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The Influence of the Three Dramatic Unities Upon the French Drama from the Cid to Hernani

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The Influence of the Three Dramatic Unities Upon the French Drama from the Cid to Hernani The Influence of the Three Dramatic Unities Upon the French Drama From the Cid to Hernani HELEN J. ALDRICH This thesis presented as partial requirement for the Degree of Doctor of Philosophy and accepted by the University of Colorado, 19 0 9 . PRINTED BY Lederer, Street & Zeus Co., ( INC.) BERKELEY, CALIFORNIA 1917. The object of the present essay is to show the influence of the three dramatic unities of time, place and action on the French Drama during a period of some two hundred years from The Cid to Hernani, when the rules were in vogue. 2 INTRODUCTION. , o nf the three dramatic unities in French drama date undoubtedly from the Silvanire of M airet._ which appear^ ^ icu T ^ ch drains. Z f r Z special merit, was appare y them before 1631. and Corneille is said never to ave preface written An edition of Tyr et Sidon, dated 1628 hasa preta. ^ by Francois Ogier, a scholarly man an "e early we so disturbed number that the ^ t s would recj a regularity in The very earliest of French p y ^ ^ authorS form that almost mc.mes, to ^ with th. rules which were aware of, and acting Unwever a closer afterwards caused so much tw only „„ study leads one to believe t at ese ■ wQullj |iave had classical subjects under ^"aissamiej ^ ^ ^ ^ little temptation to violate the > C0nS i0"63°'aph” lcian. Isnard, a preface which he wrote for ,be play of aMend, annonuced three rules of dramatic art,- “ celles du lieu, de 1’action e* du ^ (hree rules In 1632 Rayssiguier said that tQ them and that it because all the ancients were anoear contrary to was very nearly impossible for an action to appear cont y . , :r fue rules were observed, common sense or judgment rn rneille’s Cid to The French dramatists from the time of Corneille^ Victor Hugo’s Hernani knelt in homage o while Everythin/,hey wrote th'- plot may now and then hav stnlcture is monotonous. t 'h e T s s important men who wrote 3 plays in this period, the repetition of stock phrases and words detracts from what might often have been strong drama. There is an effort to keep the audience constantly reminded of the time of day and the sameness of place. Early in the development of the plot, our attention is attracted by the conventional “ avant la fin du jour” or “ des ce soir” or “jusqu’a la nuit,” or perhaps by all these expressions. 4 In the following pages will be found a list of tw^enty-three typical dramatists of the seventeenth and eighteenth centuries, together with a critical examination of their representative plays, with reference to their conventional observance of the unities. 5 I. J ea n de M a ir e t 1604-1686. Sophonisbe 1634. II. P ier r e C o r n e il l e 1606-1684. Le Cid 1636. Cinna 1640. III. R otrou 1609-1650. La Soeur 1645. IV. B o isro bert 1659-1662. La Belle Invisible 1656. V. D e s m a r e t s d e S a in t S o r l in 1595-1666. Les Visionnaires 1656. VI. T r ist a n l 'H e r m it e 1601-1655. Le Parasite 1654. VII. J ea n R a c i n e 1639-1699. Athalie 1691. VIII. T h o m a s C o r n e il l e 1606-1684. Le Festin de Pierre 1677. Le Compte d'Essex 1678. IX. P h il ip p e Q u i n a u l t 1635-1688. L’Amant Indiscret 1654. La Mere Coquette. X. M o l i&re 1622-1673. Le Misanthrope 1666. L’Avare 1668. XI. H a u t e r o c h e 1617-1707. Crispin Medecin 1673. ' XII. M o n t f l e u r y 1640-1685. L’Ecole des Jaloux 1664. XIII. E d m e B o u r s a u l t 1658-1701. Le Medecin Volant 1661. XIV. C r £ b il l o n 1707-1777. Catilina 1748. XV. V o lt a ir e 1694-1778. Mariamne 1724. Zaire 1732. XVI. J ea n F r a n c o is R eg n ard 1655-1710. Le Joueur 1696. X VII. Alain Ren£ Lesage 1668-1747. Crispin Rival de son Maitre 1707. XVIII. Ducis 1773-1816. Macbeth. X IX . D id ero t 1713-1784. Le Pere de Famille. X X . B eaumarchais 1732-1799. Le Barbier de Seville 1775. Le Mariage de Figaro 1784* X X I. M a r ie J o s e p h d e C h e n i e r 1764-1811. Nathan le Sage. X X II. J e a n F r a n £ o is C o l l i n d'H a r l