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Micheline's Blog

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Tag Archives: Théâtre dans le théâtre

L’Impromptu de Versailles, 3

10 Thursday Dec 2020

Posted by michelinewalker in Molière

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Tags

Miroirs publics, Molière, play within a play, Realism, Théâtre dans le théâtre

FRANCE – JANUARY 01: Moliere (Jean- Baptiste Poquelin). Oil on Canvas. By Pierre Mignard (1612-1695). (Photo by Imagno/Getty Images) [Jean- Baptiste Moliere. oel/Lw. Von Pierre Mignard (1612-1695).]

L’Impromptu de Versailles, 3

DRAMATIS PERSONSÆ
MOLIERE, a ridiculous Marquis,
BRECOURT, a man of Quality.
LA GRANGE, a ridiculous Marquis.
Du CROISY, a poet.
LA THORILLIERE, a fidgety Marquis.
BEJART, a busybody.
FOUR BUSYBODIES.
Mademoiselle DUPARC, 6 a ceremonious Marchioness. Mademoiselle BEJART, a prude. Mademoiselle DEBRIE, a sage coquette. Mademoiselle MOLIERE, a satirical wit. Mademoiselle Du CROISY, a whining plague. Mademoiselle HERVE, a conceited chambermaid.
Scene. VERSAILLES, IN THE KING’ S ANTECHAMBER

L’Impromptu de Versailles features Molière playing Molière and his troupe playing their role. They are characters in a play within a play, le théâtre dans le théâtre. Louis XIV has commissioned this short play because he wants Molière to defend himself against his accusers.

In Scene One, after his actors oppose performing a play, they have yet to rehearse and tell Molière that he is fortunate. He knows the play. But Molière bemoans his role, not to mention the power of a king. The play was performed on 14 October 1663, at Versailles. Molière and his actors knew the play Molière had written despite a script, L’Impromptu, according to which Molière knew the play, but his actors did not. L’Impromptu was performed at the Palais-Royal on 4 November 1663.

We know that Molière wanted to please an audience, but he also had to please, or not earn a living, or money to support his actors. So, they often rehearsed very quickly a play Molière had written in a matter of days. Louis XIV was aware of Molière’s self-ambition and named Lully “director of the Académie Royale de Musique” (1873-1887). (See Lully, Wikipedia.) Molière fell out with Jean-Baptiste Lully in 1672. His composer would be Marc-Antoine Charpentier. History would prove Molière the more remarkable genius. Moreover, Molière, not Lully, created the comédie-ballet. Moreover, the French court sought constant divertissements. It danced, and it sang. Therefore, Molière worried and said so. As a playwright, chef de troupe and actor, he worked to death. Molière died at the age of 51.

Et n’ai-je à craindre que le manquement de mémoire? Ne comptez-vous pour rien l’inquiétude d’un succès qui ne regarde que moi seul? Et pensez-vous que ce soit une petite affaire, que d’exposer quelque chose de comique devant une assemblée comme celle-ci? que d’entreprendre de faire rire des personnes qui nous impriment le respect, et ne rient que quand ils veulent? Est-il auteur qui ne doive trembler, lorsqu’il en vient à cette épreuve? Et n’est-ce pas à moi de dire que je voudrais en être quitte pour toutes les choses du monde?
Molière (Sc I. i)
[And have I nothing to fear but want of memory? Do you reckon the anxiety as to our success, which is entirely my own concern, nothing? And do you think it a trifle to provide something comic for such an assembly as this; to undertake to excite laughter in those who command our respect, and who only laugh when they choose? Must not any author tremble when he comes to such a test? Would it not be natural for me to say that I would give everything in the world to be quit of it.]
Molière (Sc. I. 1, p. 192)

Mon Dieu, Mademoiselle, les rois n’aiment rien tant qu’une prompte obéissance, et ne se plaisent point du tout à trouver des obstacles. Les choses ne sont bonnes que dans le temps qu’ils les souhaitent ; et leur en vouloir reculer le divertissement est en ôter pour eux toute la grâce. Ils veulent des plaisirs qui ne se fassent point attendre, et les moins préparés leur sont toujours les plus agréables, nous ne devons jamais nous regarder dans ce qu’ils désirent de nous, nous ne sommes que pour leur plaire ; et lorsqu’ils nous ordonnent quelque chose, c’est à nous à profiter vite de l’envie où ils sont. Il vaut mieux s’acquitter mal de ce qu’ils nous demandent, que de ne s’en acquitter pas assez tôt ; et si l’on a la honte de n’avoir pas bien réussi, on a toujours la gloire d’avoir obéi vite à leurs commandements. Mais songeons à répéter s’il vous plaît.
Molière (Sc. i)
[Oh! Mademoiselle, Kings like nothing better than a ready obedience, and are not at all pleased to meet with obstacles. Things are not acceptable, save at the moment when they desire them; to try to delay their amusement is to take away all the charm. They want pleasures that do not keep them waiting; and those that are least prepared are always the most agreeable to them. We ought never to think of ourselves in what they desire of us; our only business is to please them; and, when they command us, it is our part to respond quickly to their wish. We had better do amiss what they require of us, than not do it soon enough; if we have the shame of not succeeding, we always have the credit of having speedily obeyed their commands. But now, pray, let us set about our rehearsal.]
Molière (Sc. 1, p. 193)

Scene Three

Scene Three provokes a strange feeling, which is consistent with works of fiction. They may seem real. Roland Barthes has given a name to this phenomenon: l’effet de réel, which, in L’Impromptu de Versailles reaches dizzying heights. Molière protrayed his century and did so because he wrote “d’après nature.” He observed carefully, which led to the Querelle de l’École des femmes. On 4 June 1664, his realism unleashed fury. His Tartuffe was condemned and, to a certain extent members of la Compagnie du Saint-Sacrement could be fooled. They could see a real dévot, in a faux dévot. Molière rewrote his play until it could be performed with producing a scandal.

L’effet de réel also generates feelings. Form and feelings are not easily dissociated. Susanne K. Langer‘s Feeling and Form: A Theory of Art (1953) is very convincing. When the play begins, we are in the “green” room. For instance, Molière says that he does not want to be Molière and denies having played the marquis ridicule in La Critique de l’École des femmes, but a little further down the page, he admits having played the marquis ridicule. However, La Grange wants to bet, cent (a hundred) pistoles that Molière was the marquis ridicule and Brécourt has just arrived and says that both are “fools.” Suddenly, we remember Perrin Dandin.

