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Tag Archives: Senex iratus

Molière’s Les Femmes savantes

26 Tuesday Mar 2019

Posted by michelinewalker in Comedy, Molière

≈ 3 Comments

Tags

Les Femmes savantes, Moreau le Jeune, Philaminte, Preciosity, Querelle des femmes, Senex iratus

LesFemmesSavantes (2)

Les Femmes savantes
(engraving by Moreau le jeune)

Our dramatis personæ is

CHRYSALE, an honest bourgeois
PHILAMINTE, wife to CHRYSALE
ARMANDE & HENRIETTE, their daughters
ARISTE, brother to CHRYSALE
BÉLISE, his sister
CLITANDRE, lover to HENRIETTE
TRISSOTIN, a wit (bel esprit)
VADIUS, a learned man
MARTINE, a kitchen-maid
LÉPINE, servant to CHRYSALE
JULIEN, servant to VADIUS
A NOTARY

The scene is in Paris

Background

  • Les Précieuses ridicules
  • The Salons
  • l’honnête homme & galanterie
  • literature

Les Femmes savantes is the last of Molière’s three grandes comédies: five acts written in alexandrine verses. It was preceded by Tartuffe (1664) and Le Misanthrope (1666). It would be classified as a comedy of manners (mœurs).

Molière may have drawn his inspiration from a play by Calderón, or Chappuzeau’s L’Académie des femmes.[1] There is a degree of intertextuality in Molière’s Femmes savantes.  However, the play originates in Molière’s own Précieuses ridicules (The Affected Ladies), a one-act play, first staged on 18 November 1659  at the Petit-Bourbon, Molière told Donneau de Visé that he wished to revisit Les Précieuses ridicules. 

Préciosité was a seventeenth-century movement that had a civilizing influence on courtiers and the rapidly-growing bourgeoisie. L’honnête homme was born in Salons, but he is a descendant of Baldassare Castiliogne‘s (6 December 1478 – 2 February 1529) Il Cortegiano or The Book of the Courtier, written between 1508 and 1528.

The galant homme also developed in the Salons. Courtship was modelled on Madeleine de Scudéry‘s Carte de Tendre, featured in Clélie, one of her novels. The map of the country of love, a French Arcadia, was engraved by Francois Chauveau. Précieuses (precious women) wanted to be courted as indicated in the Carte de Tendre, a monument to proper galanterie, based on rather astute psychology. It represented three forms of love: reconnaissance (roughly, indebtedness), inclination (attraction), and estime.

Les_Femmes_savantes_Coypel_Joullain

Charles Coypel (dessin) François Joullain (gravure) (commons.wikimedia.org)[2]

Les Femmes savantes

(Bold letters are mine.)

  • Philaminte
  • Armande
  • Bélise

Les Femmes savantes features three femmes savantes. They are Philaminte (Chrysale’s wife), their daughter Armande, and Chrysale’s sister Bélise. Armande has a younger sister, Henriette, who wishes to marry. For our femmes savantes, sexual intercourse is bestial. In this respect, Molière is revisiting his Précieuses ridicules. Précieuses enjoyed listening to the witty poetry of the gentlemen they entertained, but were not easily convinced to marry. Our learned women are besotted.

For instance, when Clitandre tells Bélise that he loves Henriette, hoping to win an ally, but Bélise believes he is using an oblique approach to tell her that he loves her.

Ah certes le détour est d’esprit, je l’avoue,
Ce subtil faux-fuyant mérite qu’on le loue;
Et dans tous les romans où j’ai jeté les yeux,
Je n’ai rien rencontré de plus ingénieux.
Bélise à Clitandre (I. iv. p. 9)
[Ah! truly now, the subterfuge shows excellent wit. This subtle evasion deserves praise; and in all the romances I have glanced over, I have never met with anything more ingenious.]
Bélise to Clitandre (I. 4)

Bélise has read too many romances inhabited by shepherds and shepherdesses. She cannot be Clitandre’s ally.

