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The Dramaturgy of Edmond Rostand. Patricia Ann Elliott Louisiana State University and Agricultural & Mechanical College

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The Dramaturgy of Edmond Rostand. Patricia Ann Elliott Louisiana State University and Agricultural & Mechanical College Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1968 The Dramaturgy of Edmond Rostand. Patricia Ann Elliott Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Elliott, Patricia Ann, "The Dramaturgy of Edmond Rostand." (1968). LSU Historical Dissertations and Theses. 1483. https://digitalcommons.lsu.edu/gradschool_disstheses/1483 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. This dissertation has been microiilmed exactly as received 69-4466 ELLIOTT, Patricia Ann, 1937- THE DRAMATURGY OF EDMOND ROSTAND. [Portions of Text in French]. Louisiana State University and Agricultural and Mechanical College, Ph.D., 1968 Language and Literature, modern University Microfilms, Inc., Ann Arbor, Michigan THE DRAMATURGY OF EDMOND ROSTAND A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy m The Department of Foreign Languages by Patricia Ann Elliott B.A., Catawba College, 1958 M.A., University of North Carolina at Chapel Hill, 1962 August, 1968 ACKNOWLEDGMENTS I wish to express my deep personal appreciation to Professor Elliott Dow Healy for his inspiration to me and guidance of my studies at Louisiana State University, and particularly for his direction of this dissertation. I am especially grateful to my parents for their encouragement throughout my studies. r / ii & CONTENTS Page INTRODUCTION ......................................... I I. THE ARRANGEMENT OR P L O T ...................... 20 II. DEVELOPMENT OF CHARACTER..... 46 III. THOUGHT: THEMES AND I D E A S ................... 106 IV. LANGUAGE....................................... 161 V. MUSIC AND S P E C T A C L E .......................... 225 CONCLUSION........................................... 264 SELECTED BIBLIOGRAPHY .............................. 271 VITA ................................................. 275 lii ABSTRACT The spectacular success of Edmond Rostand's dramas at the turn of the nineteenth century poses the question as to what facets of the plays are responsible for their suc­ cess. This investigation proposes to examine Rostand's dramaturgy through a study of the structure of the plays. The frame of reference used is the six constituent elements which Aristotle deemed requisite for tragedy: plot, charac ter, thought, diction, i.e., language and dialogue, music and spectacle. The total study reveals that Rostand, like Aristotle placed primary emphasis on plot construction. Examination of the plots of the plays reveals that the playwright care­ fully, logically, and artistically arranged their structure according to both story and form. Skillful character creations support the prominence and convey the impact of the plot. Rostand's forte is the portrayal of the hero. This study proposes that each hero reflects a magnification of a certain phase in life; one might then interpret this proposal to indicate that the heroes, taken in chronological order, represent the psycho­ logical maturation process in man. Moreover, merging the collective heroes, one finds that each represents an exaggerated facet of man; together they comprise the total man. This study does not support the general allegation that the feminine characters in Rostand's plays are weak, for when the heroines' actions have direct bearing on the outcome of the plays, they are well drawn. Six universal themes which are found consistently in Rostand's plays are discussed: love; idealism; optimism; death and the significance of life as revealed in death; the concept of illusion versus reality, including disillu­ sionment; and courage, including the concept of le panache. These universal themes are individualized by the episodes of the plot. The playwright's use of language is a tribute to his dramatic and poetic skill. The dialogue is usually refined, poetic, aristocratic, and for the most part appropriate for the personages. The plays are written primarily in alexan­ drine couplets. Innovations within the lines inject move­ ment; deviations into other syllable counts and rhyme schemes provide variety and create different moods. Rostand has chosen words to convey precise meaning and then embellished the language to create mood and establish tone. In Chante- cler he selected words for their sound qualities as well. He relies heavily on images of nature and the universe. Total theatrical effect is achieved with music and spectacle. Rostand employed music in each play in varying degrees. It serves as a natural accompaniment to action v and to create moods. Spectacle is discussed in terms of decor and coups de theatre. Its effectiveness is evident in that the decor either completely or partially assists in giving information, in aiding characterization, in estab­ lishing