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Plays, [electronic resource] : by Moliere. The romantic ladies, Don Garcia of Navarre, The school for husbands, The school for wives, The school for wives criticised, and The impromptu of Versailles. A New Translation.
No full textReissued as Volume 2 of 'The works of Moliere. In six volumes.', 1771, with a cancel titlepage.Electronic reproduction.English Short Title Catalog,Reproduction of original from Bodleian Library (Oxford)
Moliere
No full textMedium: etchingsigned and dated."Moliere" [1959.5196.000.000], Punt, JanExtent: imageExtent: shee
Moliere
No full textPortrait of Moliere in profile. Jean-Baptiste Poquelin, known by his stage name Moliere, was a French playwright and actor who is considered to be one of the greatest masters of comedy in Western literature. Among his best-known works are Le Misanthrope (The Misanthrope), L'Ecole des Femmes (The School for Wives), Tartuffe ou L'Imposteur (Tartuffe or the Hypocrite), L'Avare (The Miser), Le Malade Imaginaire (The Imaginary Invalid), and Le Bourgeois Gentilhomm
Moliere
No full textPortrait of Moliere in profile. Jean-Baptiste Poquelin, known by his stage name Moliere, was a French playwright and actor who is considered to be one of the greatest masters of comedy in Western literature. Among his best-known works are Le Misanthrope (The Misanthrope), L'Ecole des Femmes (The School for Wives), Tartuffe ou L'Imposteur (Tartuffe or the Hypocrite), L'Avare (The Miser), Le Malade Imaginaire (The Imaginary Invalid), and Le Bourgeois Gentilhomm
Moliere
No full textMedium: etching"Moliere" [1959.4746.000.000], Baratta, Antonio, Novelli, Pietro Antonio IiiExtent: plate 13.5 x 8.
Moliere\u27s Influence on Congreve
Full text linkConclusion:
Congreve owes a debt to Moliere - a debt which varies with the different plays but which can be traced in all four comedies. Plots, characters, and dramatic style recall Moliere. Many of the similarities between Congreve and Moliere may be accidental and allowances must be made for these. But after all allowances are made, the great indebtedness of Congreve to Moliere is evident. We may conclude with Swinburne that a limb of Moliere would have sufficed to make a Congreve and yet that no English writer, on the whole, has so nearly touched the skirts of Moliere
MOLIERE: STRUCTURE AND COMIC RHYTHM
No full textThis study analyzes the evolution of structure throughout Moliere\u27s dramatic production. All of Moliere\u27s plays (as well as Le Remerciement au roi) are discussed in thirty-three individual chapters in order to provide the reader with a quantitative and qualitative understanding of Moliere\u27s techniques of dramatic composition. Given particular importance is Moliere\u27s preoccupation with structural design (the interdependent rapports between the constituent elements of comedy) and its relation to comic rhythm, an aesthetic approximation of the natural cycles of life. The opening chapters deal with Moliere\u27s apprenticeship period wherein he experimented with conventional structures, acquiring his craft while adapting his conception of comedy to the stage. The middle chapters (L\u27Ecole des femmes, Le Tartuffe, and Dom Juan) treat Moliere\u27s refinement of structure, and concentrate on his techniques of microcosmic/macrocosmic construction (acts and scenes are patterned after the overall arrangement of the play). The remaining chapters explore Moliere\u27s new directions in structure: the musical structures of the comedies-ballets and their influence on the more conventional forms of comedy; structure as a parody of traditional comedy; and, new experimentation with diction as a preponderant element in structural design. These chapters discuss Moliere\u27s modern traits and attempt to illustrate his original and diversified uses of structure
The life and works of James Miller, 1704-1744, with particular reference to the satiric content of his poetry and plays.
No full textPhDJames Miller was born the son of a Dorset rector in 1704. He
was himself ordained, but acquired no benefice until just before his
early death, probably because of a scathing portrayal of the Bishop
of London in one of his verse satires. At Oxford he wrote a vivacious
comedy of humours, set in the University. Its production in 1730
began his dramatic career, at a time when the number of London
theatres had just doubled, and new dramatic forms were being invented.
In 1731 his poem Harlequin-Horace, a witty inversion of
the Ars Poetica, attacked pantomime and opera, but also painted a
lively portrait of the entire theatrical world, in the tradition of
the Dunciad.
After collaborating in a translation of Moliere's works Miller
wrote two plays based on this author. Of all his dramatic works
these were the most successful with his contemporaries, and were
followed by a modernisation of Much Ado, and a ballad-opera adapted
from an afterpiece by Jean-Baptiste Rousseau, and rendered highly
topical. Miller made similar use of a recent French comedy showing
a Red Indian's reactions to civilisation, a satiric "fable" by Walsh
and Voltaire's Mahomet. A large quantity of original material was
incorporated into most of these, and this is generally satirical in
nature. The Indian is made to voice almost egalitarian sentiments.
An afterpiece, "The Camp Visitants", satirised military inaction
in the war, and was apparently banned. The manuscripts of the six
plays produced after the Licensing Act bear the examiner's deletions,
and illustrate the nature of the censorship at this time.
Miller's greatest strength is probably his flexible, vigorously
colloquial dialogue. His political satire is mostly contained in
the poetry, which attacks Walpole's administration with increasing
vehemence through the seventeen-thirties, until its fall. In 1740
two poems that used Pope in symbolic contrast to Walpole caused a
sensation. In both poetry and plays Miller is also a social satirist,
who lays unusually strong emphasis on false taste and the deterioration
of culture
The Guénégaud Theatre 1673-1680 and the machine plays of Thomas Corneille
Full text linkThe Guénégaud theatre was in operation in Paris from 1673 to
1680 - from shortly after Molière's death to the foundation of the
Comedie-Frangaise. Although the first home of both the Paris Opera and
the Comedie-Frangaise, the Guénégaud has attracted little attention, and
no previous study has been devoted entirely to it, despite the fact that
the Guénégaud account books are preserved in the Archives of the
Comedie-Francaise. These have provided a wealth of information on the
day-to-day running of a seventeenth-century French theatre and the
preparation of productions. What is more, a study of the records of
ticket sales they contain has been found to make possible not only an
analysis of the tastes and, to a certain extent, the composition of the
Guénégaud's audiences, but also a reconstruction of the theatre building
itself.
In 1673, the Guénégaud company was in a highly vulnerable
position. Just seven years later, however, it was so powerful and in
possession of a theatre so well-equipped, - that it was the ancient and
prestigious Hotel de Bourgogne company that was closed down and its
actors transferred to the Guénégaud to form the Comedie-Francaise. This
thesis, therefore, further examines how the Guénégaud company succeeded
in effecting this reversal in their fortunes.
One major contributing factor was the Guénégaud company's
series of machine plays by Thomas Corneille and Donneau De Vise.
Concentrating on Circe, the first and most successful of these, as a
single representative production, this thesis, is also, therefore, a
study of the adaptation and final demise of a genre where music was of
primary importance in the face of implacable opposition from Lully,
desirous of protecting his privilege on the production of operas.
Finally, the thesis attempts to show that if there is any
justification in the tradition by which the Comedie-Frangaise is known
as the 'Maison de Moliere', this is entirely due to the Guénégaud
company's success in ensuring their own survival and, in so doing,
maintaining and transmitting their inheritance from Moliere's troupe,
and that this same survival was in no small part thanks to the machine
plays of Thomas Corneille
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