Scene Four

Brécourt as umpire says that both Molière and La Grange are “fools,” which takes us back to La Critique’s Uranie who suggests that characters presented on the stage are “miroirs publics” (public mirrors) and “une thèse générale,” generalities. Molière does not attack anyone in particular, he depicts a group.

Comme l’affaire de la comédie est de représenter en général tous les défauts des hommes, et principalement des hommes de notre siècle; il est impossible à Molière de faire aucun caractère qui ne rencontre quelqu’un dans le monde; et s’il faut qu’on l’accuse d’avoir songé toutes les personnes ou l’on peut trouver les défauts qu’il peint, il faut sans doute qu’il ne fasse plus de comedies.
Brécourt (Sc. iv)
[As the business of comedy is to represent in a general way all the faults of men, and especially of the men of our day, it is impossible for Moliere to create any character not to be met with in the world; and if he must be accused of thinking of everyone in whom are to be found the faults which he delineates he must, of course, give up writing comedies.]
Brécourt (Sc. iii, p. 203)

Moreover, Molière is not running out of material. The following quotation names all kinds of courtiers he could depict as hypocrites. They greet one another politely, only to indulge in backbiting. This tirade, a soliloquy, is a prelude to the Misanthrope, which would not be performed until 4th June 1666. Molière still has everything to say. A tirade follows, but it is too long to quote in its entirety. The full quotation has become a post entitled L’Impromptu, Sc. iv.

Attendez, il faut marquer davantage tout cet endroit, écoutez-le-moi dire un peu. «Et qu’il ne trouvera plus de matière pour… — Plus de matière! Hé, mon pauvre Marquis, nous lui en fournirons toujours assez, et nous ne prenons guère le chemin de nous rendre sages pour tout ce qu’il fait et tout ce qu’il dit. Crois-tu qu’il ait épuisé dans ses comédies tout le ridicule des hommes? Et sans sortir de la cour, n’a-t-il pas encore vingt caractères de gens où il n’a point touché? N’a-t-il pas, par exemple, ceux qui se font les plus grandes amitiés du monde, et qui le dos tourné font galanterie de se déchirer l’un l’autre? Voilà à peu près comme cela doit être joué.
Molière (Sc. iv)
[You must be more emphatic with this passage. Just listen to me for a moment. “And that he will find no more subjects for . . . No more subjects? Ah, dear Marquis, we shall always go on providing him with plenty, and we are scarcely taking the course to grow wise, for all that he can do or say. Do you imagine that he has exhausted in his comedies all the follies of men; and without leaving the Court, are there not a score of characters which he has not yet touched upon? For instance, has he not those who profess the greatest friendship possible, and who, when they turn their backs, think it a piece of gallantry to tear each other to pieces?]
Molière (Sc. 3, pp. 204-205)

Read the full quotation at L’Impromptu, Sc. iv

In Scene Five, all members of Molière’s troupe are delighted because authors have got together to write a play against Molière, entitled Le Portrait du peintre. Vengeance is expected on Molière’s part. We suspect, first, that others attack him because they see themselves in the ridiculous characters his plays depict. What we see and hear is unlikely to correspond to what is said. Second, Molière was the better playwright.  

Brécourt feels that a new play, a superior play, is the appropriate response.

Molière describes the society of his century “d’après nature.” In other words, he depicts his society realistically, which is the source of the querelle de l’École des femmes and will also be the source of Tartuffe‘ condemnation. Molière’s kwowledge of human nature brings to mind humanists such as Montaigne, l’humayne condition, and Rabelais‘ various characters.

The End of a Project

I have now written posts on every play Molière wrote. Some posts are less bilingual than others which can be remedied. I do not think, however, that I can write a full book on Molière. I no longer live near a research library and my memory is failing me. I forget the spelling of words. But my posts will be my contribution to Molière scholarship, other than articles I have written. I am glad Internet Archives published Henri van Laun’s translation of every play Molière wrote.

I have chosen music composed by Louis XIII. Louis XIII did not live with his wife, yet he fathered two children. The kings of France loved entertainment.

RELATED ARTICLES
Page on Molière
L’Impromptu, Sc. iv (11 December 2020)
L’Impromptu de Versailles, 2 (10 December 2020)
L’Impromptu de Versailles, 1 (30 November 2020)
La Critique de l’École des femmes: pleasure (20 November 2020)
La Critique de l’École des femmes: details (15 November 2020)
La Critique de l’École des femmes (10 November 2020)
Destiny in L’École des femmes (1st November 2020) (no 62)

Sources and Resources
L’Impromptu de Versailles is a toutmolière.net publication.
L’Impromptu de Versailles is an Internet Archive publication.
La Critique de l’École des femmes is a toutmolière.net publication.
The School for Wives criticised is an Internet Archive publication.
Our translator is Henri van Laun.
Wikipedia: various entries.
The Encyclopædia Britannica: various entries.

Kindest regards to all of you. 💕

Tu crois ô beau soleil par Louis XIII
J. S Grimaldi as Scaramouche

© Micheline Walker
10 December 2020
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L’Impromptu de Versailles, 2

08 Tuesday Dec 2020

Posted by michelinewalker in Molière

≈ Comments Off on L’Impromptu de Versailles, 2

Tags

Commedia de l'arterte, Miroirs publics, Théâtre dans le théâtre, Tiberio Fiorilli

L’Impromptu de Versailles par Edmond Hédouin (théâtre-documentation.com)
L’Impromptu de Versailles par Adolfe Lalauze (théâtre-documentation.com)

L’Impromptu de Versailles, 2

Dramatis Personæ

MOLIÈRE, marquis ridicule.
BRÉCOURT, homme de qualité.
DE LA GRANGE, marquis ridicule.
DU CROISY, poète.
LA THORILLIÈRE, marquis fâcheux.
BÉJART, homme qui fait le nécessaire.
MADEMOISELLE DU PARC, marquise façonnière.
MADEMOISELLE BÉJART, prude.
MADEMOISELLE DE BRIE, sage coquette.
MADEMOISELLE MOLIÈRE, satirique spirituelle.
MADEMOISELLE DU CROISY, peste doucereuse.
MADEMOISELLE HERVÉ, servante précieuse.

La scène est à Versailles dans la salle de la Comédie.
The scene is at Versailles in the room used for plays.

