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Tag Archives: Destiny

Destiny in l’École des femmes

01 Sunday Nov 2020

Posted by michelinewalker in Molière, Theatre

≈ 4 Comments

Tags

Destiny, Jansenism, L'École des femmes, Le Jeu de l'amour et du hasard, Molière, Pierre Marivaux

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La Critique de l’École des femmes François Boucher & Laurent Cars

(Number 62 in Page on Molière)


“D’après nature”

In Le Tartuffe, Molière depicted his faux dévot “d’après nature.” However, the play was banned because Tartuffe, who feigned devotion, acted very much like a devout person, which offended the dévots of Paris: la Compagnie du Saint-Sacrement.

As for L’École des femmes, it was criticized because of details mainly. For instance, one person found the manner Arnolphe questions Agnès rather crude. Arnolphe wants to know if Horace took anything from her other than her hands and arms, which he caressed. She hesitates to tell that he took the ribbon Arnolphe had given her. She says “le” and this “le” was obscene according to Climène, a précieuse.

“Ah ! ruban, tant qu’il vous plaira ; mais ce, le, où elle s’arrête, n’est pas mis pour des prunes. Il vient sur ce, le, d’étranges pensées. Ce, le, scandalise furieusement ; et quoi que vous puissiez dire, vous ne sauriez défendre l’insolence de ce, le.”
Climène (I, 3) La Critique de l’École des femmes
[Oh yes, the ribbon! But that “the,” when she checks herself, is not put there for nothing. Odd ideas are suggested by this “the.” That the is tremendously scandalous.]

The “le” (the) was not only offensive, but it was not there for nothing: “pour des prunes[.]”
“Il y a une obscénité qui n’est pas supportable.”
Climène (I, 3) La Critique de l’École des femmes
[Its obscenity is unbearable.]
Climène (I. 3)

“Les récits eux-mêmes y sont des actions suivant la constitution du sujet.”
Dorante (I, 6) La Critique de l’École des femmes
[There is a good deal of action in it, passing on the stage; the narratives are themselves actions, according to the constitution of the piece, …]
Dorante (I, 7) The School for Wives Criticized

These were indeed part of the action because Arnolphe could not tell anyone, not even Chrysalde, the play’s raisonneur, about the “star […] bent on driving [him] to despair” (The School for Wives, p. 21). Arnolphe was a star-crossed barbon.

The Dramatic Action

In L’École des femmes, the dramatic action is triggered by a doubling of the identity of the blocking character. Horace, our young lover, does not know that Arnolphe, his father’s friend, is Monsieur de la Souche and that in confiding to Arnolphe, he is in fact confiding to his rival. When Arnolphe learns that young Horace has fallen in love with Agnès who is kept sequestered by a very jealous Monsieur de la Souche, he must conceal his grief and bewilderment. He speaks to himself and, if he didn’t, there would be gaps in the dramatic action. There has to be a dialogue, which there is.

“Oh ! que j’ai souffert durant cet entretien !
Jamais trouble d’esprit ne fut égal au mien.
Avec quelle imprudence et quelle hâte extrême
Il m’est venu conter cette affaire à moi-même !
”
Arnolphe (I, 4, v. 357-360) L’École des femmes
[Oh, what I have endured during this conversation! Never was trouble of mind equal to mine! With what rashness and extreme haste did he come to tell me of this affair!]
The School for Wives, p. 9.

Destiny

Destiny plays a key role in L’École des femmes and Arnolphe blames destiny throughout the play:

“Éloignement fatal ! Voyage malheureux !”
Arnolphe (II, 1, v. 385) L’École des femmes
[Fatal absence! Unfortunate voyage!]
The School for Wives, p. 9.

In scene IV, 7 Arnolphe speaks about the above-mentioned “star which is bent on driving [him] to despair,” and remains defiant.