As for Clitandre, he is an honnête hommewho wishes to marry a woman who does not consider sexual intimacy bestial. He finds in Henriette a young lady who looks forward to being a loving wife and a good mother. Henriette tells her sister Armande, a learned lady, that if their mother had always rejected men, Armande would not be alive. Procreation ensures the perpetuation of human life and nature has made lovemaking pleasurable.

Mais vous ne seriez pas ce dont vous vous vantez,
Si ma mère n’eût eu que de ces beaux côtés;
Et bien vous prend, ma sœur, que son noble génie
N’ait pas vaqué toujours à la philosophie.
De grâce souffrez-moi par un peu de bonté
Des bassesses à qui vous devez la clarté;
Et ne supprimez point, voulant qu’on vous seconde,
Quelque petit savant qui veut venir au monde.
Henriette à Armande (I. i, p. 3)
[But you would not have been what you boast yourself to be if our mother had had only her nobler qualities; and well it is for you that her lofty genius did not always devote itself to philosophy. Pray, leave me to those littlenesses to which you owe life, and do not, by wishing me to imitate you, deny some little savant entrance into the world.]
Henriette to Armande (I. 1)

Philaminte is forewarned by Julien, a valet to Vadius, a “learned gentleman” whom Trissotin introduces in Chrysale’s home, that Trissotin wants to marry her daughter, because of the family’s wealth, and that he plagiarizes (IV. iv, p. 59) (IV. 4 EN). But Philaminte is so blinded by Trissotin that she does not heed Julien’s warning. On the contrary.

Et moi, pour trancher court toute cette dispute,
Il faut qu’absolument mon désir s’exécute.
Henriette, et Monsieur seront joints de ce pas;
Je l’ai dit, je le veux, ne me répliquez pas:
Et si votre parole à Clitandre est donnée,
Offrez-lui le parti d’épouser son aînée.
Philaminte à Chrysalde (V. iii, p. 70)
[And I, to put an end to this dispute, will have my wish obeyed. (Showing TRISSOTIN) Henriette and this gentleman shall be united at once. I have said it, and I will have it so. Make no reply; and if you have given your word to Clitandre, offer him her elder sister.]
Philaminte to Chrysale (V. 3)

Trissotin will be unmasked by the raisonneur, Ariste, Chrysale’s brother, who fools Trissotin into believing that Chrysale and Philaminte have lost their fortune. Trissotin no longer wishes to marry Henriette who may therefore marry Clitandre, to whom she is attracted. 

A Portrait of Armande

Ironically, Clitandre, who will marry Henriette, first courted Armande, who claims him for herself on the grounds of immorality on his part, an absurd claim.

Au changement de vœux nulle horreur ne s’égale,
Et tout cœur infidèle est un monstre en morale.
Armande à Clitandre (IV. ii, p. 52)
[Nothing can be compared to the crime of changing one’s vows, and every faithless heart is a monster of immorality.]
Armande to Clitandre (IV. 2)

Est-ce moi qui vous quitte, ou vous qui me chassez?
Clitandre à Armande (IV. II, p. 52)
[Do I leave you, or do you not rather turn me away?]
Clitandre to Armande (IV. 2)

Armande so loves Clitandre that she is ready to overcome her aversion for nœuds de chair and chaînes corporelles. She has harmed herself.

Hé bien, Monsieur, hé bien, puisque sans m’écouter
Vos sentiments brutaux veulent se contenter;
Puisque pour vous réduire à des ardeurs fidèles,
Il faut des nœuds de chair, des chaînes corporelles;
Si ma mère le veut, je résous mon esprit
À consentir pour vous à ce dont il s’agit.
Armande à Clitandre (IV. ii, p. 53)
[Well, well! Sir, since without being convinced by what I say, your grosser feelings will be satisfied; since to reduce you to a faithful love, you must have carnal ties and material chains, I will, if I have my mother’s permission, bring my mind to consent to all you wish.]
Armande to Clitandre (IV. 2)

But it’s too late, says Clitandre.

