Molière Jugé par Stendhal (Classic Reprint)

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a b Starobinski, Jean (1989). "Pseudononimous Stendhal". The Living Eye. Translated by Arthur Goldhammer. Harvard University Press. ISBN 0-674-53664-9. Hippolyte Taine considered the psychological portraits of Stendhal's characters to be "real, because they are complex, many-sided, particular and original, like living human beings." Émile Zola concurred with Taine's assessment of Stendhal's skills as a "psychologist", and although emphatic in his praise of Stendhal's psychological accuracy and rejection of convention, he deplored the various implausibilities of the novels and Stendhal's clear authorial intervention. [35] O'Malley, John W. (2014). The Jesuits; a history from Ignatius to the present. London: Sheed and Ward. p.30. In 1661, Molière introduced the comédies-ballets in conjunction with Les Fâcheux. These ballets were a transitional form of dance performance between the court ballets of Louis XIV and the art of professional theatre which was developing in the advent of the use of the proscenium stage. [21] The comédies-ballets developed accidentally when Molière was enlisted to mount both a play and a ballet in the honor of Louis XIV and found that he did not have a big enough cast to meet these demands. Molière therefore decided to combine the ballet and the play so that his goal could be met while the performers catch their breath and change costume. [21] The risky move paid off and Molière was asked to produce twelve more comédies-ballets before his death. [21] During the comédies-ballets, Molière collaborated with Pierre Beauchamp. [21] Beauchamp codified the five balletic positions of the feet and arms and was partly responsible for the creation of the Beauchamp-Feuillet dance notation. [22] Molière also collaborated with Jean-Baptiste Lully. [21] Lully was a dancer, choreographer, and composer, whose dominant reign at the Paris Opéra lasted 15 years. Under his command, ballet and opera rightly became professional arts unto themselves. [23] The comédies-ballets closely integrated dance with music and the action of the play and the style of continuity distinctly separated these performances from the court ballets of the time; [24] additionally, the comédies-ballets demanded that both the dancers and the actors play an important role in advancing the story. Similar to the court ballets, both professionally trained dancers and courtiers socialized together at the comédies-ballets - Louis XIV even played the part of an Egyptian in Molière's Le Mariage forcé (1664) and also appeared as Neptune and Apollo in his retirement performance of Les Amants magnifiques (1670). [24] Death [ edit ] Molière's tomb at the Père Lachaise Cemetery. La Fontaine's is visible just beyond.

Stendhal: definition of Stendhal in Oxford dictionary (American English) (US)". Oxforddictionaries.com. 2014-01-23. Archived from the original on March 26, 2013 . Retrieved 2014-01-28. In 1799, the teenage Stendhal got his wish, traveling to Paris, ostensibly to pursue an academic career in mathematics. His diaries show, however, that he had been nursing a secret plan to become a playwright. He dreamed of become a "modern Jean-Baptiste Moliere," but his plans were soon interrupted by some wealthy relatives, who had him appointed second lieutenant in the French army stationed in Italy. In Italy, Stendhal discovered Lombardy, Milan, and the culture of the Italian people with whom he fell in love. His Italian experiences would dramatically shape the rest of his career. a b c Auerbach, Erich (May 2003). Mimesis: The Representation of Reality in Western Literature. Princeton, NJ: Princeton University Press. pp. 454–464. ISBN 069111336X. Molière is considered the creator of modern French comedy. Many words or phrases introduced in Molière's plays are still used in current French: Jean-Baptiste Poquelin ( French pronunciation: [ʒɑ̃ batist pɔklɛ̃], [pɔkəlɛ̃]; 15 January 1622 (baptised) – 17 February 1673), known by his stage name Molière ( UK: / ˈ m ɒ l i ɛər, ˈ m oʊ l-/, US: / m oʊ l ˈ j ɛər, ˌ m oʊ l i ˈ ɛər/, [1] [2] [3] French: [mɔljɛʁ]), was a French playwright, actor, and poet, widely regarded as one of the great writers in the French language and world literature. His extant works include comedies, farces, tragicomedies, comédie-ballets, and more. His plays have been translated into every major living language and are performed at the Comédie-Française more often than those of any other playwright today. [4] His influence is such that the French language is often referred to as the "language of Molière". [5]

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During Stendhal’s lifetime, his reputation was largely based on his books dealing with the arts and with tourism (a term he helped introduce in France), and on his political writings and conversational wit. His unconventional views, his hedonistic inclinations tempered by a capacity for moral and political indignation, his prankish nature and his hatred of boredom—all constituted for his contemporaries a blend of provocative contradictions. But the more authentic Stendhal is to be found elsewhere, and above all in a cluster of favourite ideas: the hostility to the concept of “ideal beauty,” the notion of modernity, and the exaltation of energy, passion, and spontaneity. His personal philosophy, to which he himself gave the name of “ Beylisme” (after his real family name, Beyle) stressed the importance of the “pursuit of happiness” by combining enthusiasm with rational skepticism, lucidity with willful surrender to lyric emotions. “Beylisme,” as he understood it, meant cultivating a private sensibility while developing the art of hiding and protecting it. LaPointe, Leonard L. (2012). Paul Broca and the Origins of Language in the Brain. San Diego, CA: Plural Publishing. p.135. ISBN 978-1-59756-604-9. Banham, Martin; Brandon, James R. (21 September 1995). The Cambridge Guide to Theatre. Cambridge University Press. ISBN 9780521434379.

