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PLAYS FROM MOLIERE BY ENGLISH DRAMATISTS
by VARIOUS
Binding: Paperback, 320 pages
Publisher: Fitts Press
Weight: 0.9 pound
Dimension: H: 0.75 x L: 8.5 x W: 0.48 inches
ISBN 10: 1408630524
ISBN 13: 9781408630525
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Book Description:
P L A Y S M O L I E R E BY ENGLISH DRAMATISTS CONTENTS . PACE SIR M ARTINM ARR. ALL b . y John Dryden . . . . . 9 THE MISTAKE b . y Sir rohn Varzb ugA . . . . . . 57 THE PLAIN DEALER. by WiZZiallz Wycherley . . . . 96 THF . M OCKD OCTOR by . I fin y F ielding . . . . . . 180 THE MISER. b yHenvyPieIdi . g . . . . . . . . 201 THE NON. JUROR b . y Colhey Cibber . . . . . . . z Gr INTRODUCTION JEAN BAPTISTEP OQUELINu, pholsterer to King Louis XIII., gave his name, Jean Baptiste, to a son born at Paris in January, 1622, That son, when he became player and dramatist, assumed the name of Moli6re. Until he was fourteen years old his education was neglected. His father sought to direct his mind to upholstery, and secured for him succession to his own Court office of valet de chambre tapissier. The boy had a grandfather who liked comedy, and who took him sometimes to the plays at the Ho teZ de Bourfogne. In 1543, when Francis I. ordered the sale and demolition of the H eZ de Bourgogne, and other houses, the players bought it, to build, at their own cost, a theatre upon its site. They opened it in 1548, but were no longer allowed to act plays on the mysteries of religion. They had among their farces Patehz, born in the fifteenth century, forefather of Tnrtufe. Translations from Plautus and Terence, from Seneca and from the first plays of the Italians, then enlarged the conception of dramatic art. Jodelle and Garnier, before 1580, laid the foundation of French classical tragedy. Pierre de Larivey, of whose comedies, all adapted from Italian writers, six were published in I 579 and three in 161 I, wrote in prose and justified abandonment of verse by arguments like those in Cardinal Bibbienas prologue to CnZanai.. His example was little folb wed even farce held to its octosyl1abic and it remained for Moliere not only to perfect the form of comic dialogue in verse, but also to show how wit and wisdom could point every phrase in lightest dialogue of prose. The plays seen at the H t e l de Bowgogne by Molihre in his boyhood were of all kinds, and most of them were loosely and carelessly constructed. Hardy and others, by their want of art, aided those tendencies of the times which were provoking a new plea for classical rule. Pierre Corneille, who was fourteen years older than Molihre, produced his Cid when Jean Baptiste Poquelin, not yet Molihre, was a boy of fourteen. Mademoiselle Beaupr6, one of the actresses at the Hbtel de Bourgagne, said of Corneille, in those days, that he had done the actors a great wrong. Before his coming they could play pieces that cost but three dollars, and were written in one night the public was used to them, and they brought much profit to the house but now the pieces of M. Corneille cost them much more and brought in little gain. Jean Baptiste Poquelin had more mind for the theatre than for the shop He had a mind for it, but a mind untrained, till his father was persuaded to ruin his chance of success as a Court upholsterer, by send ing him to school. He went to a Jesuit college, where he had for one of his teachers Pierre Gassendi, whose philosophy was based on that of Epicurus, and who then divided with Descartes dominion over the philosophers of France. His father being infirm, young Poquelin, at the age of nineteen, took his fathers place in the retinue of Louis XIII., durlng the kings visit to Languedoc in 1641. When he came back, his bent for the stage caused him to join a band of young associates who called themselves LIZIustre ThJdtre. A tragedy of Artaxerce was printed in 1645, as presented by this illustrious theatre. Money left by his mother came to him when he was of age...


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