Il n’est plus temps, Madame, une autre a pris la place;
Et par un tel retour j’aurais mauvaise grâce
De maltraiter l’asile, et blesser les bontés,
Où je me suis sauvé de toutes vos fiertés.
Clitandre à Armande (IV. ii, pp. 53-54)
[It is too late; another has accepted before you and if I were to return to you, I should basely abuse the place of rest in which I sought refuge, and should wound the goodness of her to whom I fled when you disdained me.]
Clitandre to Armande (IV. 2)

Bélise still thinks she is in Clitandre’s heart.

On pourrait bien lui faire
Des propositions qui pourraient mieux lui plaire:
Mais nous établissons une espèce d’amour
Qui doit être épuré comme l’astre du jour;
La substance qui pense, y peut être reçue,
Mais nous en bannissons la substance étendue.
Bélise à tous (V. iii, pp. 70-71)
[Propositions more to his taste might be made. But we are establishing a kind of love which must be as pure as the morning-star; the thinking substance is admitted, but not the material substance.]
Bélise to all (V. 3)

Trissotin and Vadius

In the meantime, Trissotin and Vadius, have quarelled bitterly. Molière did not depict real persons. He used miroirs publics (La Critique de l’École des femmes, sc. 6). However, Trissotin is modelled on l’abbé Cotin, who had a vile temper, and Vadius is the sarcastic Gilles Ménage. Both gentlemen dishonour themselves by quarrelling, which is not insignificant. They are not to be admitted to Salons, where there is no room for anger. Nor is Philaminte a candidate for a Salon.

Trissotin & Vadius (commons.wikimedia.org)

The Senex Iratus

Les Femmes savantes is a mundus inversus in that the pater familias is a mater familias. Philaminte, Chrysale’s wife, rules. In Les Femmes savantes, Molière has vested unto a woman, the authority normally vested in men. Women are just as capable of opposing a marriage as men are. In this play, the blocking character is used at its most basic level, that of function. So, Philaminte, Henriette’s mother, is our alazṓn. As for Chrysale, Henriette and Armand’s father, let us read.

Non: car comme j’ai vu qu’on parlait d’autre gendre,
J’ai cru qu’il était mieux de ne m’avancer point.
Chrysale à Ariste (II. ix, p. 27)
Certes votre prudence est rare au dernier point!
N’avez-vous point de honte avec votre mollesse?
Et se peut-il qu’un homme ait assez de faiblesse
Pour laisser à sa femme un pouvoir absolu,
Et n’oser attaquer ce qu’elle a résolu?
Ariste à Chrysale (II. ix, p. 27)
[No; for as she talked of another son-in-law, I thought it was better for me to say nothing.
Chrysale to Ariste (II. 9)
Your prudence is to the last degree wonderful! Are you not ashamed of your weakness? How can a man be so poor-spirited as to let his wife have absolute power over him, and never dare to oppose anything she has resolved upon? ]
Ariste to Chrysale (II. 9)

Chrysale is not so docile. Philaminte is as Chrysale describes her to his brother Ariste: bilious, “un vrai dragon,” and a “diable.”