Randall, Colin (24 October 2004). "France looks to the law to save the language of Molière"– via www.telegraph.co.uk. Perhaps the most remarkable aspect of The Charterhouse of Parma is its highly sophisticated psychology. Rejecting traditional notions of a fixed and determined psychological makeup, Stendhal never defines his characters and instead depicts individuals in the process of becoming. His literary devices (his authorial comments, the improvisational tone of his narration) seem to grant his characters the freedom to discover themselves. Various forms of freedom are Stendhal’s ultimate preoccupation, which probably explains why he repeatedly explores the ambiguities of the prison image. True freedom, in the world of Stendhal, reveals itself in the context of the cell, once confinement becomes the symbol of the inner world of dreams and longings. His novels thus illustrate metaphorically the fundamental conflict between the demands of society and those of the individual. Angela Pietragrua is cited twice: during their first meeting in 1800; and when he fell in love with her in 1811.Au, Susan (2002). Ballet and Modern Dance - Second Edition. London: Thames & Hudson LTD. p.26. ISBN 978-0-500-20352-1. Stendhal's unsuccessful love affair with Méthilde Dembowski inspired him to write the autobiographical treatise De l'Amour (1822). Méthilde served as a model for various of Stendhal's subsequent heroines. The treatise analyzes the mechanism of love as Stendhal had observed it operating in himself. The second part of the work is a pseudo-sociological study purporting to show how rational temperament influences and modifies the love mechanism. Stendhal was forced to leave Milan in 1821 because of his liberal political beliefs. In The Vicar of Wakefield, "the happy few" refers ironically to the small number of people who read the title character's obscure and pedantic treatise on monogamy. [27] As a literary critic, such as in Racine and Shakespeare, Stendhal championed the Romantic aesthetic by unfavorably comparing the rules and strictures of Jean Racine's classicism to the freer verse and settings of Shakespeare, and supporting the writing of plays in prose. Do we underappreciate comic writing ? It’s 400 years since the birth of France’s great satirical playwright, Jean-Baptiste Pocquelin, better known by his pen-name Molière. Stendhal described him as “the great painter of man as he is” and his works have continued to be translated and performed on both the French and British stage with recent adaptations by Christopher Hampton, Anil Gupta and the Scottish poet and playwright, Liz Lochhead. She joins Anne McElvoy to help consider what we make of Molière now and how well his plays work in translation, alongside Clare Finburgh-Delijani, Professor of European Theatre at Goldsmiths, University of London and Suzanne Jones, a Junior Research Fellow in French at St Anne’s College Oxford. Their discussion looks at various adaptations of Tartuffe, Moliere’s play translated as The Hypocrite or The Imposter, which was first performed in 1664. She joins Anne McElvoy to help consider what we make of Molière now and how well his plays work in translation, alongside Clare Finburgh-Delijani, Professor of European Theatre at Goldsmiths, University of London and Suzanne Jones, a Junior Research Fellow in French at St Anne’s College Oxford.

Under French law at the time, actors were not allowed to be buried in the sacred ground of a cemetery. However, Molière's widow, Armande, asked the King if her spouse could be granted a normal funeral at night. The King agreed and Molière's body was buried in the part of the cemetery reserved for unbaptised infants.Dom Garcie de Navarre ou Le Prince jaloux (4 February 1661)— Don Garcia of Navarre or the Jealous Prince

Molière (1622–73) is universally recognized as France's greatest comic playwright. He was also, by all accounts, the finest comic actor of his generation. He himself performed the leading roles in his plays, and at the same time was a director and manager: a complete man of the theatre. To focus on his plays as written texts, and to ignore questions of performance and stagecraft, would obscure our appreciation of his dramatic virtuosity, his specifically theatrical achievements and the remarkable variety of his work. Moreover, he was a highly self-conscious artist whose work constitutes a reflection, in the context of his times, on the nature and possibilities of comic drama. His achievement, as writer-actor-manager, was to renew comic drama in France and to give it something of the status of tragedy.

Richard F. Hardin, Plautus and the English Renaissance of Comedy (London: Rowman & Littlefield, 2017), esp. 73 and 134; ISBN 1683931297 Temporarily abandoning fiction, Stendhal turned again to biography, Vie de Napoléon (1839), to tragic adventure stories, Chroniques italiennes (1837-39), and to another travelogue, Mémoires d'un touriste (1839). The latter is a satire of customs and mores of provincial French life. Molière's friendship with Jean-Baptiste Lully influenced him towards writing his Le Mariage forcé and La Princesse d'Élide (subtitled as Comédie galante mêlée de musique et d'entrées de ballet), written for royal " divertissements" at the Palace of Versailles. The realistic note that runs through Stendhal's literary endeavors — fictional, biographical, documentary, critical, and journalistic — stems from his need to anchor himself solidly in reality as a point of departure. Everything he wrote begins in the realm of facts. He imposes his impressions and transforms reality, but it is a reality exterior to himself that furnishes the plot or subject matter. Stendhal (1975). "Chapter V". Memoirs of an Egotist. Translated by Ellis, David. Horizon. pp. 63. ISBN 9780818002243.