the level of probability, and in creating mood and atmosphere. Obviously the playwright exploits spectacle in order to complement the action of his dramas. Throughout his plays Rostand skillfully substantiates his dramaturgical, artistic, and poetic prowess. His innate sense of the dramatic as well as his precision 'in composi­ tion results in technically sound artistic creations, and thus accounts in large measure for their success. vi INTRODUCTION The dramatic works of Edmond Rostand may be likened to a brilliant star which appeared suddenly on the Parisian 'theatrical horizon, blazed incandescently for a short time, then with the mortality of a spectacular comet fell quickly into darkness. Except for occasional sparks consisting of performances of Cyrano de Bergerac, the glittering poetic evocations live only in the memories of those fortunate to have witnessed the spectacles and in the hearts of eternal romantics. The verve and enthusiasm evident in the lively, color­ ful work of the poet-dramatist are sometimes attributed to His Provencal temperament. Born in Marseille, April 1, 1868, Rostand spent his early youth in an atmosphere of cultural activities and economic comfort.1 Jules Haraszti, in Edmond Rostand, says, "Malgre quelques rares nuages fugitufs, le ciel bleu de la Mediterranee ne cessera de briller avec toute .. sa splendeur au-dessus de cet enfant gate de la fortune. "2 At the Marseille lycee he won prizes in history and French.3 From Marseilles he went to Paris at the age of sixteen, where he studied at the college Stanislas. After the baccalau- reat, he continued studies in law while devoting most of his time to reading and to writing verse.4 In 1887 Rostand received public literary recognition 1 V. for his essay, "Deux romanciers de Provence, Honore d'Urfe et Emile Zola," winning the Marechal de Villars prize in the competition at the Academie de Marseille. Jean Suberville in Le Theatre d'Edmond Rostand dis­ cusses the milieu in which the young Rostand found himself in Paris and comments, "le nouveau Parisien au regard ardent et melancolique, entre dans un monde qui ne ressemble pas a son ame."^ Leaning toward les heros and art, he found that Naturalism, dilettantism and devotion to beauty of form had replaced idealism and patriotism. "Dieu, la Patrie, l.’ame, l’ldealisme s'en vont.... On n'aspire plus a vivre: on subit la v i e . Suberville concludes: "Ainsi, par un instinct atavique, corroborant l'impulsion de sa propre nature, obeissant a l'appel des heros qui voulaient naxtre de lui, Rostand s'est evade de sa generation sceptique, et s ’est tourne vers la jeunesse qui suivait la siepne et dont il a pressenti le grand destin."^ In 1890 Rostand published Les Musardies, a collection of poems which Emile Faguet in "La Vie et l'oeuvre d ’Edmond Rostand," Avant propos du Tome ler des Oeuvres completes illustrees d'Edmond Rostand describes as "vers gais , riants, alertes, simples, verdissants,...poemes tres ingenieux, la plupart exquis deja de prestesse, de desinvolture et d'une sentimentalite legere, mousseuse et capiteuse.''^ This same year he married Rosemonde Gerard, who, ac­ cording to Paul Faure in Vingt ans d'intimite avec Edmond Ros tand,9 was the inspiration, the comforting, understanding source of gravity for the fragile star that was this poet. Haraszti describes her in these terms: "c'etait une beaute digne de Watteau: cheveux d'or clair, yeux bleus et .reveurs; figure en ovale, rose et delicate; taille svelte et souple, --la grace incarnee dans toute la fr.axcheur et avec une ele­ gance aussi distinguee que naturelle."10 It was to her that Rostand dedicated his first successful play, Les Romanesques, which was performed at the Comedie Franqaise May 21, 1894. Faguet notes that with Les Romanesques Rostand demon­ strates his skill as a dramatist: II avait l'instinct d'une fable ingenieuse, curieuse, originale, a amuser 1’imagination. II avait le don du mouvement, de l'action vive sans etre precipitee, ne s'arretant jamais et se renouvelant par elle-meme. II avait l’instinct du mot exterieur, jaillissant, aile, passant la rampe.H Andre Antoine’s entry in his journal May 22, 1894, indicates the lustrous glitter of theatrical success Rostand savored for a flashing instant: "Les Romanesques d'Edmond Rostand sont un tres grand succes a la Comedie Franqaise, du reste, c'est une bien jolie chose. Pierre Apesteguy in La Vie Profonde d'Edmond Rostand points out that Rostand's fascination with the twelfth cen­ tury legend of Joffroy Rudel and his relating the idea for the play to Sarah Bernhardt resulted in her interest in the role of Melissinde and Rostand's composition of La Princesse lointaine. -*-3 April 5 , 1895 , Sarah Bernhardt incarnated Melissinde at the Theatre de la Renaissance. Faguet empha­ sizes the philosophical idea in La Princesse lointaine: 4 la vie entiere se passe a poursuivre l'ideal et qu'on meurt, du reste content et ravie de l'avoir senti un instant...
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