L’Impromptu de Versailles presents a problem. Scenes are uneven. I, therefore, consulted Jacques Schérer’s La Dramaturgie classique en France. Schérer’s book is the standard reference on form in seventeenth-century French drama and other dramatic works. One can combine short scenes and long scenes. First, a scene is not an act. There is no entr’acte or intermission in a one-act plays. Scene One is very long, but Scene Two is shorter. A bore, un fâcheux, whose name is La Thorillière wants to know everything about a play that is not ready. He wants to know the name of the play and if it was commissioned by Louis XIV. He knows the King has commissioned the play, but he asks. Bores will waist anyone’s time. He tells Mademoiselle du Croisy that she is lovely and that without her the comedy would be worthless:

Sans vous la comédie ne vaudrait pas grand’chose.
[Without you, the comedy would not be worth much.]
La Thorillière to Mademoiselle du Croisy (I. ii, p. 8) (I. 2, p. 200)

Molière then asks his actresses to chase away La Thorillière
Monsieur nous avons ici quelque chose à répéter ensemble.
Mademoiselle de Brie à La Thorillière
But …
Mademoiselle de Brie to La Thorillière (I. 2, p. 200)

Before leaving La Thorillière says that he will tell the King that Molière and his comedians are ready.

If we return to Scene One, where Mademoiselle Béjart reminds Molière that he once wanted to write a comedy about comedians. Why didn’t he? He could have mocked actors from l’Hôtel de Bourgogne at that time. Molière had something else in mind:

J’avais songé une comédie, où il y aurait eu un poète que j’aurais représenté moi…
I thought of a comedy in which there should have been a poet, whose part I would have taken myself,
Molière à ses comédiens ( I. i, p. 4) (I. 1, p. 194)

What Molière had in mind was being asked if he had comedians who could do justice to a script, which is what he has done his entire life as chef de troupe. As of this comment, we know that much of the comedy will be about Molière who will again be pressed, as he has always been.

Molière is then asked to imitate the actors of l’Hôtel de Bourgogne, his rivals. Their schedule is the same, so he has not seen them sufficiently to imitate them, which he goes on to do: Montfleury, Mademoiselle Beauchâteau, Hauteroche, Villiers …

Scene Three

In Sc. iii, Molière tells Molière tells La Grange that he does not want to play Molière.

Cela est bon pour toi, mais pour moi je ne veux pas être joué par Molière.
[That may do for you; but I do not wish Moliere to take me off.]
Molière à La Grange (iii, p.10) (3, p. 202)

He claims he did not play the Marquis ridicule in La Critique, which he did according to La Grange.

Quoi! tu veux soutenir que ce n’est pas toi qu’on joue dans le marquis de La Critique
[Yet I think, Marquis, that it is you he takes off in The School for Wives criticised.]
La Grange à Molière (iii, p.10/) (3, p. 202)

In the end, he admits that he indeed played the marquis ridicule. A large group of marquis ridicule are featured in Molière’s plays. They are the courtiers depicted in the Misanthrope. Climène is Arsinoé who was Célimène earlier in life.

Il est vrai c’est moi. Détestable, morbleu, détestable! Tarte à la crème. C’est moi, c’est moi, assurément, c’est moi.
[Just so; it is I. ‘Detestable; egad! detestable! Cream tart!’ Oh, it is I, it is I, assuredly it is I!]
Molière à La Grange (iii, p.10) (3, p. 202)

Je gage cent pistoles que c’est toi.
[I bet a hundred pistoles that it is you.]
La Grange à Molière (iii, p. 10) (3, p. 202)
Et moi cent pistoles que c’est toi.
[And I bet a hundred it is you.]
Molière à La Grange (iii, p. 10) (3, p. 202)

However, La Grange wants to ask an umpire to tell whether Molière played a marquis ridicule in La Critique. Brécourt will be the judge.

Scene Four

Brécourt tells La Grange and Molière that they are fools. He has heard Molière himself say that he did not depict individuals. Such is Uranie’s explanation in La Critique de l’École des femmes. Molière’s portraits are « miroirs publics » (sc. vi, near footnote 22).

Il disait que rien ne lui donnait du déplaisir, comme d’être accusé de regarder quelqu’un dans les portraits qu’il fait. Que son dessein est de peindre les mœurs sans vouloir toucher aux personnes; et que tous les personnages qu’il représente sont des personnages en l’air, et des fantômes proprement qu’il habille à sa fantaisie pour réjouir les spectateurs.
[He said that nothing annoyed him so much as to be accused of animadverting upon anyone in the portraits he drew; that his design is to paint manners without striking at individuals, and that all the characters whom he introduces are imaginary phantoms, so to speak, which he clothes according to his fancy in order to please his audience …]
Brécourt à La Grange et Molière (iv, p. 11 ) (I. 3, p. 203)

The above is a reiteration of Uranie’s thèse générale (sc vi, before footnote 24).

Molière then asks if perhaps Molière has not run of subject matter (la matière). There follows a litany of hypocritical exchanges worthy of a bilious Alceste (The Misanthrope). I will have to provide the tirade in a separate post. Molière (sc. iv, pp. 17-18) (sc. 3, pp. 204-205)

Scene Five

As Scene v begins, Mademoiselle de Brie introduces Lysidas (the pedant in La Critique) who will tell that a play has been written which les grands comédiens, actors working for l’Hôtel de Bourgogne,[1] will perform. Molière knew, but he cannot remember the full name of the playwright. The name is Boursaut, says Du Croisy, but others have lent a hand. Since authors considered Molière their greatest enemy all have got together, including Lysidas I presume. Tout le Parnasse. Several authors have written the play, but they have hidden behind the name of yet unknown author.

In Scenes vi, vii, viii, ix and x, the nécessaire/Béjart/busybody ask Molière to begin the play. In Scene xi, Béjart tells all that Louis XIV has delayed the performance and that the comedians can play a comedy they know. He is a deus ex machina, which is an acceptable way of creating a happy ending.

Tiberio Fiorilli, a note

When Molière shared the Petit-Bourbon with the Italians, he took lessons from Tiberio Fiorilli, portrayed above, Tiberio was Scaramuccia (Scaramouche). Both les Italiens (commedia dell’arte) were protégés of Monsieur Frère Unique du Roi (Philippe 1er, duc d’Orléans). The Petit-Bourbon was demolished to make room for the colonnade du Louvre, a masterpiece by architect Claude Perrault, Charles Perrault‘s brother, the author of Histoires ou contes du temps passé, or Mother Goose Tales. La Troupe du Roi, Molière’s troupe, moved to the Palais-Royal, with les Italiens. (See Tiberio Fiorilli, Wikipedia.)