Mon Dieu, vous en parlez, mon frère, bien à l’aise,
Et vous ne savez pas comme le bruit me pèse.
J’aime fort le repos, la paix, et la douceur,
Et ma femme est terrible avecque son humeur.
Du nom de philosophe elle fait grand mystère,
Mais elle n’en est pas pour cela moins colère;
Et sa morale faite à mépriser le bien,
Sur l’aigreur de sa bile opère comme rien
Pour peu que l’on s’oppose à ce que veut sa tête,
On en a pour huit jours d’effroyable tempête.
Elle me fait trembler dès qu’elle prend son ton.
Je ne sais où me mettre, et c’est un vrai dragon;
Et cependant avec toute sa diablerie,
Il faut que je l’appelle, et «mon cœur», et «ma mie»
Chrysale à Ariste (II. ix, p. 28)
[Ah! it is easy, brother, for you to speak; you don’t know what a dislike I have to a row, and how I love rest and peace. My wife has a terrible disposition. She makes a great show of the name of philosopher, but she is not the less passionate on that account; and her philosophy, which makes her despise all riches, has no power over the bitterness of her anger. However little I oppose what she has taken into her head, I raise a terrible storm which lasts at least a week. She makes me tremble when she begins her outcries; I don’t know where to hide myself. She is a perfect virago; and yet, in spite of her diabolical temper, I must call her my darling and my love.]
Chrysale to Ariste (II. 9)

Philaminte has un pouvoir absolu (absolute power). So, a form of doubling, or a comedy is required.  The marriage that ends comedies will take place because the raisonneur, Chrysale’s brother, will bring to Philaminte and Chrysale letters indicating that they have lost their wealth. Trissotin will no longer wish to marry Henriette and Clitandre will attempt to look after Chrysale’s family.

In other words, salvation comes through a ploy. No deus ex machina is required, but Ariste resorts to a “théâtre dans le théâtre.” This process underscores the powerlessness of the society of the play. The alazṓn, a senex iratus, would block the marriage comedy demands, were it not for a little “farce.”

La Querelle des femmes

Moreover, we cannot include Les Femmes savantes in the querelle des femmes or the woman question, as Philaminte, whom I call the blocking character, is a woman. Given that she would force sexual intercourse on her daughter. Philaminte is extremely cruel.

The title of Les Femmes savantes may lead the reader or spectator to expect a discussion on the merits of knowledge in the case of women. However, Molière’s play has little to do with the benefits of educating women. Les Femmes savantes is yet another comedy where a blocking character opposes the marriage of young lovers. However, there is a difference. The blocking character is not the traditional heavy father. Philaminte, a woman, is our tyrant.

RELATED ARTICLES

  • Fêtes galantes & Galanterie (25 April 2016)
  • Les Précieuses ridicules.2 (20 March 2016)
  • Musings on the Origins of Christmas (22 December 2014)
  • Love in the Salons: a Glimpse (29 July 2014)
  • Les Précieuses ridicules (7 October 2011)
  • Molière page

Sources and Resources

  • Les Femmes savantes is a toutmoliere.net publication
  • Les Femmes savantes is a Wikisource publication
  • The Learned Women is a Wikisource publication,
    Charles Heron Wall, translator

____________________

[1] Maurice Rat, ed. Œuvres complètes de Molière, 2 (Paris: La Pléiade, 1956), p. 993.

[2] Dessins par Lorentz, Jules David, etc. Gravures par les meilleurs artistes, Paris, Schneider, 1850.

—ooo—

J. P. É. Martini: Plaisir d’amour (1785) for soprano and fortepiano / Le Poème Harmonique

Chrysale (informations.documents.com)

© Micheline Walker
26 March 2019
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Dom Juan, encore …

07 Thursday Mar 2019

Posted by michelinewalker in Comedy, France, Molière

≈ 4 Comments

Tags

alazṓn, Dom Juan, Libertinage, Libertine, Miles gloriosus, Senex iratus, Société du Saint-Sacrement, Tartuffe

molic3a8re-dom-juan

Dom Juan by François Boucher (dessin) & Laurent Cars (gravure) (Google images)

Writing about Dom Juan has been a pleasure. In fact, I received a comment about libertinage in 17th century France.

Le Libertinage

I read René Pintard’s Le Libertinage érudit dans la première moitié du XVIIe  siècle when I was writing my thesis, years ago, but I do not own a copy of this book. Wikipedia FR has an entry on the subject and the book is summarized, by GRIHL FR. But obtaining the material one requires to write a book is truly difficult.

