The Comic in the Theatre of Moliere and of Ionesco: a Comparative Study

Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1965 The omicC in the Theatre of Moliere and of Ionesco: a Comparative Study. Sidney Louis Pellissier Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Pellissier, Sidney Louis, "The omicC in the Theatre of Moliere and of Ionesco: a Comparative Study." (1965). LSU Historical Dissertations and Theses. 1088. https://digitalcommons.lsu.edu/gradschool_disstheses/1088 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 microfilmed exactly as received 66-744 PELLISSIER, Sidney Louis, 1938- s THE COMIC IN THE THEATRE OF MO LI ERE AND OF IONESCO: A COMPARATIVE STUDY. Louisiana State University, Ph.D., 1965 Language and Literature, modern University Microfilms, Inc., Ann Arbor, Michigan THE COMIC IN THE THEATRE OF MOLIHRE AND OF IONESCO A COMPARATIVE STUDY 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 in The Department of Foreign Languages btf' Sidney L . ,') Pellissier K.A., Louisiana State University, 19&3 August, 19^5 DEDICATION The present study is respectfully dedicated the memory of Dr. Calvin Evans. ii ACKNO'.-'LEDGEKiNT The writer wishes to thank his major professor, Dr. Elliott D. Healy, for his knowledgeable suggestions and sympathetic guidance, without which the writing of this dissertation might not have been possible. The writer is also grateful to Mr. Henri Janin and to Dr. kebecca Cassel for having carefully read this work and having proffered many help ful suggestions. iii TABLE OF CONTENTS Page DEDICATION .................................................... ii ACKNOWLEDGEMENT ................................................. iii ABSTRACT ...................................................... v PART I: PRELIMINARIES ........................................... 1 CHAPTER I INTRODUCTION ......................................... 2 II LAUGKT'I? AND THE COMIC: A DESCRIPTIVE SURVEY OF SEVERAL PROMINENT THEORIES .................................. 5 III THE NET CRITICISM OF MOL I ERE ........................ *+8 PART II: COMPARISONS ............................................ 65 CHAPTER I MO LI ERE AND IONESCO ................................ 66 II TOTALITY OF C O M C TENSION: A STRUCTURAL ANALYSIS OF LEG PRSCIFUSES RIDICULES AND LA CANT,.TRICE CHAUVE ................................... 75 III DELUSION' AND DISGUISE AS COMIC TECHNIQUES .................................... 129 IV THE COMEDIANS VIE'.-/ THEIR ART ......................... 167 V CONCLUSIONS .......................................... 193 SELECTED 3I3L10GRAPHY ........................................... 200 VITA ............................................................. 207 iv ABSTRACT Many of the comedies of Moliere (1622-1673), France's greatest writer of neo-classical comedy, and those of Ionesco (1912- ), a lead ing figure in the French avant-garde theatre, are essentially similar. Both playwrights possess rich comic vision, for there is to be found in their plays an impressive variety and intensity of comic effects. The present study demonstrates largely via structural analyses that although the plays of these writers may differ apparently, they manifest a number of organic similarities. The first part of the study is concerned with two basic problems implicit in a comparison of Moliere and Ionesco. The first is to formu late some working conclusions concerning the nature of the comic. A survey of selected theories of laughter and the comic discloses that there is no definitive work on the subject, but that certain constants such as the notions of contrast, surprise, and utility (personal and so cial) can be derived from the various theories investigated. Bergson's contention that the comic constitutes something mechanical or rigid en crusted upon the living was deemed both the most comprehensive theory as well as the one best suited to the structural analysis of dramatic comedy. The second problem was to attenuate the traditionally proffered critical opinions of Moliere which imply that he is primarily a moralist. This was effected by carefully exposing the tenets of the new Moliere criticism which insists upon interpretation of his theatre as disinter ested, purely theatrical art. In the second part of this study a detailed comparative structural analysis of Les Precieuses ridicules (Moliere) and La Cantatrice chauve (Ionesco) demonstrates that many of the same comic techniques are em ployed in these one-act comedies to create a totality of comic tension. A consideration of the analogous use of delusion as a comic technique in painting personages such as Moliere*s K. Jourdain of Le Bourgeois gentil- homme and Ionesco's old man of Les Chaises creates awareness of the authors* similar ability to create comedy of things essentially pathetic. An investigation of disguise as a comic technique as manifested in the presentation of the central character of Tartuffe and La Legon likewise demonstrates the talent of Moliere and Ionesco for comic treatment of the sinister. The views expressed by both dramatists on the nature of dramatic comedy and its criticism as seen in three polemic pieces, La Critioue de 1 * ecole des femmes, L*Impromptu de Versailles, and L*Innromntu de I * Alma, are analogous. Both authors express faith in the Aristotelian concept of theatre and state that plays are to be criticized primarily according to their success or failure as vehicles for entertainment. It was concluded that the comic is difficult to define because it constitutes a multiplicity rather than a unity, and that it manifests greatly varying moods or qualities. L’xamples of the comic of gaiety, of pathos, and of the sinister in the repertory of both dramatists were cited. It was further concluded that their plays are essentially similar because both playwrights are representational artists who view the world vi with all-pervasive comic vision which enables them to turn virtually all they witness to the purposes of comedy. vii PART I PRELIMINARIES CHAPTER I INTRODUCTION Moliere, France's greatest writer of neo-classical comedy, and Eugene Ionesco, a leading figure in the French avant-garde theatre, are kindred spirits. Such a statement may seem unwarranted in view of the traditionally ventured critical judgments of Moliere; he is seen as a moralist, the bon bourgeois giving dramatic form to his philosophy of life, the creator of a number of regular comedies that are universally acclaimed masterpieces, Ionesco, on the other hand, is a self-declared enemy of the bourgeois way of life, has made no attempt to fit his come dies into any regular form, and has not been accorded unanimous critical acclaim. How then, can these two men separated by nearly three hun dred years and apparently polar points of view and dramatic literary production be compared? A careful study of the plays of these two wri ters will reveal a number of organic similarities. Both Moliere and Ionesco possess a highly developed sense of the comic, and their plays bear witness to their intense comic vision. There is to be found in their comedies an impressive variety of comic effects produced through skilled manipulation of character, situation, and language. Above all, they both manifest theatrical sensitivity and know how to create unfail ing comic tension. It will be the purpose of this study to investigate the affinities 3 of the comedies of Moliere and those of Ionesco. No attempt will be made to trace any direct influences Moliere may have had on Ionesco; such an attempt would be tedious and unrewarding. Neither will there be emphasis placed upon the superficial similarities inherent in the dramatic literature of the two men. Instead, we will proceed to a di rect consideration of the many manifestations of the comic element in their plays. It is our opinion that the literary critic of comedy must not be overly concerned with the philosophic, moral, or didactic elements of comedy; it should be his task to deal with the comic aspects of a piece. Such a study of the comedies of Moliere and Ionesco will reveal essential similarities of comic style. There are two basic problems which are implicit in a study such as the one proposed. In order to be able to select and give an appre ciation of the various comic elements in the theatre of Moliere and Io nesco, we must make an effort to discern that which is comic. So the first, and more difficult of the two problems is to come to some workable conclusions about the nature of the comic itself. The second major difficulty to be encountered in the present study is that the focal em phasis of traditional criticism of Moliere, the work of nearly three centuries of scholarship, must be dismissed. This is not to imply that such criticism is worthless; it is merely not applicable to our needs. Traditionally Moliere has been looked upon as the greatest French comedian, and it would be difficult to dispute such a position. Yet very little can be found in the writings of most molieristes that deals directly with

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