“Quoi ? l’astre qui s’obstine à me désespérer,
Ne me donnera pas le temps de respirer,
Coup sur coup je verrai par leur intelligence,
De mes soins vigilants confondre la prudence,
D’une jeune innocente, et d’un jeune éventé ?”
Arnolphe (IV, 7, v. 1182-1186) p. 56
[What, will the star which is bent on driving me to despair allow me no time to breathe? Am I to see, through their mutual understanding, my watchful care and my wisdom defeated one after another? Must I, in my mature age, become the dupe of a simple girl and a scatter−brained young fellow?]
The School for Wives, p. 21.

Destiny is so cruel to Arnolphe that it brings in a “real” father. When Enrique, Agnès’ biological father, arrives, Agnès ceases to be Arnolphe’s ward, which she has been for 13 years. Arnolphe is so perturbed that, having expressed himself quite fluently in several soliloquies and asides, he suddenly loses his ability to speak. In an aparté, Chrysalde tells Arnolphe, who is returning to his house, that, given his fear of cuckolding, it is best for him not to marry. Arnolphe is indeed spared cuckolding, but he has been crushed by destiny.

Life as a game of dice: “un jeu de dés”

Destiny is so powerful that in Act IV, Scene 8, Chrysalde, the raisonneur himself, suggests  that all Arnolphe can do, if betrayed by “cursed fate,” is to select an appropriate response to this “accident.” Destiny is an indomitable force that can strike anyone at any time. In fact, Chrysalde tells Arnolphe that cocuage is what one makes of it: “Le cocuage n’est que ce que l’on le fait.” (Chrysalde, IV, 8, v. 1285). Destiny (le sort) gives men a wife and life is a jeu de dés, a game of dice. One corrects such accidents as cocuage though “good management,” une bonne conduite:

“Quoi qu’on en puisse dire, enfin, le cocuage
Sous des traits moins affreux aisément s’envisage;
Et, comme je vous le dis, toute l’habileté
Ne va qu’à le savoir tourner du bon côté.”
Chrysalde (IV, 8, v. 1270-1273) L’École des femmes
[In short, say what you will, cuckolding may easily be made to seem less terrible; and, as I told you before, all your dexterity lies in being able to turn the best side outwards.]
The School for wives, p. 22.

“Mais comme c’est le sort qui nous donne une femme,
Je dis que l’on doit faire ainsi qu’au jeu de dés,

Il faut jouer d’adresse et d’une âme réduite,
Corriger le hasard par la bonne conduite.”
Chrysalde (IV, 8, v. 1282-1285) L’École des femmes
[But as fortune gives us a wife, I say that we should act as we do when we gamble with dice, when, if you do not get what you want, you must be shrewd and good−tempered, to amend your luck by good management.]
The School for wives, p. 22.

Given the power he associates with destiny, Arnolphe’s obsessive fear of cuckolding is in his nature. This immutability of nature is a premise in Molière. Arnolphe is as he is and Agnès is as she is. For instance, she can tell Horace that she is kept by a very jealous man. Agnès may be an ignorant girl, but she knows about jealousy. She also knows about the game of dice.

Agnès and Horace

In L’École des femmes, the laws of comedy are pushed to an extreme. After Agnès escapes Monsieur de la Souche, which could be the resolution of the play, Horace asks Arnolphe to house and guard Agnès so her reputation is protected.

Moreover, it is barely credible that Agnès’ biological father should arrive the moment his daughter is being led away by Arnolphe. It is also barely credible that Agnès should have fallen in love with the young man her father wanted her to marry. Molière doubles the father figure: Monsieur de la Souche and Enrique, who has decided his daughter would marry Horace. Were it not for Chrysalde’s intervention, and the power of destiny, Horace’s marriage may have been a mariage

“(…) Si son cœur a quelque répugnance.
Je tiens qu’on ne doit pas lui faire résistance
.”
Chrysalde (V, 7, v. 1684-1686) L’École des femmes
[If it is repugnant to him, I think we ought not to force him. I think my brother will be of my mind.]
The School for Wives, p. 28.

“Le hasard [chance] en ces lieux avait exécuté
Ce que votre sagesse avait prémédité.”
Horace (V, 9, v. 1764-1765) L’École des femmes
[Accident has done here what your wisdom intended.]
The School for Wives, p. 29.