By virtue of his profession, a playwright and an actor, Molière is associated with  libertinage érudit. Actors were excommunicated. But libertinage érudit and libertinage are not synonyms. Molière did not lead a dissolute life.[1] However, his Tartuffe (1664) and his Dom Juan (1665) were attacked by la cabale des dévôts. He had to rewrite Tartuffe twice before the play could be performed (1669). As for his Dom Juan, although it was a great success, it closed after 17 performances and was not published until 1682,  with passages removed. In 1683, Dom Juan was published in Amsterdam,

La Compagnie du Saint-Sacrement

The most important group of dévots, or faux-dévots, was the Compagnie du Saint-Sacrement, Compagnie du Saint-Sacrement, a secret society. Louis XIV himself could not protect Molière fully. Not that impiety went unpunished in Dom Juan, but that devotion is linked to religion and that there were in France genuinely devout persons as well as faux-dévots, persons feigning devotion. Feigned devotion is a powerful mask, and all the more so when it fills the needs of a potentially tyrannical, but frightened pater familias.

It so happens that Orgon needs Tartuffe and is therefore easily blinded by his own needs. He sees what he wishes to see and hears what he wishes to hear. Only Orgon and his mother, Madame Pernelle, see a dévot in Tartuffe. Other members of Orgon’s family can tell that Tartuffe is a hypocrite and a rogue, but they do not have a strong-box, une cassette, containing potentially incriminating evidence. A friend of Orgon was involved in the Fronde and Orgon has his strong-box. So Orgon gives Tartuffe the cassette to breathe easier. However, Tartuffe takes it to the Prince, “our monarch,” endangering Orgon.

Le fourbe, qui longtemps a pu vous imposer,
Depuis une heure, au Prince a su vous accuser,
Et remettre en ses mains, dans les traits qu’il vous jette,
D’un criminel d’État, l’importante cassette,
Dont au mépris, dit-il, du devoir d’un sujet,
Vous avez conservé le coupable secret.
Valère à Orgon (1835-40, V. vi, p. 104)
[The villain who so long imposed upon you,
Found means, an hour ago, to see the prince,
And to accuse you (among other things)
By putting in his hands the private strong-box
Of a state-criminal, whose guilty secret,
You, failing in your duty as a subject,
(He says) have kept.]
Valère to Orgon (V. 6)

The prince, our monarch, “ennemi de la fraude”  (v. 1906, p. 107) sees that Tartuffe is a criminal. Orgon is forgiven. (V. last scene). L’Exempt (an officer) returns the cassette to Orgon as well as the deed to his property.

“The surprise twist ending, in which everything is set right by the unexpected benevolent intervention of the heretofore unseen King, is considered a notable modern-day example of the classical theatrical plot device Deus ex machina.” (See Tartuffe, Wiki2.org.)

The above could have been taken out of my thesis. I studied the pharmakós in six of Molière’s plays. The thesis was entitled: L’Impossible entreprise: une étude sur le pharmakós dans le théâtre de Molière. (The Impossible endeavour: a study of the pharmakós in Molière’s Theatre). In Molière’s comedies, the society of the play may be powerless, hence the use of a deus ex machina. Doublings, as in L’Avare (The Miser), are another recourse. In L’Avare, a second (real and benevolent) father surfaces. Truth be told, Tartuffe goes to prison, but he took little more than he was given. He was given the cassette by Orgon. The cassette comes back to haunt Orgon (V. i; V. 1), which makes him, to a significant extent, a scapegoat.

Feigned Devotion in Dom Juan

  • cabale des dévôts
  • casuistry

Feigned devotion is a mighty mask. Dom Juan fools Dom Louis, his father, and silences Dom Carlos who is ready to fight a duel that will avenge his sister, Done Elvire. There were real dévots in 17th France, but several members of the cabale des dévôts were faux-dévots. In 17th century France, one could also use casuistry, which could legitimize nearly all sins. Tartuffe reassures Elmire using casuistry. Moreover, there were dévots and faux-dévôts in high places. The Prince de Conti and the Sieur de Rochemont were aristocratic censeurs.

