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& db tt GB A&A&A&&A4&A&AA&&&&&&&&&& A A A A A A A A CRITICAL STUDT A A -. A A A A 0 F THE THEATRE OF MQLIEREA & A A A A A A A A DISSERTATI0» PRESEHTED A A A A BY A A A A A A FREDERICK HERRY PEPMONP. M.A,. A A A A A A A A AM PARTIAL REQUIREMENT A A A A A A FOR THE DEGREE A A A A OF A A A A A A DOCTOR OF PHILOSOPHY A A A A A A IH THE FACULTY OF ARTS A A A A A AT THE A i i i i i i »"> A A OTIIVERSITY OF OTTAWA M&^&'i I* A A A A A A A A A A A HAY 1943 A A A A A ct A A A AAAAAAAAAAAAA&AAAAAAAAA* A UMI Number: DC53982 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI® UMI Microform DC53982 Copyright 2011 by ProQuest LLC All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 TABLE OF C 0 I I | | f S INTRODUCTION 1 PART OBE: APPRENTICESHIP OF MOLIERE. 4 CHAPTER I: L'ETOURDI 4 CHAPTER Hi LE DEPIT AMOUREDT 11 PART TWO: MOLIERE'S DEBUTS 18 CHAPTER I: LES PRECIEUSES RIDICULES 18 A Background. ..... 18 B L'HStel de Ramboulllet,- Seventeenth century Preciosity 23 C Satire in "Lea Freoieuses Ridicules" 27 D. "Lea Freoieuses Rldleules" as a Faree 31 E. "Lee Preoieusee Ridiculee" aa a Comedy of Manners .. .........35 F Contrast between the Characters of Magdelon and Cathoe and between those of Mascarllie and Jodelet . 37 CHAPTER II: L'ECOLE DES MARIS 41 CHAPTER III: L'ECOLE DES FEMttES 59 CHAPTER IV: LA CRITIQUE DE L'ECOLE DI?S FEMMES. 85 CHAPTER V: L» IMPROMPTU DE VERSAILLES 94 PART THREE: THE TRIUMPH OF MOLIERE .103 CHAPTER QBE; LE TARTUFFE 103 A Sources of "Le Tartuffe" . 103 B The Trhee Editions of "Le Tartuffe" .... 108 C Hollers'* Reasons for writing "Le Tartuffe" 112 D The Development of the Character of Tartuffe 115 E The Denouement 122 PART THREE: THE TRIUMPH OF MOLIERE (cont'd) CHAPTER II: DOM JUAN 126 A Sources 126 B The Exposition 133 C Development of the Character of Dom Juan. 136 CHAPTER III: LE MISANTHROPE 150 A General View of the Comedy 150 B The Character of Aleeste 159 C "Le Misanthrope" as a Satire of the Seventeenth Century Society 162 D "Le Misanthrope" ae a French Classic High Comedyl64 CHAPTER IV: LE MKDECIS MALGRE LUI 166 A "Le Medecin Malgre Lul" as a Typical Example of Traditional French Farce .... 166 B "Le Medecin Malgre Lul" ae a Comedy of Manners" 170 C Conclusion 173 CHAPTER V: GEORGES DAM) IN OU LE MAR I CONFONDU. 175 A Sources 175 B "Georges Dandin" reviewed as a Social Satire. 176 CHAPTER VI: L'AVARE 181 A Sources ..... 181 B Character Study of Harpagon ..... 184 C The Denouement 191 CHAPTER VII: LE BOURGEOIS OEHTILHOMME 193 A A General View of the Comedy. 193 B Conclusion. 198 CHAPTER VIII: LES FEMMES SAVJ^TES 200 A Sources 200 B "Les Femmee Savantes" and "Les Pr6cieuses Rldisulee" 202 C Conclusion. 210 PART THREE: THE TRIUMPH OF MOLIERE (cont'd^ CHAPTER IX: LE MALADE BIAGHAIRE 213 A Mollere and the Doctors of his Time 213 B Sources of the Play 220 C Step-Mothers in Mollere: BSline and Elmire. 221 D Conclusion. ZZZ CONCLUSIONS 225 BIBLIOGRAPHY" 230 JJJJJJJJJJJJ -0-O-O-O-O"0-0-0-0- A ££IiI££l! £1221 OF THE THEATRE OF MOLIERE INTRODUCT ION One of the greatest names in the whole his­ tory of French Literature is that of Mollere. Though his genius is less versatile than that of Shakespeare, his greatness lies in the fact that he wae more than a typical poet of a particular era of French literature, that he was more than the representative genius of a great nation. He was one of the three great masters of modern literature whose fame belongs to all times, and to all countries. Shakespeare, Cervantes, and Mollere are the three creators whose works appeal to all educated persons, and whose sa­ tire and whose humour is eternal, because they illuminate the passions and weaknesses of all humanity; and, whose influence is greater than that of other writers due to their vast and sympathetic knowledge of the thoughts and characters of real men and real women, Mollere is surely, of all the great French masters, the most easily understood - 2 by all classes of people and has the most to offer to that large majority for whom life Is a realistic struggle and not a philosophic contemplation. No other dramatist in French litera­ ture, and perhaps, no other in