Such words as “hasard” (chance) and “le Ciel,” (heaven) reveal a view of the world according to which destiny controls mankind. L’École des femmes may therefore reflect Jansenism, but the word Jansenism is not used.

“Allons dans la maison débrouiller ces mystères,
Payer à notre ami ses soins officieux,
Et rendre grâce au Ciel qui fait tout pour le mieux.”
Chrysalde (V, 9, v. 1775 -1765) L’École des femmes
[Let us go inside, and clear up these mysteries. Let us shew our friend some return for his great pains, and thank Heaven, which orders all for the best.]
The School for Wives, p. 29.

Lecture de Molière par Jean-François de Troy

Conclusion

In 1662, the Church of France opposed Jesuits, who at the time used casuistry,[2] and Jansenists, who believed in predestination. Port-Royal (Jansenism) is an indelible page of French history and it inspired Blaise Pascal‘s masterful Lettres provinciales, a brillant attack of casuistry. Pascal’s last Lettre provinciale was written in 1657.

In Tartuffe, there is a reference to casuistry. Tartuffe knows how to “pacify scruples:”

“Je sais l’art de lever [to lift] des scrupules.”
Tartuffe (IV, 4, v. 1486)
[I know the art of pacifying scruples.]
Tartuffe

However, Molière does not associate L’École des femmes with an ideology. We know that Molière borrowed his subject matter from Paul Scarron‘s translation of a Spanish novella by Doña Maria de Zayas y Sotomayor, which Scarron entitled La Précaution inutile. We also know that L’École des femmes has Italian antecedents. It could be, therefore, that ancestors to L’École des femmes gave destiny an important role. Yet, it seems unlikely that they gave destiny as decisive a role as Molière did.

Jansenists maintained that only those whom God had chosen would be saved. This notion was referred to as the theory of predestination, a theory associated with Saint Augustine, or Augustine of Hippo (13 November 354 CE – 28 August 430 CE).

Molière did not have to refer to an ideology when writing L’École des femmes. He did not need to. Comedy promotes the success of the young lovers. Yet seldom has destiny countered a barbon‘s wishes as imperatively. Dismissing predestination is somewhat difficult because of the central role given soliloquies. Arnolphe must hide from Horace that he is Monsieur de la Souche, until Chrysalde says:

“(…) Ce nom l’aigrit ;
C’est Monsieur de la Souche, on vous l’a déjà dit.”

Chrysalde (V, 7, v. 1712-1703)
[That name annoys him. He is Monsieur de la Souche, as you were told before.]
The School for Wives, p. 28.

As noted above, in L’École des femmes, life is compared to a jeu de dés [dice]. Gambling is also invoked by Agnès herself.

“Mon Dieu, ne gagez pas, vous perdriez vraiment.”
Agnès (II, 5, v. 474) [3]
[Oh, Heaven, do not bet; you would assuredly lose.]
The School for wives, p.10.

However, I will not conclude that L’École des femmes reflects Jansenism, except marginally. The laws of comedy promote the marriage of the young lovers and farces do not tolerate boasting. Moreover, jealousy is a topos, a lieu commun.

But I will note that Molière’s L’École des femmes seems a prelude to Marivaux‘ exquisite comedies. It is a “jeu de l’amour et du hasard,” a “Game of love and chance,” without Watteau‘s ethereal Fêtes galantes.

Love to everyone 💕

RELATED ARTICLES

  • L’École des femmes, part one (29 May 2016)
  • L’École des femmes, part two (2 June 2016)
  • Molière’s Tartuffe, a reading (17 May 2016)
  • Jesuits & Jansenists (2 April 2015)
  • Pascal’s “Provincial Letters” (27 March 2015)
  • Jansenism: a Church Divided (24 March 2015)
  • Casuistry, or how to sin without sinning (25 March 2012)

Sources and Resources

  • L’École des femmes is a Molière 21 publication FR
  • La Critique de l’École des femmes is a Molière 21 publication FR
  • The School for Wives is an e-text (UK) EN
  • The School for Wives Criticized is an Internet Archive publication EN

_________________________

[1] Gabriel Conesa, Le Dialogue moliéresque (Paris: SEDES-CDU, 1992), p. 30.[2] Roxanne Lalande, “L’École des femmes: matrimony and the laws of chance,” in David Bradby and Andrew Calder (editors), The Cambridge Companion to Molière (Cambridge: Cambridge University Press, 2006), pp. 165-176. 
[3] “casuistry”. Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia
_________________________
Bourbeau-Walker, Micheline. « L’échec d’Arnolphe : loi du genre ou faille intérieure », in Papers on French Seventeenth Century Literature, (Seattle-Tübingen, 1984, Vol. XI, No 20), pp. 79-92.

