Perhaps the best known of Moliere’s plays is his most controversial, Tartuffe. by Diana S. Peters (1973);
W.G. Louÿs proposed the more educated Corneille as a possible ghostwriter, suggesting he composed plays that Molière would affix his name to and promote using his fame as an actor, in a mutually beneficial relationship. Or was Pierre Corneille, another famous French playwright of the time, the true author? “We are really, really convinced,” Cafiero says. In a theatrical period, the early
baroque, dominated by the formal neoclassical tragedies of Mairet,
Rotrou, du Ryer, Pierre and Thomas Corneille, and Racine,
Molière affirmed the potency of comedy as a serious, flexible
art form. Undeterred, Molière made matters worse by staging in 1665 a version of Dom Juan; ou, le festin de pierre (“Don Juan; or, The Feast of Stone”) with a spectacular ending in which an atheist is committed to hell—but only after he has amused and scandalized the audience. Cafiero and Jean-Baptiste Camps, a computational philologist at the École Nationale des Chartes, part of PSL Research University in Paris, have now brought a new technique to the debate. Alvin Goldfarb. Molière
{mohl-yair'}, whose real name was Jean Baptiste Poquelin, composed 12
of the most durable and penetratingly satirical full-length comedies
of all time, some in rhyming verse, some in prose, as well as six
shorter farces and comedies. Molière crowns his fantasy by showing his pedant falling in love with her, and his elephantine gropings toward lovers’ talk are both his punishment and the audience’s delight. Facts about Jean-Baptiste Poquelin, aka Molière 1. In his longer comedies, Molière
immensely refined the commedia themes and techniques, setting
most of his plots in and around Paris and raising neoclassical French
comedy to a plane of artistry and inventiveness never attained before
or since. He also created a gallery of incisive portraits: Tartuffe the
religious hypocrite, and Orgon, his dupe; Jourdain the social
climber; Don Juan the rebel and libertine; cuckolds such as Arnolphe,
Dandin, and Amphitryon; Alceste the stony idealist; Harpagon the
miser; Scapin the trickster; Argan the hypochondriac; Philaminte the
pretentiously cultured lady; and many more. He had to wait five years and risk the livelihood of his actors before his reward, which proved to be the greatest success of his career. As a comic dramatist he ranks with such
other distinctive masters of the genre as Aristophanes, Plautus, and
George Bernard Shaw. Yet in the early 20th century, some academics began to question his authorship. SUGGEST A SITE
Do you know of a great Molière site we should list here? Lizzie is Science's Latin America correspondent, based in Mexico City. He was born on Jan.
15, 1622, to Marie and Jean Poquelin; his father was a Parisian
furniture merchant and upholsterer to the king. “We care a lot more about who wrote these plays than Molière or Shakespeare did.”. The quarrel of L’École des femmes was itself outrun in violence and scandal by the presentation of the first version of Tartuffe in May 1664. Other playwrights resented
his continual experiments with comic forms (as in The School for
Wives) and with verse (as in Amphitryon). by Albert Bermel (1975);
Tartuffe and Other Plays (1967) and The Misanthrope and Other Plays (1968),
both trans. Image Source: Portrait of Molière - The Bettmann Archive;
Comédie Française scene - Giraudon/Art Resource, NY. Bibliography: A. Houssaye, Behind
the Scenes of the Comédie Française (1889);
H.C. Lancaster, The Comédie Française,
2 vols (1941; 1951). In 1919, for example, French writer Pierre Louÿs noted that Molière spent most of his life as a traveling actor and suddenly started to write masterpieces at about age 40. Moliere is best known for his comedies, such as Tartuffe and Dom Juan. During these 12 years he polished his skills as actor,
director, administrator, and playwright. Although he
proceeded to study law and was awarded his law degree in 1642, he
turned away from both the legal profession and his father's business. An overriding theme of Molière’s Tartuffe is not one of religion directly, but of that age-old concern of comme il faut, propriety, and appearance versus reality. What’s more, scholars have never found an original manuscript signed by Molière. Seven years later the king united Molière's company with one of its competitors; since that time the French national theater, the Comédie Francaise, has been known as the House of Molière. Culture, history,
language, travel,
and more! Yet he assumes that others will fulfill their obligations to him. Molière
responded by incorporating some of his detractors into his comedies
as buffoons and ineffectuals. ),
Sganarelle (1660), The Rehearsal at Versailles (1663),
and The Forced Marriage (1664); the longer plays (in three or
five acts) include The School for Husbands (1661), The
School for Wives (1662), Tartuffe (1664), Don Juan
(1665), The Misanthrope (1666), The Doctor in Spite of
Himself (1666), Amphitryon (1668), The Miser
(1668), George Dandin (1668), The Bourgeois Gentleman
(1670), Scapin (1671), The Learned Ladies (1672), and
The Imaginary Invalid (1673). Howarth and J. M. Thomas, eds., Molière: Stage and Study (1973);
J.D. Hubert, Molière and the Comedy of Intellect (1962);
F.L. Ongoing, uncredited revisions, especially in theater, and retelling common stories were the norm in the past, he notes. This site
recycled. Based on Paul Scarron’s version (La Précaution inutile, 1655) of a Spanish story, it presents a pedant, Arnolphe, who is so frightened of femininity that he decides to marry Agnès, a girl entirely unacquainted with the ways of the world. In 1645, the French playwright and actor Jean-Baptiste Poquelin -- better known as Molière -- mysteriously disappeared for several weeks, and this lavish comedy drama imagines a scenario that could explain what may have happened to him. AAAS is a partner of HINARI, AGORA, OARE, CHORUS, CLOCKSS, CrossRef and COUNTER. But for the past 100 years, a question has swirled around him: Did Molière really write his plays? Molière acted in the production, taking the lead role of Argan (the hypochondriac of the title). On February 20, 1662, Molière married Armande Béjart, the daughter of Madeleine and the comte de Modene. The first night of L’École des femmes (The School for Wives), December 26, 1662, caused a scandal, as if people suspected that here was an emergence of a comic genius who regarded nothing as sacrosanct. Molière learned much about physical comedy from the Italian specialists in the commedia dell’arte. (1962);
John Palmer, Molière, 2d ed. He also wrote a number of pastorals and other indoor and
outdoor divertissements, such as his popular comedy-ballets, that
depended on a formidable array of stage machinery (mostly imported
from Italy) capable of providing swift and startling changes of
sumptuous scenic effects. In 1662 he married
Armande Béjart, a 19-year-old actress who was either
Madeleine's sister or (as some of the playwright's rivals claimed)
her daughter by Molière. 1961);
The Misanthrope and Other Plays, trans. “They’re looking at lots of different indicators and seeing if they all say the same thing,” says Patrick Juola, a computational linguist at Duquesne University in Pittsburgh, Pennsylvania.
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