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Tag Archives: comédie d’intrigue

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

07 Friday Feb 2020

Posted by michelinewalker in Comedy, Molière

≈ 2 Comments

Tags

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

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

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

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

Sources

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

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

14

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

Our Dramatis Personæ is

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

The Scene is in Messina.

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

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

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

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

In Scene Four, Célie says

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

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

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

FIRST BLUNDER

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

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

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

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

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

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

SECOND BLUNDER

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

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

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

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

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

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

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

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

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

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

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

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

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

THIRD BLUNDER

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

Blunders

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

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

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

(to be continued)

Sources and Resources

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

—ooo—

Love to everyone 💕

Menuet des Trompettes – Jean-Baptiste Lully

Lélie (L'étourdi)

Lélie par Edmond Geffroy (theatre-documentation.com)

© Micheline Walker
7 February 2020
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Recurrence in Molière: Le Dépit amoureux

24 Tuesday May 2016

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

≈ 2 Comments

Tags

Anagnorisis, comédie d'intrigue, comedy of intrigue, Le Dépit amoureux, Molière, recurrence

 

39f2c2fc420e978ea89e7c10747d35eb

Le Dépit amoureux by François Boucher (drawing) and Laurent Cars (engraving) (Photo credit: Pinterest)

Recurrence: Le Dépit amoureux

There is recurrence in Molière’s plays. In fact, my colleague James Gaines has published The Molière Encyclopedia. I have yet to read or purchase this book, but I suspect Dr Gaines, whom I met a long time ago, has listed the many jeunes premiers in Molière’s plays. I also suspect he has listed scenes of dépit amoureux (scorned love) and the one play Molière dedicated to that theme or motif. Le Dépit amoureux (1656 [Béziers] and 1659 [Paris]) was performed before Molière’s return to Paris and performed again in Paris, hence the two dates: 1656 and 1659.

The play may not have been committed to paper until Molière returned to Paris and his company became the Company of Monsieur,[1] the name given to the King’s brother. Moreover, a similar play, entitled La Cupidité, had been written by Italian dramatist Niccolò Secchi (see Le Dépit amoureux, Wikipedia).

Portraits_oeuvres_de_Moliere_-_693_Les_fourberies_de_Scapin_-_Scapin

Scapin, Edmond Geffroy
Scapin, Edmond Geffroy
Scapin, Maurice Sand or Geoffroy
Scapin, Maurice Sand or Geoffroy

The Plot

Recurrence happens at many levels. Although Tartuffe (1664 – 1669), Dom Juan (1665) and Le Misanthrope (1666) are independent plays, the plots are the plots of comedy: that of the farcical trompeur trompé (the deceiver deceived), as in the Précieuses ridicules, or the Shakespearean “all’s well that ends well” of most grandes comédies. A comedy may in fact combine both plots, or mythoi, which seems to be the case in Molière’s problematical Tartuffe, Dom Juan and Le Misanthrope.

Moreover, literature has archetypes. The plots mentioned above are archetypal plots. As well, comedy always opposes the eirôn (as in ironic) and the alazṓn, or the blondin and the barbon.

Recurrence may occur within a genre or override genre. Our best source with respect to recurrence in general is Northrop Frye’s Anatomy of Criticism.[2] Archetypes, however, may be rooted in ancient rituals and older comedies: Greek comedy, the Atellan farce, Latin comedy (Plautus and Terrence), the commedia dell’arte. There is in fact a comic text. But let us return to dépit amoureux in Molière.

Le Dépit amoureux: a scene

Dépit amoureux (scorned love) may be a scene. In Act II of Tartuffe, Mariane tells Dorine, her maid, that Valère should fight off obstacles to their marriage. Mariane may well be doubting his love and therefore prone to jealousy. At any rate, in Tartuffe, her helplessness tends to mirror Orgon’s inability to be a tyrannical father without Tartuffe as if humane feelings were a sign a weakness. Orgon empowers Tartuffe who, in turn empowers Orgon. Similarly, Mariane would be at a loss if Dorine, her maid, did not step in to help her avoid a mariage forcé, a forced marriage. Dorine is the descendant of the astute zanni of the commedia dell’arte.