“Me voilà hors du naufrage”
Charles Tessier, Carnets de Voyages
Claire Lefilliâtre, Le Poème Harmonique.

Bertall

© Micheline Walker
10 June 2016
WordPress

No 62 (Page on Molière)

Micheline's Blog

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“Les Amants magnifiques” as a comédie-ballet

04 Friday Oct 2019

Posted by michelinewalker in Comedy, Molière

≈ 4 Comments

Tags

Comédie-Ballet, Destiny, Divertissements royaux, Henri van Laun (traducteur), Les Amants magnifiques, Molière, Six interludes

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Le Roi danse (opera online)

The Interludes

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 Amants magnifiques. 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 Les Fâcheux. 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 divertissement royal 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 Sicilien ou 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

  1. opens to the sound of Lully’s music with lyrics by Molière. 
  2. A second intermède occurs at the end of Act One. The dancers were Messieurs Beauchamp, Saint-André and Favier.
  3. 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.
  4. A fourth interlude follows Act Three, and
  5. a fifth separates Acts Four and Five.
  6. 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)

DeTroy

Reading from Molière by Jean-François de Troy (Paris 1679 – Rome 1752) c. 1728 (Photo credit: Wikipedia)

La Princesse d’Élide

Our next play is La Princesse d’Élide, first performed at Versailles during Les Plaisirs de l’Île enchantée, is a divertissement royal.

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. 

RELATED ARTICLES

  • Molière’s “Les Amants magnifiques” (30 September 2019)
  • Vaux-le-Vicomte: Fouquet’s Rise and Fall (30 August 2013)
  • Molière page

Sources and Resources

  • Molière 21
  • toutmoliere.net
  • Vaux-le-Vicomte
  • theatre-documentation

—ooo—

 

Love to everyone 💕

Les Amants magnifiques – Lully/ Molière

Personne n’est Dieu sur cette terre. No one is God on this earth.

Eriphile (Les Amants magnifiques) (2)

© Micheline Walker
4 October 2019
WordPress

 

 

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Destiny in “L’École des femmes”

10 Friday Jun 2016

Posted by michelinewalker in Comedy, Molière, Sharing

≈ 4 Comments

Tags

Destiny, Jansenism, L'École des femmes, La Critique de l'École des femmes, Le Jeu de l'amour et du hasard, Molière, Pierre Marivaux

c80b548e901709e78f908a2821692c31

La Critique de l’École des femmes, Francois Boucher (dessin) & Laurent Cars (gravure)

La Critique de l’École des femmes

When L’École des femmes was first performed, on 26 December 1662, it created a controversy, which Molière addressed by writing a one-act play in prose entitled La Critique de l’École des femmes (1663). The short play features characters discussing L’École des femmes. It has often been considered Molière’s ars poetica.

According to Dorante, the most prominent figure in the Critique, if the spectator laughed, the play was a success. The School for Wives had generated laughter so, using Dorante’s criterion, it was successful. Dorante also states that writing comedies is particularly difficult because one has to depict persons “d’après nature,” or as they are:

Mais lorsque vous peignez les hommes, il faut peindre d’après nature[.]
Dorante (I, 6) La Critique de l’École des femmes
[But when one depicts human beings, one must depict their true nature.]
Dorante (I. 7) p. 177

“D’après nature”

In Le Tartuffe, Molière depicted his faux dévot “d’après nature.” However, the play was banned because Tartuffe, who feigned devotion, acted very much like a devout person, which offended the dévots of Paris: la Compagnie du Saint-Sacrement.