the literature of the world, has left eueh a vivid picture of the vices and fads of mankind. The unhappy state of his domestic life did not prevent him from smiling in his works. He made all his characters seem natural and human; meanwhile, he produced a French laugh which foreigners did not understand. Mollere1 s laugh, compared with that of the fable writer before him, shows that it is less brutal. It is more refined than that of Rabelais, warmer than that of Montaigne, and is less biting than that of Pascal in his famous "Provlnclales". Details of the origin of the comic theatre in France are still scarce, but it is quite clear thnt the farce, which was given as an interlude between the acts of the long mystery plays, eventually became the most popular form of the comic theatre and enjoyed a steady development from the fifteenth century down to the very day of Mollere. The spirit of these farces resembled the "fabliaux," v/hich were presented in amusing short poems in lines of eight syllables, usually satiric in tone. They portray naturalistic bourgeois characters and depict scenes of everyday life, reminding one of the Spanish "capa y espada" comedies. In 1548 the French parliament forbade further performances of mystery plays in the city of Paris, but farce, - 3 - which wae not affected by the order, lived on wi th ever increas­ ing popularity throughout the sixteenth century, and later became one of the most important components of Moll ere's new theatre. Mollere wrote a number of one-act farces, but most of them remain known today by title only, such as "Gros-R^n^ ecolier," "La Jalousie de Gros-Rehe," sometimes called "La Jalousie du barboullle," " Ma'decin volant," "Le Doeteur pedant," "Gorgibus dans le sac," and Le Fagotier." He may have composed many other which are totally unknown today. Moll'ere's early farces are not original works in the strictest sense of the word, for they are very similar to the popular Italian comedy of the day. Both, the characters and the situation are conventional; and the plays were composed of tricks, disguises, and enormous jokes. Many of them were coarse and vulgar, depending on slap-stick and clowning to get a laugh. It was this laugh that he reserved and converted into the French laugh, while abolishing the coarsened and other conventional qualities of Italian comedy. While doing this, Moli>re revolutionized and emancipated French comedy, breathing life into the drybones left to him by his predecessors, and changing them from stock-characters and types to renlistic characters. The last sentence represents the theses of this study, and in the following pages the investigator assumes the responsibility of defending this thesis. PART ONE THE APPRENTICESHIP OF MOLIERE CHAPTER I "L'ETPURDI" Grlmarest says Mollere's early education wae neglected due to the death of his mother, and to the father's desire to have the young man follow his own pro­ fession. Thus, young Poquelin remained in his father's workshop until he was fourteen years of age. In 1636 Jean entered the College de Clermont, later, Louls-le-Grand, an Institution founded by the Jesuits In 1551. The Jesuits, being pioneers in the field of modern education, were the first teachers who consciously made it their aim to fit their pupils for this world as well as for the next one. They introduced new methods of teaching old subjects, such as Greek and Latin. Not only was their education good, but also was their company desirable. Therefore, people who opposed their educational procedures were quiok to seize the opportunity to send their sons to the Jesuits' schools. Thus, the sons of the nobles and those of leaser - 5 - people sat in the same classes, under the supervision of the same teachers. That was an example of the democratic spirit in education such as it is known in the Western hemisphere today. Little is known about young Poquelin's sojourn at the College de Clermont due to the fact that neither La Grange nor Grimarest took the liberty to shed any light on this topic. It is known that he left school in 1641, but continued his work in the field of philosophy and law.
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