e v i l l e 1755-1806. Les Chateaux en Espagne 1789. X X III. V ic t o r H u g o 1802-1885. Hernani. I . S o p h o n is b e . Jean de Mai ret. La scene est dans Cyrte, ville de Numidie. Acte III, Scene IV. Massinisse,— “ C ’est pourquoi trouvez bon qu’en la forme ordinaire, Le flambeau d’Hymenee aujourd’hui nous eclair Acte IV . Scene II. Sophonisbe,— “ Je ne vous parle plus comme hier je vous parlais En veuve de Syphax, et sujette a vos lois. Je sais bien que le noeud qui nous assemble Confond pareillement nos interets ensemble.” Scene III. Scipion,— “ Quoi? Bon dieux! dans le cours d’une meme journee Recouvrir un royaume et faire une Hymenee.” Acte V. Scene IV. Sophonisbe,— “ Vous savez qu’hier au soir lors qu’Hymen nous joignit Par deux diverses fois son flambeau s’eteignit,” Scene V. Sophonisbe,— “ Et que je meurs au moins dessus le meme lit, Ou mon funeste Hymen hier au soir s'accomplit.” 7 II. L e Cid. 1636. La scene est a Seville, au palais du roi, dans la maison du comte de Gormas, dans la ville. The characters move about through the streets and squares, however, which would have to be the case, in view of the varied action of the play. The time covered is indefinite and hence we have none of the usual expressions referring to it. Corneille did indeed fail to conform to the unities. III. ClN N A. 164O. Pierre Corneille. La scene est a Rome. Acte IV. Scene VI. Maxime,— "Un meme jour ta vu, par une fausse addresse, Trahir ton souverain, ton ami, ta maitresse.” Acte V. Scene I, Auguste,— “ Aujourd’hui meme encore, mon ami irresolue Me pressant de quitter ma puissance absolue, De Maxime et de toi, j ’ai pris les seuls avis.” IV. L a S o eu r. 1645. Rotrou. Acte I. Scene I. L *lic ,— “ Lt qu exigeant de nous ce funeste devoir II nous veut obliger d’espouser des se soir?” Ergaste,— “Dis ce soir” Sc£ne III. Lydie,— "Us epousent ce soir ” Scene IV. Ergaste,— Ce nest rien que se soir epouser Eroxene.” Acte II. Scene I. Aurelie,— Si de nos importuns, Pespcrance nest vaine, C e soir qui de nos voeux nous doit oter les fruits, ^ Sera suivi pour nous d’une etemelle nuit.” 8 Scene III. Lydie,— “Je rirai bien chercher, mais qu’apprendrayje enfin? Apres tous les serments qu’il m’a fait ce matin? Acte IV. Scene II. Ergaste,— “Apres tant d’accidents suruenus pour un jour, Je renonce au mestier de conseiller d’amour.” Scene V. Anselme,— “ Pour presser le disner, j ’entre avec Aurelie.” The play covers exactly twelve hours, beginning with the events of the morning and coming to a close with the marriage in the evening. V. L a B e l l e I n v i s i b l e ou La C o n s t a n c e E p r o u v e e . 1656. F. Le Metel de Bois-Robert. Acte I. Scene I. Don Carlos (quoting Olympe),— “ Si vous ne me voyez, dit-elle, au bal ce soir, Des qu’il sera fny, quelque heure qu’il puisse estre, Revenez en ce lieu, je m’y ferai connaistre.” Don Carlos,— “ Enfin, quoy qu’il arrive, il faut nous preparer Pour ce bal magnifique.” Acte III. Scene I. Here Olympe and Marcelle discuss the ball,—showing it to have already tcJken place. Olympe,— “Je vais au rendezvous ou Carlos doit se rendre/f Marcelle,— “ Mais n’est il point trop tard?” Olympe,— “J ’ay promis de l’attendre, Quelque heure qu’il puisse estre;— ” Note:—Apres des scenes episodiques sans importance, Don Carlos s’achemine en toute hate au lieu de rendezvous, accom- pagne de don Pedre, qu’il congedie a l’entree de la rue, 9 Scene IX. Don Carlos, Olympe, en la grille basse. This stage direction shows the rendez-vous. Acte IV. Scene I. Don Carlos enferme sans lumiere dans un bel appartement, avec un homme masque des quatre qui l’avaient arreste. Scene II. Don Carlos,— “Je mange jamais a telle heure qu’il est. Non, mesdames, la nuit je ne mange jamais; J ’avais soupe devant qu’aller a rassemblee.” Don Carlos,— “ S’il vous plait de veiller, j’aime autant qu’on demeure. Le jour, a mon avis, est si pret a venir Qu’il ne sera plus doux de vous entretenir.” Don Carlos,— “ Pourrais-je la revoir?” La Dame,— “ Non, pas de ce matin” I.*a Dame,— “ Passez done, au jardin, cette porte est ouverte.” Une Dame a Don Carlos,— "Le cocher vous va mettre a vingt pas de chez vous” Acte V.
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