As for L’École des femmes, it was criticized because of details mainly. For instance, one person found the manner in which Arnolphe questions Agnès rather crude. Arnolphe wants to know if Horace took anything from her other than her hands and arms, which he caressed. She hesitates to tell that he took the ribbon Arnolphe had given her. She says “le” and this “le” was obscene according to Climène, a précieuse.

Ah ! ruban, tant qu’il vous plaira ; mais ce, le, où elle s’arrête, n’est pas mis pour des prunes. Il vient sur ce, le, d’étranges pensées. Ce, le, scandalise furieusement ; et quoi que vous puissiez dire, vous ne sauriez défendre l’insolence de ce, le.
Climène (1, 3)

The “le” (the) was not only offensive, but it wasn’t there for nothing: “pour des prunes[.]” This “le” led to strange thoughts: d’étranges pensées and was therefore “furiously scandalous.”

Il y a une obscénité qui n’est pas supportable.
Climène (I, 3) La Critique de l’École des femmes
[It’s obscenity is unbearable]
Climène (I, 3)

Soliloquies or récits and destiny

Obscenity was not the play’s most important ‘flaw.’ However, it was extremely amusing, and Molière wrote comedies. The more relevant flaw, according to our characters, was that Molière had made Arnolphe express himself using numerous soliloquies as well as asides (apartés). These were not part of the dramatic action,[1] said some members of the group.

Dorante countered that:

Les récits eux-mêmes y sont des actions suivant la constitution du sujet.
Dorante (I, 6) La Critique de l’École des femmes
[There is a good deal of action in it, passing on the stage; the narratives are themselves actions, according to the constitution of the piece, …]
Dorante (1, 7) The School for Wives Criticized

These were indeed part of the action because Arnolphe could not tell anyone, not even Chrysalde, the play’s raisonneur, about the “star […] bent on driving [him] to despair” (The School for Wives, p. 21). Arnolphe was a star-crossed barbon.

The Dramatic Action

In L’École des femmes, the dramatic action is triggered by a doubling of the identity of the blocking character. Horace, our young lover, does not know that Arnolphe, his father’s friend, is Monsieur de la Souche and that in confiding to Arnolphe, he is in fact confiding to his rival. When Arnolphe learns that young Horace has fallen in love with Agnès who is kept sequestered by a very jealous Monsieur de la Souche, he must conceal his grief and bewilderment. He speaks to himself and, if he didn’t, there would be gaps in the dramatic action. There has to be a dialogue, which there is.

Oh ! que j’ai souffert durant cet entretien !
Jamais trouble d’esprit ne fut égal au mien.
Avec quelle imprudence et quelle hâte extrême
Il m’est venu conter cette affaire à moi-même !
Arnolphe (I, 4, v. 357-360) L’École des femmes
[Oh, what I have endured during this conversation! Never was trouble of mind equal to mine! With what rashness and extreme haste did he come to tell me of this affair!]
The School for Wives, p. 9.

Destiny

Destiny plays the key role in L’École des femmes and Arnolphe blames destiny throughout the play:

Éloignement fatal ! Voyage malheureux !
Arnolphe (II, 1, v. 385)
[Fatal absence! Unfortunate voyage!]
The School for Wives, p. 9.

In Act V, scene 7, Arnolphe speaks about the above-mentioned “star which is bent on driving [him] to despair,” and remains defiant.

Quoi ? l’astre qui s’obstine à me désespérer,
Ne me donnera pas le temps de respirer,
Coup sur coup je verrai par leur intelligence,
De mes soins vigilants confondre la prudence,
D’une jeune innocente, et d’un jeune éventé ?
Arnolphe (V, 7, v. 1182-1186)
[What, will the star which is bent on driving me to despair allow me no time to breathe? Am I to see, through their mutual understanding, my watchful care and my wisdom defeated one after another? Must I, in my mature age, become the dupe of a simple girl and a scatter−brained young fellow?]
The School for Wives, p. 21.