In the third and final post on l’Impromptu, I will fill in a few gaps and make a few comments.

RELATED ARTICLES
Page on Molière
L’Impromptu de Versailles, 1 (30 November 2020)
La Critique de l’École des femmes: pleasure (20 November 2020)
La Critique de l’École des femmes: details (15 November 2020)
La Critique de l’École des femmes (10 November 2020)
Destiny in L’École des femmes (1st November 2020) (no 62)

Sources and Resources
L’Impromptu de Versailles is a toutmolière.net publication.
L’Impromptu de Versailles is an Internet Archive publication.
La Critique de l’École des femmes is a toutmolière.net publication.
The School for Wives criticised is an Internet Archive publication.
Our translator is Henri van Laun.
Images belong to théâtre-documentation.com (BnF).
Wikipedia: various entries.
The Encyclopædia Britannica: various entries.

____________________
[1] There were several theatres in Paris. The grands comédiens performed à l’Hôtel de Bourgogne.

Love to everyone 💕

Scaramouche (Fiorilli) teaching Élomire (Molière) his student, frontispiece to Le Boulanger de Chalussay’s attack on Molière, 1670 (Wikipedia)

© Micheline Walker
8 December 2020
WordPress

Micheline's Blog

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L’Impromptu de Versailles, 1

30 Monday Nov 2020

Posted by michelinewalker in Molière

≈ Comments Off on L’Impromptu de Versailles, 1

Tags

a Deus ex machina, a Play within a play, Théâtre dans le théâtre, the Dialogue

L’Impromptu de Versailles par Edmond Hédouin (théâtre-documentation.com)
L’Impromptu de Versailles par Adolphe Lalauze (théâtre-documentation.com)

L’Impromptu de Versailles

Dramatis Personæ

MOLIÈRE, marquis ridicule.
BRÉCOURT, homme de qualité.
DE LA GRANGE, marquis ridicule.
DU CROISY, poète.
LA THORILLIÈRE, marquis fâcheux.
BÉJART, homme qui fait le nécessaire.
MADEMOISELLE DU PARC Marquise façonnière (mannerist).
MADEMOISELLE BÉJART, prude.
MADEMOISELLE DE BRIE, sage coquette.
MADEMOISELLE MOLIÈRE, satirique spirituelle.
MADEMOISELLE DU CROISY, peste doucereuse.
MEDEMOISELLE HERVÉ, servante précieuse.

La scène est à Versailles dans la salle de la Comédie.
We are at Versailles in the hall where plays are performed.

L’Impromptu de Versailles FR (L’Impromptu de Versailles EN) is the second play Molière wrote in response to criticism of L’École des femmes. There was, in fact, a Querelle de l’École des femmes. We have read La Critique de l’École des femmes, the first play Molière wrote to defend himself. It premiered on 2nd June 1663. As for L’Impromptu de Versailles, the one-act play was commissioned by Louis XIV, and it was first performed at Versailles on 14th October 1663.

Molière’s two plays differ from one another quite drastically. Both are one-act plays, but L’Impromptu de Versailles is a form of théâtre dans le théâtre, a play within a play. Théâtre dans le théâtre are plays that may vary from one another. Therefore, I will say no more than the comedians who perform L’Impromptu de Versailles are mostly the same as the comedians featured in La Critique de l’École des femmes, but that they use their “real” name. Diderot‘s Paradoxe sur le Comédien (actor) is prefigured.

I will also note that the fil conducteur (the thread) of the play is the story of comedians who are pressed for time by King Louis XIV who commissioned the play. In scenes vii, viii, ix and x, of a total of eleven scenes, a nécessaire, played by Béjart, asks for the play to begin. However, in scene xi, a brief scene, Molière’s comedians are told by the nécessaire, that the King is postponing the performance of the play he commissioned. Molière’s troupe may perform a play they already know. So, Louis XIV’s demand is lifted by Louis XIV himself, now transformed into a deus ex machina, a plot device that allows the happy ending of comedy. The use of a deus ex machina suggests that the society of the play cannot resolve the problems it is facing. Innerness is suggested. In the case of L’Impromptu de Versailles, the use of a deus ex machina also points to the circularity of the plot.

“Antiphanes was one of the device’s earliest critics. He believed that the use of the deus ex machina was a sign that the playwright was unable to properly manage the complications of his plot.

when they don’t know what to say
and have completely given up on the play
just like a finger they lift the machine
and the spectators are satisfied.”
Antiphanes
(See Deus ex machina, Wikipedia)

Professor Georges Forestier[1] writes that Molière would be the dramatist, who would append a comédie to the tail end of (à la queue de) L’École des femmes. La queue (the tail) is part of the animal.

Puisque chacun en serait content, Chevalier [Dorante], faites un mémoire de tout, et le donnez à Molière que vous connaissez, pour le mettre en comédie.
Uranie à Dorante (I, vi)
[As every one is satisfied, Chevalier, write out our discussion, and give it to Moliere, whom you know, to work into a play.]
Uranie to Dorante (I. 7, p. 178)

Yet at some point, Molière says to Brécourt, one of his actors, that he will not play Molière and that he did not play the marquis ridicule of La Critique de l’École des femmes. In a play, one represents someone else for the duration of the play and one may play a character that doesn’t match one “real” self

A Théâtre dans le théâtre (a play within a play)

In Georges Forestier’s Théâtre dans le théâtre,[2] L’Impromptu de Versailles is number 21 of the plays considered plays within plays in the broadest acceptation of the term.

In scene one, Molière attempts to gather his actors so they may rehearse a play they do not know. Molière’s comment that actors are literally “strange animals to drive” (conduire) is Molière’s. He is chef de troupe and gathering his comedians.

Ah ! les étranges animaux à conduire que des comédiens.
Molière (I, i. p. 2) (I. 1, p. 192)
[Oh, what an awkward team to drive are actors! {Enter Mesdemoiselles Bejart, Duparc, Debrie, Molière, Du Croisy, and Hervé}.]
Molière (I, i. p. 2) (I. 1, p. 192)

All complain.