The Alazṓn: the senex iratus and the miles gloriosus

There is recurrence in Molière’s plays and intertextuality, a concept pioneered by Julia Kristeva. I should note that the alazṓn can be a senex iratus or a miles gloriosus. Plautus wrote a Miles gloriosus based on Aristophanes‘ Alazṓn, now lost. Under the heading Alazṓn, two types of blocking character are mentioned: both the senex iratus and the miles gloriosus, the braggart soldier, can be the alazṓn, or blocking character. Dom Juan is a miles gloriosus. I updated a post. We do not see young lovers opposing a heavy father, but Dom Juan is a miles gloriosus and, therefore, an alazṓn.

Varia

  • the Baroque
  • sources
  • “pièce assez mal construite ”

I did not mention Baroque aesthetics in Dom Juan, but he has been called an homme de vent, windy. Nor did I mention sexuality, except briefly, in another post. Dom Juan would like to be an Alexandre, Alexander the Great. The word to conquer puts an emphasis on numbers. Sganarelle tells the peasant-girls that his master is an “épouseur du genre humain,” (II. iv); “the groom of the entire human race” (II.4, p. 27), but there is no eroticism in Dom Juan.

As for sources, most scholars mention Tirso de Molina’s (24 March 1579 – 12 March 1648) Burlador de Sevilla. He is considered the source in what could be described as the “Don Juan cycle,” but Molière’s source may have been Italian. Two of Molière’s contemporaries wrote a Don Juan: Dorimond (1659) and Villiers (1660).[2] Whether they influenced Molière cannot be ascertained. But if Don Juan is a legendary figure, when Molière wrote his Dom Juan, the story had circulated for several years.

Finally, Dom Juan has been considered a poorly-constructed play, une pièce “assez mal construite.”[3] It takes us from grands seigneurs to Pierrot, a peasant who does not want to lose his fiancée to Dom Juan. The play does seem poorly constructed. For instance, I have mentioned the picaresque nature of Molière’s Dom Juan. Picaresque suggests a horizontal line broken, with each encounter, by a vertical line (see Paradigms and Syntagms). It seems Dom Juan and Sganarelle are walking along, meeting artistocrats and peasants, all the way to the supernatural Statue. The trompeur trompé (deceiver deceived) plot formula is circular.

We must stop here. This is our last post on Dom Juan. I should note that Louis XIV banned secret societies in 1666. I doubt he did so to eliminate the Société du Saint-Sacrement. I suspect absolutism precluded secret societies.

RELATED ARTICLES

  • See page on Molière
  • Casuistry, or how to sin without sinning (5 March 2012)

Sources and Resources

  • Dom Juan (Wiki2.org.)
  • Libertine (Wiki2.org.)
  • Tartuffe (Wiki2.org.)
  • Tout Molière.net FR
  • Dom Juan (trans. Brett B. Bodemer, 2010) is a digitalcommons calpoly.edu/ publication EN
  • Daniel Chandler, Semiotics for Beginners: Paradigms and Syntagms

____________________

[1] Earlier literary criticism used biography to explain a literary masterpiece. Biography is not irrelevant, but it is one of many referents.

[2] Maurice Rat, ed., Molière, Œuvres complètes (Paris: La Pléiade, 1956), p. 895.

[3] Maurice Rat, loc. cit.

Love to everyone 💕

Don Giovanni’s “La ci darem la mano,” encore
Samuel Ramey and Kathleen Battle with Wiener Philharmoniker conducted by Herbert von Karajan

im244-321px-Le_Festin_de_Pierre

The title page of Le festin de pierre, also known as Dom Juan, the play by Molière, published in Amsterdam in 1683. This is the first publication of the uncensored edition. (Wiki2.org.)

© Micheline Walker
7 March 2019
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