Destiny is so cruel to Arnolphe that it brings in a “real” father. When Enrique, Agnès’ biological father, arrives, Agnès ceases to be Arnolphe’s ward, which she has been for 13 years. Arnolphe is so perturbed that, having expressed himself quite fluently in several soliloquies and asides, he suddenly loses his ability to speak. In an aparté, Chrysalde tells Arnolphe, who is returning to his house, that, given his fear of cuckolding, it is best for him not to marry. Arnolphe is indeed spared cuckolding, but he has been crushed by destiny.

Life as a game of dice: “un jeu de dés”

Destiny is so powerful that in Act IV, Scene 8, Chrysalde, the raisonneur himself, suggests  that all Arnolphe can do, if betrayed by “cursed fate,” is to select an appropriate response to this “accident.” Destiny is an indomitable force that can strike anyone at any time. In fact, Chrysalde tells Arnolphe that cocuage is what one makes of it: “Le cocuage n’est que ce que l’on le fait.” (Chrysalde, IV, 8, v. 1301). Destiny (le sort) gives men a wife and life is a jeu de dés, a game of dice. One corrects such accidents as cocuage though “good management,” une bonne conduite:

Quoi qu’on en puisse dire, enfin, le cocuage
Sous des traits moins affreux aisément s’envisage;
Et, comme je vous le dis, toute l’habileté
Ne va qu’à le savoir tourner du bon côté.
Chrysalde (I, 4, v. 357-360) L’École des femmes
[In short, say what you will, cuckolding may easily be made to seem less terrible; and, as I told you before, all your dexterity lies in being able to turn the best side outwards.]
The School for wives, p. 22.

Mais comme c’est le sort qui nous donne une femme,
Je dis que l’on doit faire ainsi qu’au jeu de dés,
Il faut jouer d’adresse et d’une âme réduite,
Corriger le hasard par la bonne conduite.
Chrysalde (IV, 8. v. 1282-1285) L’École des femmes
[But as fortune gives us a wife, I say that we should act as we do when we gamble with dice, when, if you do not get what you want, you must be shrewd and good−tempered, to amend your luck by good management.]
The School for wives, p. 22.

If one takes into account destiny’s power, Arnolphe’s obsessive fear of cuckolding is in his nature. This immutability of nature is a premise in Molière. Arnolphe is as he is and Agnès is as she is. For instance, she can tell Horace that she is kept by a very jealous man. Agnès may be an ignorant girl, but she knows about jealousy. She also knows about the game of dice.

Agnès and Horace

In L’École des femmes, the laws of comedy are pushed to an extreme. After Agnès escapes Monsieur de la Souche, which could be the resolution of the play, Horace asks Arnolphe to house and guard Agnès so her reputation is protected.

Moreover, it is barely credible that Agnès’ biological father should arrive the moment his daughter is being led away by Arnolphe. It is also barely credible that Agnès should have fallen in love with the young man her father wanted her to marry. Molière doubles the father figure: Monsieur de la Souche and Enrique, who has decided his daughter would marry Horace. Were it not for Chrysalde’s intervention, and the power of destiny, Horace’s marriage may have been a mariage forcé.

(…) Si son cœur a quelque répugnance.
Je tiens qu’on ne doit pas lui faire résistance.
Chrysalde (V, 7, v. 1684-1686)
[If it is repugnant to him, I think we ought not to force him. I think my brother will be of my mind.]
The School for Wives, p. 28.

Le hasard [chance] en ces lieux avait exécuté
Ce que votre sagesse avait prémédité.
Horace (V, 9, v. 1764-1765)
[Accident has done here what your wisdom intended.]
The School for Wives, p. 29.

Such words as “hasard” (chance) and “le Ciel,” (heaven) reveal a view of the world according to which destiny controls mankind. L’École des femmes may therefore reflect Jansenism, but the word Jansenism is not used.

Allons dans la maison débrouiller ces mystères,
Payer à notre ami ses soins officieux,
Et rendre grâce au Ciel qui fait tout pour le mieux.
Chrysalde (V, 9, v. 1775 -1778)
[Let us go inside, and clear up these mysteries. Let us shew our friend some return for his great pains, and thank Heaven, which orders all for the best.]
The School for Wives, p. 29.

moliere

La Lecture de Molière, Jean-François de Troy

Conclusion

In 1662, the Church of France opposed Jesuits, who at the time used casuistry,[2] and Jansenists, who believed in predestination. Port-Royal (Jansenism) is an indelible page of French history and it inspired Blaise Pascal‘s masterful Lettres provinciales, a brillant attack of casuistry. Pascal’s last Lettre provinciale was written in 1657.