Le moyen de jouer ce qu’on ne sait pas?
[How are we to play what we do not know?]
La Grange (I, i. p. 2) (I. 1, p. 192)
Pour moi, je vous déclare que je ne me souviens pas d’un mot de mon personnage.
[As for me, I declare that I do not remember a word of my part.]
Mademoiselle du Parc (I, i. p. 2) (I. 1, p. 192)
Je sais bien qu’il me faudra souffler le mien, d’un bout à l’autre.
[I am sure I shall have to be prompted from beginning to end.]
Mademoiselle de Brie (I, i. p. 2) (I. 1, p. 192)
Et moi, je me prépare fort à tenir mon rôle à la main
[And I just mean to hold mine in my hand.]
Mademoiselle Béjart (I, i. p. 2) (I. 1, p. 192)
Et moi aussi.
[So do I.]
Mademoiselle Molière (I, i. p. 2) (I. 1, p. 192)
Pour moi, je n’ai pas grand’chose à dire.
[For my part, I have not much to say.]
Mademoiselle Hervé (I, i. p. 2) (I. 1, p. 192)
Ni moi non plus, mais avec cela je ne répondrais pas de ne
point manquer.

[Nor I either; but, for all that, I would not promise not to make a slip.]
Mademoiselle du Croisy (I, i. p. 2) (I. 1, p. 192)
J’en voudrais être quitte pour dix pistoles.
[I would give ten pistoles to be out of it.]
Du Croisy (I, i. p. 2) (I. 1, p. 192)
Et moi pour vingt bons coups de fouet, je vous assure.
[I would stand a score of good blows with a whip to be the same, I assure you.]
Brécourt (I, i. p. 2) (I. 1, p. 192)

Having complained, they start imitating the actors who have criticized them. Most are employed by l’Hôtel de Bourgogne. In the meantime, Molière has a play in mind and distribute the roles each will play.

According to Britannica, Molière

made theatre history by reproducing with astonishing realism the actual greenroom, or actors’ lounge, of the company and the backchat involved in rehearsal.

Britannica

The Dialogue

The realism of L’Impromptu is such that we do not think the actors are already on the stage. Molière gave a short one-line comment to each character objecting to performing a play they do not have the time to prepare. So, as the characters say that they are not ready to perform a play they do not know, the rapid sequence of répliques (retorts) emphasizes haste. The rapid succession of répliques is a figure of speech called stichomythia.

I will pause here leaving out elements that can be addressed separately.

RELATED ARTICLES
Page on Molière
La Critique de l’École des femmes: pleasure (20 November 2020)
La Critique de l’École des femmes: details (15 November 2020)
La Critique de l’École des femmes (10 November 2020)
Destiny in L’École des femmes (1st November 2020) (no 62)

Sources and Resources
L’Impromptu de Versailles is a toutmolière.net publication
L’Impromptu de Versailles is an Internet archive publication
La Critique de l’École des femmes is a toutmolière.net publication
The School for Wives criticised is an Internet Archive publication
Our translator is Henri van Laun
Images belong to théâtre-documention.com (BnF)
Wikipedia: various entries
The Encyclopædia Britannica: various entries

_________________________
[1] Georges Forestier, Le Théâtre dans le Théâtre (Genève: Droz, 1996), pp. 150…
[2] Georges Forestier, op. cit. , p. 352.


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30 November 2020
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Molière’s “La Comtesse d’Escarbagnas”

06 Monday Jan 2020

Posted by michelinewalker in Comédie-Ballet, Molière

≈ 15 Comments

Tags

Comédie-Ballet, jealousy, Le Ballet des ballets, Marc-Antoine Charpentier, Monsieur Thibaudier, Pierre Beauchamp, Rank, self-interest, Théâtre dans le théâtre, Théophraste

La comtesse d'Escarbagnas par Ed. Héd.

La Comtesse d’Escarbagnas par Edmond Hédouin (theatre-documentation. com)

La Comtesse d’Escarbagnas, a short play in prose, was written as part of the celebrations that took place when Louis-Philippe, duc d’Orléans, Monsieur, Louis XIV’s only brother, married a German princess, la princesse Palatine, his second wife. Louis-Philippe lost his first wife, Henriette d’Angleterre, on 30 June 1670. She was 26 years old.

Molière’s La Comtesse d’Escarbagnas was first performed in February 1672 at Saint-Germain-en-Laye, where royal divertissements often took place. (See toumoliere.net) Its first public performance took place on 8 July 1672 at the Théâtre du Palais-Royal. The play’s source is Greek author Theophrastus (Characters), who is also one of Molière’s sources for Les Fâcheux. Théophraste wrote portraits.

Ballet_ballet_front

The date shown in this image is inaccurate. It should read February 1672. (toumoliere.net)

Le Ballet des ballets

The nine scenes of our current play were to constitute a one-act comedy of manners, followed by a pastorale, now lost, and an intermède from Psyché. The divertissement would therefore be a comédie-ballet entitled Le Ballet des ballets. It was written by Molière, composed by Marc-Antoine Charpentier, and choreographed by Pierre Beauchamp. In 1671, Molière had fallen out with Lully. When the play was performed for the public, on 8 July 1672, the pastoral was replaced by Molière’s Le Mariage forcé, to which intermèdes were added. These are included at the foot of this post.

escarbagnas

La Comtesse d’Escarbagnas par François Boucher (dessin) & Laurent Cars (gravure)  (sitelully.free.fr)

DRAMATIS PERSONÆ

LA COMTESSE D’ESCARBAGNAS.
LE COMTE, son fils (her son).
LE VICOMTE, amant de (in love with) Julie.
JULIE, amante du Vicomte.
MONSIEUR TIBAUDIER, conseiller, amant de la Comtesse.
MONSIEUR HARPIN, receveur des tailles (tax farmer), autre amant de la Comtesse.
MONSIEUR BOBINET, précepteur de (tutor to) Monsieur le Comte.
ANDRÉE, suivante de la Comtesse.
JEANNOT, laquais de Monsieur Tibaudier.
CRIQUET, laquais de la Comtesse.

La scène est à Angoulême.

SCENE ONE

Most of Scene One is a conversation between Julie and le Vicomte, the comedy’s young lovers. First, the Vicomte tells Julie that he bumped into a fâcheux, which delayed him. He then goes on to say that he doesn’t like making believe he is in love with the Comtesse. He laments his role.  It is a “comedy.”

Que cette feinte où je me force n’étant que pour vous plaire, j’ai lieu de ne vouloir en souffrir la contrainte, que devant les yeux qui s’en divertissent. Que j’évite le tête-à-tête avec cette comtesse ridicule, dont vous m’embarrassez, et en un mot que ne venant ici que pour vous, j’ai toutes les raisons du monde d’attendre que vous y soyez.
Le Vicomte à Julie (Scène première)
[[…] I am induced not to wish to suffer the annoyance of it, except in the presence of her who is amused by it; that I avoid the tête-à-tête with this ridiculous Countess, with whom you hamper me; and, in one word that, coming here but for you, I have all the reasons possible to await until you are here.]
The Vicount Julie (Scene One, p. 64)

The Comtesse is besotted with rank and has just returned from Paris where she was surrounded by aristocrats. This, no doubt, has further consolidated her conviction that aristocrats are personnes de qualité. Julie reports to the Vicomte, the man she loves, that glittering Paris has besotted the Comtesse.