Le Dépit amoureux: an entire play

Le Dépit amoureux may also be an entire play. Molière’s Dépit amoureux (1656 – 1659) is a five-act comedy where the playwright focuses more on the young couples than on the blocking character. Le Dépit amoureux is a comédie d’intrigue, or comedy of intrigue, rather than a comédie de mœurs, or comedy of manners. A discovery, anagnorisis,[3] puts an end to the torment two young couples are subjected to. There is a great deal of suspense. The lovers[4] nearly leave one another and the audience can’t wait for the young couples to know the truth.

Our characters are the following. The name of maids and valets are between parentheses.

  • Lucile (Marinette) & Éraste (Gros-René)
  • Ascagne (Frosine) & Valère (Mascarille)
  • Albert (Lucile & Ascagne’s father)
  • Polydore (Valère’s father)
  • Métaphraste, a pedant and fâcheux
  • La Rapière, a swordsman

Before the play begins, Valère has married Ascagne, but he thinks he has married Lucile, Ascagne being a male. It is a secret marriage. Valère was the rightful heir to the fortune Ascagne has inherited.

Lucile and Ascagne are the daughters of Albert. If Ascagne had been a son, he would have been heir to a substantial amount of money. A neighbour had a son who died in early childhood. Ascagne, a girl, was given the dead child’s identity.

Lucile asks her maid Marinette to take a message to Éraste. She wants to meet him in the garden that very evening. We learn from Gros-René that Éraste is jealous of Valère (I, 2). The note reassures Éraste. All he needs to do, according to the message, is ask Albert, Lucile’s father, to give him his daughter in marriage:

Travaillez à vous rendre un père favorable. (Marinette to Éraste)
[Work on making a father agree.] (I, 3)

Éraste and Valère then bump into one another (I, 2). Valère is certain that Lucile loves him. Ascagne confides in Frosine, her maid. She says that she is a woman, that she is in love and that she has married Valère, but that the matter of the inheritance has yet to be resolved (II, 1).

We meet Albert, Lucile’s and Ascagne’s father. He wants to seek advice from the teacher Métaphraste, who is a mere fâcheux, a bore. The arrangement he made troubles Albert. He wants to put an end to his lie. Albert and Polidore, the fathers, meet. Albert wants to return the inheritance (III, 3), but Polidore says that Lucile is romantically involved with Valère, Polidore’s son, which is not acceptable (III, 4). Both fathers decide to repair the harm.

Valère meets Lucile and tells her that their marriage is no longer a secret. Lucile doesn’t know what Valère is talking about. As for Ascagne, who does not see her husband during the day, she is desperate. Her husband thinks he has married her sister. She tells Frosine that she will have to kill herself (IV, 1). Meanwhile, Éraste has decided no longer to love Lucile because she loves Valère (IV, 2). Later, Lucile also decides no longer to love Éraste. It is at this point that dépit amoureux reaches a climax. However, as it reaches a climax, Lucile and Éraste reveal to what extent they loved one another. Éraste walks Lucile home…

A swordsman, La Rapière, offers to help Mascarille and Valère (V, 3). There were duels at the time.

62

Marinette & Gros-René by Edmond Geffroy

quiz-bourgeois

Monsieur Jourdain et son maître d’armes (Google Images)

Anagnorisis

But the moment of recognition has come (V, 4). Polidore arrives and calls Ascagne “ma fille,” my daughter, (V, 5). Valère apologizes to his father (V, 6) whose permission to marry he has not sought. He learns that Ascagne is a woman and that she, not Lucile, is the woman he married. Valère is surprised but he is pleased. He was the rightful heir, but, together, he and Ascagne are the rightful heirs. Valère forgives Lucile and Lucile forgives Valère. There will not be a duel.

Let’s look at the characters once again:

  • Lucile (Marinette) & Éraste (Gros-René)
  • Ascagne (Frosine) & Valère (Mascarille) (Ascagne has already married Valère)
  • Albert (Lucile & Ascagne’s father)
  • Polydore (Valère’s father)
  • Métaphraste, a pedant & fâcheux
  • La Rapière, a swordsman

Comic Relief

At the end of the play Lucile is about to marry Éraste and Marinette, Gros-René. For comic relief, the dépit amoureux, occurs between both masters and servants.

