Jourdain sings, I. 2) (I. ii, p. 4 FR)
His masters praise him, so he says that he knew “sans avoir appris la musique” (I. ii, p. 4) (“It’s without having learned music.” I. 2). It is always without his having learned, or because he does not want the lesson.
The next master is the fencing master (le maître d’armes). The fencing master is delighted with Monsieur Jourdain’s progress: You did marvelously! (II. 2); Vous faites des merveilles! (II. ii, p. 10).
As I have told you, the entire secret of fencing lies in two things: to give and not to receive; and as I demonstrated to you the other day, it is impossible for you to receive, if you know how to turn your opponent’s sword from the line of your body. This depends solely on a slight movement of the wrist, either inward or outward.
(Fencing Master to Monsieur Jourdain, II. 2)
In this way then, a man, without courage, is sure to kill his man and not be killed himself?
(Monsieur Jourdain to Fencing Master, II. 2)
I believe the image featured above shows a degree incompetence on the part of Monsieur Jourdain. One of his legs should be behind him, so he can pull himself away, and one ahead, so he can attack. That is how he will “kill his man and not be killed.”
Philosophy Master
morale
prose/verse
the marchioness: “Marquise, vos beaux yeux… ”
His philosophy master wants to know whether Monsieur Jourdain wishes to learn morale, among other subjects. Monsieur Jourdain enquires: “Qu’est-ce qu’elle dit cette morale?” (What does this morale say?) When the philosophy master tells him that it “teaches men to moderate their passions,” he stops the master: “No, let’s leave that. I’m as choleric as all the devils and there’s no morality that sticks, I want to be as full of anger as I want whenever I like.” (“Non, laissons cela. Je suis bilieux comme tous les diables; et il n’y a morale qui tienne, je me veux mettre en colère tout mon soûl, quand il m’en prend envie.” (II. iv, p. 14 FR ; II. 4 EN)
First, Monsieur Jourdain’s philosophy master teaches Monsieur Jourdain the difference between prose and verse. He learns that he has spoken prose his entire life and was never told. But he knew prose. He knew it without instruction.
Par ma foi, il y a plus de quarante ans que je dis de la prose, sans que j’en susse rien; et je vous suis le plus obligé du monde, de m’avoir appris cela. (Monsieur Jourdain au maître de philosophie, II. iv, p. 16)
[By my faith! For more than forty years I have been speaking prose without knowing anything about it, and I am much obliged to you for having taught me that.]
(Monsieur Jourdain to his philosopher master, II. 4)
Monsieur Jourdain has been mentioning a Marchioness. So he asks his maître de philosophie to teach him how to phrase: “Beautiful marchioness, your lovely eyes make me die of love.” (“Marquise, vos beaux yeux me font mourir d’amour.”) Monsieur Jourdain’s philosophy master moves the words around:
“Of love to die make me, beautiful marchioness, your beautiful eyes.” “Your lovely eyes, of love make me, beautiful marchioness, die.” “Die, your lovely eyes, beautiful marchioness, of love make me.”
Or else: “Me make your lovely eyes die, beautiful marchioness, of love.”
(The philosophy master, II. 4 EN; II. iv, p. 16 FR)
When asked by Monsieur Jourdain which of the above is the best tournure, phrase, the maître de philosophie replies that it would be: “Beautiful marchioness, your lovely eyes make me die of love.” (“Marquise, vos beaux yeux me font mourir d’amour.”) Monsieur Jourdain is delighted to learn that he had said it correctly without instruction. In fact, he does things without instruction and refuses instruction if the topic does not suit him: morale. However, he has learned that he phrase a compliment, without instruction.
Madame Jourdain, Lucile, Nicole (maid), and Covielle (valet)
Before the arrival of the fencing master, the maîtres quarrel. All believe that their skill is the superior skill. A tailor has also visited. Monsieur Jourdain is “decked out.” He says, however, that his shoes hurt him but he is told, peremptorily, that they don’t.
As of Act Three, the maîtres have left. The rest of the play is devoted to the lovers[1]and a possible second couple. Madame Jourdain has heard that her husband might be planning to court a marchioness: Dorimène. In fact, Dorante is courting Dorimène at Monsieur Jourdain’s expense. Dorimène has a beautiful diamond ring. He has borrowed money from Monsieur Jourdain, promising to pay his debts. Dorante takes Dorimène to Monsieur Jourdain’s house where they dine sumptuously: music and all… (at Monsieur Jourdain’s expense).
Nicole, the maid, and Madame Jourdain, our bourgeois’ “sensible” wife, make fun of Monsieur Jourdain’s craze for aristocracy… Madame Jourdain wants a faithful husband, Nicole will not have these people mess up the house. Finally, Cléonte is angry at Lucile because she ignored him when he bumped into her. Cléonte is resentful, and will not let Covielle talk him out ofdépit amoureux (III. ix, p. 31 ; III. 9), until Covielle starts mentioning imperfections in Lucile. Cléonte disagrees. He loves Lucile and would die for her. A lover is as The Misanthrope‘s Éliante says in her tirade. He loves “even the faults of her whom he admires.” (II. iv, 711-730, pp. 30-31; II. 5)
Madame Jourdain wants Lucile to marry a bourgeois, Cléonte, not Dorante. Bourgeois have money, but Dorante is borrowing money… Under Louis XIV, aristocrats had to be seen. So they maintained homes, carriages, etc. in Paris. They sought the privilege of seeing Louis rise and Louis go to bed: le grand lever,le petit lever, le grand coucher, le petit coucher. (See Levée [ceremony], Wiki2. org.) Few could sit on a bench, usually an ottoman, the only seats available. Moreover, Madame Jourdain will not be humiliated. George Dandin is humiliated. When she learns Lucile is marrying the Grand Turc‘s son, Madame Jourdain is alarmed, but Covielle reassures her.
All’s well that ends well. Lucile and Cléonte marry and so do Dorimène and Dorante. Monsieur Jourdain is perfectly happy as a mamamouchi. I doubt that Dorante will pay his debt. He needed money to court the Marchioness, and Monsieur Jourdain loaned him the money he required. Dorante did not intend to marry Lucile.
Conclusion
No one can change Monsieur Jourdain, so a mere disguise allows the young lovers, Lucile and Cléonte to marry, with Madame Jourdain’s blessing. Besides, although his masters are at times ridiculous, the questions are asked by Monsieur Jourdain and Monsieur Jourdain is the person who answers. The philosophy master is not ridiculed. In fact, Monsieur Jourdain has been generous with his masters and it appears that as a veuve, a widow, Dorimène is quite capable of looking after Dorante, who seems an impoverished gentleman.
Attending a good performance of Le Bourgeois Gentilhomme will delight an audience, but one can also read Molière. There is a sense in which Molière is in the words and in the dialogues. For instance, the masters quarrel, but it is among themselves, which is revealing. Monsieur Jourdain does not participate in the quarrel. He says little more than: Doucement (softly), Tout beau (all’s well), De grâce (for pity’s sake) and Je vous en prie (I beg you), but the maître de philosophie arrives “just in time” to relieve Monsieur Jourdain :
Holà, Monsieur le philosophe, vous arrivez tout à propos avec votre philosophie. Venez un peu mettre la paix entre ces personnes-ci.
[Aha! Monsieur Philosopher, you come just in time with your philosophy. Come, make a little peace among these people.]
(Monsieur Jourdain, II. iii, p. 11; II. 3)