Notre comtesse d’Escarbagnas, avec son perpétuel entêtement de qualité, est un aussi bon personnage qu’on en puisse mettre sur le théâtre. Le petit voyage qu’elle a fait à Paris, l’a ramenée dans Angoulême, plus achevée qu’elle n’était. L’approche de l’air de la cour a donné à son ridicule de nouveaux agréments, et sa sottise tous les jours ne fait que croître et embellir.
Julie au Vicomte (Scène première)
[Our Countess of Escarbagnas, with her perpetual hobby of quality, is as good a character as one could put on the stage. The little excursion which she has made to Paris has brought her back to Angoulême more perfect than she was. The proximity of the court-air has given new charms to her absurdity, and her silliness does but grow and become more beautiful every day.]
Julie to the Viscount (Scene One, p. 65)

We know why the Vicomte has entered the fray. How can two bourgeois compete with a person of rank? In fact, our bourgeois are somewhat tired of courting the Comtesse. It is hoped that a petite comédie, le Vicomte as suitor, will make Monsieur Tibaudier and Monsieur Harpin press their suit. Le Vicomte, a real aristocrat is about to treat the Comtesse with a comédie. Le Vicomte‘s bourgeois rivals have been invited to attend.

SCENE TWO

We meet the Comtesse in Scene Two. She has caught a glimpse of the Vicomte leaving through a back door. She is alarmed, but Julie, her suivante, reassures her:

Non, Madame, et il a voulu témoigner par là qu’il est tout entier à vos charmes.
Julie à la Comtesse (Scène II)
[No, Madam, and by this he wished to show that he is entirely to your charms.]
Julie to the Countess (Scene Two, p. 67)

The Comtesse‘s haughty behaviour is mostly objectionable. She scolds Andrée for using the word armoire, instead of garde-robe (closet). She scolds both Andrée and Criquet, for not knowing the word soucoupe, saucer. In fact, Criquet doesn’t know the word écuyer (equerry). We also have the matter of wax candles. They may have disappeared. Andrée has suif candles, tallow candles. Finally, Andrée gets so nervous that she drops a glass sitting on a tray and breaks it. The image at the top of this post shows Andrée dropping a glass. However, Scene Two contains an extremely revealing conversation between la Comtesse and Julie, which will be discussed.

SCENE THREE

Before he arrives, Monsieur Thibaudier, one of the Comtesse‘s bourgeois suitors has Jeannot take pears to the Comtesse, to which a note is attached. The note will be read by the Vicomte to everyone in Scene Four. However, the Comtesse surprises us. As Scene Three is closing, she praises Monsieur Tibaudier:

Ce qui me plaît de ce Monsieur, c’est qu’il sait vivre avec les
personnes de ma qualité, et qu’il est fort respectueux.
La Comtesse à tous (Scene III)
[What pleases me in this Mr. Tibaudier is, that he knows how to behave with persons of my rank, and that he is very respectful.]
The Countess to all (Scene Fourteen, p. 74)

SCENE FOUR

In Scene Four, le Vicomte tells the Comtesse that the comedians are ready and that, in a quarter of an hour, they should all leave for the large room, la salle. The Countess warns that she does not want une cohue, a crush.

Je ne veux point de cohue au moins. Que l’on dise à mon suisse qu’il ne laisse entrer personne.
La Comtesse au Vicomte (Scène IV)
I will have no crush at least. (To Criquet). Tell my porter to let no one enter.
The Countess to the Viscount (Scene Fifteen, p. 74)

So the Vicomte, who is treating la Comtesse to a comedy, is ready to cancel the performance. One cannot let in the whole town, but spectators are needed.

En ce cas, Madame, je vous déclare que je renonce à la comédie, et je n’y saurais prendre de plaisir, lorsque la compagnie n’est pas nombreuse. Croyez-moi, si vous voulez vous bien divertir, qu’on dise à vos gens de laisser entrer toute la ville.
Le Vicomte à la Comtesse (Scène IV)
[In this case, Madam, I must inform you that I shall abandon the comedy; and I cannot take any pleasure in it, if the company be not numerous. Believe me, that if you wish to amuse yourself well, you should tell your people to let the whole town come in.]
The Viscount to the Countess (Scene Fifteen, p. 74)

The Viscount then reads the note Monsieur Tibaudier has sent with the pears. Monsieur Tibaudier has made it clear that the Comtesse has been cruel, so we expect the Comtesse to be to react angrily, but she doesn’t. Some académicien might find fault with the note, but she likes it.

Il y a peut-être quelque mot qui n’est pas de l’Académie; mais j’y remarque un certain respect qui me plaît beaucoup.
La Comtesse à tous (Scène II)
[There may, perhaps, be some word in it which does not belong to the Academy; but I can read a certain respect in it which pleases me much.]
The Countess to all (Scene Fifteen.75)

Julie says:

Vous avez raison, Madame, et Monsieur le Vicomte dût-il s’en offenser, j’aimerais un homme qui m’écrirait comme cela.
Julie à la Comtesse (Scene IV)
[You are quite right, Madam, and, at the risk of offending the Viscount, I should love a man who wrote to me in this way.]
Julie to the Countess (Scene Fifteen, p. 75)

SCENE FIVE

In Scene Five, the Comtesse welcomes Monsieur Tibaudier rather warmly and the Viscount reads aloud Monsieur Tibaudier’s poems. They are so lovely that the Viscount says to himself that he has been outranked by Monsieur Thibaudier.

The Comtesse enjoys being courted by a Viscount, which we have seen in Scene Two, but she likes Monsieur Tibaudier’s note.

Self-interest and Jealousy

Scene Two is most revealing. It points to the organising principles of the play. Self-interest informs the behaviour of the Countess, and so does vanity. She may first appear obsessed with rank, but she is guided by vanity, and fear of losing the Comtesse‘s affection keeps her suitors vying for her affection.

Scene Two: Julie wonders how, having just travelled to Paris, the Comtesse can manage lowly Angoulême. She has been at Court where she met le beau monde (celebrities). Can she return to the company of a Counsellor at Law, Monsieur Tibaudier, and a tax farmer, Monsieur Harpin. They do not have a title.