In The Tartuffe, there is a reference to casuistry. Tartuffe knows how to “pacify scruples:”

Je sais l’art de lever [to lift] des scrupules. (Tartuffe, IV, 4, v. 1486.)
[I know the art of pacifying scruples.]
Tartuffe,  IV, 4.

However, Molière does not associate L’École des femmes with an ideology. We know that Molière borrowed his subject matter from Paul Scarron‘s translation of a Spanish novella by Doña Maria de Zayas y Sotomayor, which Scarron entitled La Précaution inutile. We also know that L’École des femmes has Italian antecedents. It could be, therefore, that ancestors to L’École des femmes gave destiny an important role. Yet, it seems unlikely that they gave destiny as decisive a role as Molière did.

Jansenists maintained that only those whom God had chosen would be saved. This notion was referred to as the theory of predestination, a theory associated with Saint Augustine, or Augustine of Hippo (13 November 354 CE – 28 August 430 CE).

Molière did not have to refer to an ideology when writing L’École des femmes. He did not need to. Comedy promotes the success of the young lovers. Yet seldom has destiny countered a barbon‘s wishes as imperatively. Dismissing predestination is somewhat difficult because of the central role given soliloquies. Arnolphe must hide from Horace that he is Monsieur de la Souche, until Chrysalde says:

(…) Ce nom l’aigrit ;
C’est Monsieur de la Souche, on vous l’a déjà dit. (Chrysalde, V, 7, v. 1712-1703.)
[That name annoys him. He is Monsieur de la Souche, as you were told before.]
The School for Wives, p. 28.

As noted above, in L’École des femmes, life is compared to a jeu de dés [dice]. Gambling is also invoked by Agnès herself.

Mon Dieu, ne gagez pas, vous perdriez vraiment. (Agnès, II, 5, v. 474.) [3]
[Oh, Heaven, do not bet; you would assuredly lose.]
The School for wives, p.10.

However, I will not conclude that L’École des femmes reflects Jansenism, except marginally. The laws of comedy promote the marriage of the young lovers and farces do not tolerate boasting. Moreover, jealousy is a topos, a lieu commun.

But I will note that Molière’s L’École des femmes seems a prelude to Marivaux‘ exquisite comedies. It is a “jeu de l’amour et du hasard,” a “Game of love and chance,” without Watteau‘s ethereal Fêtes galantes.

I apologize for the long delay. I could not concentrate.

Love to everyone ♥

RELATED ARTICLES

  • L’École des femmes, part one (29 May 2016)
  • L’École des femmes, part two (2 June 2016)
  • Molière’s Tartuffe, a reading (17 May 2016)
  • Jesuits & Jansenists (2 April 2015)
  • Pascal’s “Provincial Letters” (27 March 2015)
  • Jansenism: a Church Divided (24 March 2015)
  • Casuistry, or how to sin without sinning (25 March 2012)

Sources and Resources

  • L’École des femmes is a Molière 21 publication FR
  • La Critique de l’École des femmes is a Molière 21 publication FR
  • The School for Wives is an e-text (UK) EN
  • The School for Wives Criticized is an Internet Archive publication EN

_________________________

[1] Gabriel Conesa, Le Dialogue moliéresque (Paris: SEDES-CDU, 1992), p. 30.

[2] Roxanne Lalande, “L’École des femmes : matrimony and the laws of chance,” in David Bradby and Andrew Calder (editors), The Cambridge Companion to Molière (Cambridge: Cambridge University Press, 2006), p. 165-176. 

[3] “casuistry”. Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia

moliere-622x390-1389653020

“Me voilà hors du naufrage”
Charles Tessier, Carnets de Voyages
Claire Lefilliâtre, Le Poème Harmonique.

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Bertall

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10 June 2016
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