The Molière 21 project has featured a scene of dépit amoureux. It occurs in Molière’s Les Amants magnifiques, a comédie-ballet, first performed during Carnival season, in February 1670. Pierre Beauchamp was the choreographer and Jean-Baptiste Lully composed the music.

5282437338_b8a6641e47

Gros-René by Maurice Sand

Conclusion

So the time has come to pause.

The dépit amoureux has been dissected. Interestingly, these scenes may start with spite, but the lovers cannot help but disclose their true feelings. There is irony in dépit amoureux.

In his Molière: a New Criticism, Will Moore wonders how Molière could have written so many plays in so little time. W. Moore’s answer to his question is that Molière dealt with the “Res privata: this gave to comedy both the setting and the characters. Molière’s plays deal with the stock comic characters, in everyday situation: parents, children, the doctor, the schoolmaster, the soldier, the valet, relatives, in-laws, suitors.”[5]

As Northrop Frye writes, “‘It’s supposed to be that way.’”[6] Comedies have a happy ending. They are formulaic. However, in the case of Le Dépit amoureux, we have an interesting image. Lucile asks Marinette to take a note to Éraste. She wants to meet him Éraste that very day in the evening and in a garden. The circumstances have changed. Lucile believes Éraste has chosen another spouse. But, having expressed a wish to separate, both tell how much they loved one another, which is how comedies are “supposed” to end.

“The obstacles to the hero’s desire, then form the comic resolution.”[7] As mentioned in an earlier post, Frye also writes that “the tendency of comedy is to include as many people as possible,” in which it differs from tragedy. Moreover, as quoted in an earlier post,  “Tartuffe is sure of Orgon, and Molière is sure of his public.”[8]

However, despite the recurrences, each play is new, just as each day is new. It’s matter of intertextualité. Texts are written in the context of literature. So it follows that Molière’s plays are written in the context of comedy as a genre. But Molière’s Dépit amoureux presents a metaphor: the garden. Éraste and Lucile do meet in the garden as Lucile asked at the beginning of the play. Molière’s Dépit amoureux therefore reaches back to the Roman de la Rose, not literally but symbolically. Flowers die and are reborn and die and are reborn…

Therefore matters happen as expected. Éraste meets Lucile at the appointed hour, and they meet in a ‘garden,’ a symbol of fertility.
 

Love to everyone ♥

RELATED ARTICLES

  • Lysandre, a “jeune premier” in Molière (20 May 2016)
  • Molière’s “Tartuffe:” a reading (17 May 2016)
  • Casuistry, or how to sin without sinning (5 March 2012)
  • Edmond Geffroy’s Molière (11 May 2016)
  • Molière’s Enigmatic Comedies (6 May 2016)
    (This list will be expanded.)

Sources and Resources

  • Northrop Frye’s Anatomy of Criticism is an Internet Archive publication.
  • Le Dépit amoureux (Louandre, 1910) is a Wikisource publication FR
  • Les Amants magnifiques, Molière 21

____________________

[1] Monsieur was Philippe de France, duke of Orleans. The brother to the king was the duke of Orleans. Louis Philippe Joseph d’Orléans (13 April 1747 – 6 November 1793) was guillotined during the French Revolution. The House of Orleans was a cadet branch of the Bourbon kings or the House of Bourbon. Louis XIV had one brother.

[2] Northrop Frye, Anatomy of Criticism (Princeton, New Jersey: Princeton University Press, 1973 [1957])

[3] “At the end of the play the device in the plot that brings hero and heroine together causes a new society to crystallize around the hero, and the moment when this crystallization occurs is the point of resolution in the action, the comic discovery, anagnorisis or cognitio” (Frye, p. 163).

[4] In 17th-century France, lovers, amants, were people in love. The term “lover” did not suggest sexual intimacy.

[5] Will G. Moore, Molière, a New Criticism (Oxford: Oxford Clarendon Press, 1949), p. 69 – 70.

[6] Northrop Frye, op. cit., p. 87.

[7] Northrop Frye, op. cit., p. 164.

[8] Will G. Moore, op. cit., p. 64.

— ooo—

Marc-Antoine Charpentier: Te Deum – Prelude

Lysandre by Edmond Geffroy

Lysandre by Edmond Geffroy

©  Micheline Walker
24 May 2016
(concluded: 24 May 2016)
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