Je m’étonne, Madame, que de tous ces grands noms que je devine, vous ayez pu redescendre à un monsieur Tibaudier, le conseiller, et à un monsieur Harpin, le receveur des tailles. La chute est grande, je vous l’avoue. Car pour Monsieur votre vicomte, quoique vicomte de province, c’est toujours un vicomte, et il peut faire un voyage à Paris, s’il n’en a point fait; mais un conseiller, et un receveur, sont des amants un peu bien minces [thin], pour une grande comtesse comme vous.
Julie à la Comtesse (Scène II)
[I am surprised, Madam, that after all these great names at which I guess, you have been able to come down again to a Mr. Tibaudier, a counsellor at law, and to a Mr. Harpin, a receiver of taxes. The fall is great, I confess; for, as for your Viscount, though but a country Viscount, he is at any rate a Viscount, and may make a journey to Paris, if he have not already done so: but a counsellor at law, and a receiver of taxes are somewhat inferior lovers for a grand Countess like you.]
Julie to the Countess (Scene Eleven, p. 71)

There can be no doubt that the Comtesse inhabits the world La Rochefoucauld described. Self-interest makes it necessary for her to accommodate her bourgeois suitors who must be rivals.

Ce sont gens qu’on ménage dans les provinces pour le besoin qu’on en peut avoir, ils servent au moins à remplir les vides de la galanterie, à faire nombre de soupirants; et il est bon, Madame, de ne pas laisser un amant seul maître du terrain, de peur que faute de rivaux, son amour ne s’endorme sur trop de confiance.
La Comtesse à Julie (Scène II)
[They are people whom we conciliate in the provinces for the need we may have of them; they serve at least to fill up the vacancies of gallantry; to increase the number of suitors; and it is well, Madam, not to let one lover be sole master, for fear, that, failing rivals, his love may go to sleep through too much confidence.]
The Countess to Julie (Scene Eleven, p. 72)

The Countess is the widowed mother of three sons, one of whom, le Comte, still has a tutor, Monsieur Bobinet. In Scene Eight, Monsieur Harpin, who enters the stage tardily and rather tempestuously, intimates that he has been a donneur. Might the Countess need money and have accepted money?

Monsieur Tibaudier en use comme il lui plaît, je ne sais pas de quelle façon monsieur Tibaudier a été avec vous, mais Monsieur Tibaudier n’est pas un exemple pour moi, et je ne suis point d’humeur à payer les violons pour faire danser les autres.
Monsieur Harpin (Scène VIII)
[Mr. Tibaudier behaves as it pleases him: I do not know on what footing he is with you;  but Mr. Tibaudier is not an example for me, and I am not disposed to pay the violins to let others dance.]
Monsieur Harpin (Scene Twenty-One, p. 81)

Her relationships with Messieurs Tibaudier and Harpin were waning. Hence a recourse to jealousy. Monsieur Tibaudier presses his suit successfully. His verses and true love eliminate le Vicomte.

SCENE VI

Monsieur Bobinet has arrived. He is the tutor to the Countess’ son, the Count. He reports on the Count and also brings news of the Comtesse’s two other sons:

Comment se portent mes deux autres fils, le Marquis et le Commandeur?
La Comtesse à Monsieur Bobinet (Scene VI)
How fare my two other sons, the Marquis and the Commander?
The Countess to Monsieur Bobinet (Scene Seventeen, p. 77)

She wants to know where the Count is and what he is doing. Monsieur Bobinet replies that the Count is in her “beautiful apartment with the alcove” working. 

Il compose un thème, Madame, que je viens de lui dicter, sur une épître de Cicéron.
La Comtesse à monsieur Bobinet (Scene VI)
He is composing an exercise, Madam, which I have just dictated to him upon an epistle of Cicero.
La Comtesse à monsieur Bobinet (Scene Seventeen, p.77)

SCENE VII

Given that the Vicomte has been more or less eliminated, the Comtesse wishes for her son to greet Monsieur Tibaudier. Monsieur Tibaudier is delighted, thereby pleasing the Comtesse. She is a Comtesse, which is rank, but this comtesse thrives on being admired.

Je suis ravi, Madame, que vous me concédiez la grâce d’embrasser Monsieur le Comte votre fils. On ne peut pas aimer le tronc, qu’on n’aime aussi les branches. 
Monsieur Tibaudier à la Comtesse (Scène VII)
[I am enchanted, Madam, that you concede me the favour of embracing the Count, your son. One cannot love the trunk without also loving the branches.]
Monsieur Tibaudier to the Countess (Scene Fourteen, p. 78)

We also learn that although she has three grown (or almost) sons, she still looks young.

Hélas! quand je le fis, j’étais si jeune que je me jouais encore avec une poupée.
La Comtesse à Julie (Scène VII)
[Alas! when he was born, I was so young that I was still playing with a doll.]
The Countess to Julie (Scene Eighteen, p. 78)

She is floating in mid-air when we hear that the comedians are ready.

Les comédiens envoient dire qu’ils sont tout prêts.
Criquet (Scène VII)
The actors send me to say that they are quite ready.
Criquet (Scene Twenty, p. 79)

Le Vicomte reflects that:

Il est nécessaire de dire, que cette comédie n’a été faite que pour lier ensemble les différents morceaux de musique, et de danse, dont on a voulu composer ce divertissement, et que…
Le Vicomte à tous (Scene VII)
[It is necessary to say that this comedy has been written only to connect together the different pieces of music and dancing of which they wished to compose this entertainment, and that…]
The Viscount to all (Scene Twenty, p. 79)

Is the dramatist within his play and is this play a théâtre dans le théâtre? I believe he is.

SCENE EIGHT

Monsieur Harpin joins everyone when the comedy has already started. He is a fâcheux.

Parbleu la chose est belle, et je me réjouis de voir ce que je vois.
Monsieur Harpin (Scène VIII)
Zounds! that is a pretty set out, and I rejoice to see what I do see.
Monsieur Harpin (Scene Twenty-One, p. 79)

Eh têtebleu la véritable comédie qui se fait ici, c’est celle que vous jouez, et si je vous trouble, c’est de quoi je me soucie peu.
Monsieur Harpin (Scène VIII)
Eh! the deuce! The real comedy which is performed here, is played by you; and if I do trouble you, I care very little about it.
Monsieur Harpin (Scene Twenty-One, p. 80)

Monsieur Harpin thinks the Vicomte is his rival.

Eh ventrebleu, s’il y a ici quelque chose de vilain, ce ne sont point mes jurements, ce sont vos actions, et il vaudrait bien mieux que vous jurassiez, vous, la tête, la mort et la sang, que de faire ce que vous faites avec Monsieur le Vicomte.
Monsieur Harpin (Scène VIII)
Eh! Odds bobs! if there be anything nasty, it is not my swearing, but your goings on; and it would be better for you to swear, heads, ‘s deaths, and blood, than to do what you are doing with the Viscount.
Monsieur Harpin (Scene Twenty-One, p. 80)

The Vicomte does not understand what is going on.

Je ne sais pas, Monsieur le Receveur, de quoi vous vous plaignez, et si...
Le Vicomte à Monsieur Harpin (Scene VIII)
I do not know, Mr. Receiver, of what you have to complain; and if…
The Viscount to Monsieur Harpin (Scene Twenty-One, p. 80)

And the Comtesse doesn’t know why Monsieur Harpin speaks to everyone.

Quand on a des chagrins jaloux, on n’en use point de la sorte, et l’on vient doucement se plaindre à la personne que l’on aime.
La Comtesse à Monsieur Harpin (Scene VIII)
When one has jealous cares, one ought not to behave in this manner; but to come and complain gently to the person one loves.
The Countess to Monsieur Harpin (Scene Twenty-One, p. 80)

Contrary to Monsieur Tibaudier, Monsieur Harpin has not gone to visit the Countess and complain. He has chosen instead to accuse the Viscount and to make a mockery of himself. In fact, Monsieur Harpin becomes quite offensive. Once again, he alludes to giving/receiving money.

Je veux dire, que je ne trouve point étrange que vous vous rendiez au mérite de Monsieur le Vicomte, vous n’êtes pas la première femme qui joue dans le monde de ces sortes de caractères, et qui ait auprès d’elle un Monsieur le Receveur, dont on lui voit trahir, et la passion, et la bourse pour le premier venu qui lui donnera dans la vue ; mais ne trouvez point étrange aussi que je ne sois point la dupe d’une infidélité si ordinaire aux coquettes du temps, et que je vienne vous assurer devant bonne compagnie, que je romps commerce avec vous, et que Monsieur le Receveur ne sera plus pour vous Monsieur le Donneur.
Monsieur Harpin (Scene VIII)
[I mean that I find nothing strange in it that you should give way to the merits of the Viscount; you are not the first woman who plays that sort of character in society, and who has a Receiver after her, whose affection and purse one finds her betray for the first comer who suits her views. But do not think it strange that I am not the dupe of an infidelity so common to the coquettes of the present day, and that I come to assure you before decent company, that I break off all connection with you, and that Mr. Receiver shall no longer be Mr. Giver to you.]
Monsieur Harpin (Scene Twenty-0ne, p. 81)

We know already that in Scene Nine, la scène dernière, le vicomte and Julie will learn that their families will allow them to marry and that le Vicomte will tell the Comtesse to marry Monsieur Tibaudier. She will resist a little, but ask Monsieur Tibaudier to marry her.

C’est sans vous offenser, Madame, et les comédies veulent de ces sortes de choses.
Le Vicomte à la Comtesse (Scène dernière)
It was meant without offence, Madam; comedies require these sorts of things.
The Viscount to the Countess (Scene Twenty-Two, p. 81)

Julie has been fully “schooled.” 

Je vous avoue, madame, qu’il y a merveilleusement à profiter de tout ce que vous dites, c’est une école que votre conversation, et j’y viens tous les jours attraper quelque chose.
Julie à la Comtesse (Scène II)
[I confess to you, Madam, that there is a marvellous deal to learn by what you say; your conversation is a school, and every day I get hold of something in it.]
Julie to the Countess (Scene Fourteen, p. 72)

Conclusion

In this comedy, jealousy is used to overcome obstacles to the marriage of the Comtesse. Monsieur Tibaudier presses his suit when a Vicomte is courting the Comtesse. On the other hand, Monsieur Harpin becomes jealous and his own worst enemy. This obstacle is to the Comtesse‘s marriage is mostly vanity on her part, which can translate as rank, but not necessarily. The Comtesse acts in her best interest. In 17th-century France, the bourgeoisie was growing and many bourgeois were rich.

However, we have a doubling or two couples. Le Vicomte and Julie face a more traditional obstacle. His father and her brothers oppose the Vicomte‘s marriage to Julie. A billet is delivered to the Vicomte. He may marry Julie. Comedy demands a fortunate péripétie, or turn of events. La Comtesse d’Escarbagnas is an “all’s that ends well” comedy. But first, all will watch the end of the comedy within the comedy. Le Ballet des ballets was a divertissement.

I have read Lucien Dallenbach’s Récit spéculaire and I am reading Georges Forestier’s Le Théâtre dans le Théâtre. Years ago, I read Jean Rousset’s books. According to Georges Forestier, the embedded (enchâssé-e) element is the missing Pastoral, situated between Scenes Eight and Nine (p. 353).[1] I would call other allusions to comedy “self-referential.”

RELATED ARTICLES

  • La Comtesse d’Escarbagnas, nearly all (31 December 2019)
  • Molière’s “Forced Marriage,” “Le Mariage forcé” (7 July 2019)
  • Molière page

Sources and Resources

  • La Comtesse d’Escarbagnas is a toutmoliere.net publication
  • The Countess of Escarbagnas is an internet archive publication
  • Henri van Laun is our translator
  • La Comtesse d’Escarbagnas is Gutenberg’s [EBook #7451]
  • Charles Heron Wall is Gutenberg’s translator
  • Images belong to the BnF and the sitelully.free.fr
  • Bold characters are mine.

Love to everyone 💕
____________________
[1] Georges Forestier Le Théâtre dans le théâtre (Genève: Droz, 1966), p. 353.

Antoine Boësset — À la fin cette bergère… 
Claire Lefilliâtre (soprano), Bruno Le Levreur, Jean-François Novelli, Arnaud Marzorati
Le Poème Harmonique — Vincent Dumestre

 

La Comtesse d’Escarbagnas, le Mariage forcé – Marc Antoine Charpentier
La Simphonie du Marais
Lyrics: Le Mariage forcé and added interludes

La comtesse d'Escarbagnas par Lalauze (1)

La Comtesse d’Escarbagnas par Adolphe Lalauze (theatre-documentation. com)

© Micheline Walker
6 January 2020
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