French Neoclassicism
By: The Croissants
A Bit of History
This took place from the 17th century to the 18th century.
•France was beset by civil strife and wars until the 1620s (this is after the death of Shakespeare in 1616). Therefore, adoption of Italian standards and conventions was delayed.
•There weren’t many professional companies. Theatres were rented, fees were charged, and medieval mansions were still used. Improvised farces became popular (France became known for the farce), and many farce actors were famous (such as Gros-Guillaume – "Big William").
•In 1625, Cardinal Richelieu became Chief Minister of France. Under his leadership, religious squabbles were squelched, and with peace came more theatre developing.
•In 1635, Richelieu established the French Academy – a prestigious literary academy to maintain purity of the French language and literature.
•In 1645, Giacomo Torelli is hired to redesign the court theatres. After this, there were always at least two professional theatre companies in Paris, and often more.
•With the decline of religious strife and the establishment of the Academy, educated men began to write plays.
Important Playwrights
Pierre Corneille (1606-1684)
•He was one of the three main playwrights of this time period.
•His most famous play is Le Cid however it is not considered a Neoclassical play during the French Neoclassical era.
•His first play was Melite.
Jean Racine (1639-1699)
Jean Racine (baptismal name Jean-Baptiste Racine) was a French playwright. He was an important literary figure in the Western tradition. Racine wrote mostly tragedies, including some that were said to be "neoclassical perfection“ such as Phaedra, Andromaque, and Athalie. However, he did write one comedy called Les Plaideurs and a muted tragedy called Esther for the children.
Molière (1622-1673)
Important Plays
The School for Wives (1662)
Genre: comedy
Playwright: Molière
When: 1662
- Molière wrote The School for Wives (L'École des Femmes), which appeared at the Palais Royal as a Christmas novelty. It was the first time he had taken up the pen since Armande became his wife, and it is remarkable that, in his new comedy, as in the one produced when his passion for her was growing upon him, he resorted to the ethics of marriage for his materials. In The School for Wives, Arnolphe is in search of a wife who is ignorant and does not want to be desired by other men. In order to accomplish this, he decides to marry his ward, Agnes. However before he can, a man named Horace claims to love Agnes. Arnolphe later tells Agnes to stay away from Horace, however she doesn't fully understand due to her ignorance and innocence. Throughout the entire play, you see how Arnolphe views marriage: as total possession over your wife.
The School for Husbands (1661)
Genre: Comedy
Playwright By: Molière
When: 1661
Léonor and Isabelle, orphaned on the death of their father, are committed by his deathbed wish to the guardianship of his friends Sganarelle and Ariste, with the additional charge that if Sganarelle and Ariste do not marry the young women, then the guardians are to provide suitable husbands for their wards. The two brothers have different ideas about the upbringing of the orphans. The elder, Ariste, chooses to conform to the fashions of the day but without going to extremes. He gives his ward, Léonor, the opportunity to attend balls and dances and meet the gallants of the city. Although he himself wishes to marry her, he loves Léonor sufficiently to leave the choice to her.
The Imaginary Invalid (1673)
Genre: Comedy
Playwright- Molière
When: 1673
- Argan is a hypochondriac. He regularly takes concoctions provided by his physician, Purgon, and an apothecary named Fleurant. So worried is he about his health that he has betrothed his older daughter, Angélique, to a young doctor so that he will have ready access to medical services. Angélique is already in love with another young man, Cléante. When Argan tells her that someone has asked for her hand in marriage, she concludes that the petitioner was Cléante. She says, “I ought to obey you in everything, Father.” However, a moment later, he informs her, to her dismay, that she is to marry Purgon's nephew, Thomas Diafoirus, who will complete his medical studies in three days.
Conventions
Sound
A Very Important Part of Make-Up
Scene
The School for Wives
Scene Script
Chrysalde.
You have come back, you say, to give her your hand ?
Aknolphe.
Yes ; I intend to conclude the matter now.
Chrysalde.
Being quite alone, we can speak without
fear. Will you let me, as a friend, lay open
my heart? This project of yours makes me
tremble with dread; no matter in what way
you turn the affair, tins taking a wife is, for
you, a rash thing.
Arnolphe.
I shall do so, my friend. Perhaps in your
case you have reason for fears you bestow upon
me; your forehead, I think, is expectant of
horns, — the infallible dower most marriages
bring.
Chrtsalde.
All that is a risk from which none are secure;
and foolish, I think, are precautions against it.
No, what I 'm fearing for you is the satire you
turn on a hundred poor husbands who suffer its
sting. There are none, great or small, as you
know very well, who have ever been safe from
your critical tongue. Your greatest enjoyment,
wherever you are, is to make an exposure of
secret intrigues.
Arnolphe.
So be it. But is there in all the world an-
other town where husbands are as patient as in
this ? Do we not see every species of man put-
ting up, in their homes, with all kinds of decep-
tion? One piles up wealth, which his wife is
distributing to those who are busily giving him
horns. Another, more happy, but none the less
infamous, sees the presents that daily are made
to his spouse, and no jealous thought ever enters
his mind when she tells him, forsooth, they are
gifts to her virtue ! A third makes a fuss which
protits him nothing; a fourth, with all sweet-
ness, lets matters go on, and when the young
gallant appears at his house takes his cloak and
his gloves with a cordial smile. Some wives,
clever females! confide false tales of pressing
lovers to their faithful lords, who sleep in
peace on that illusion and pity the poor gal-
lants for wasting a devotion which is no waste
at all! Others, to justify their splendor, say
that they win at cards the sums they spend;
and their booby husbands, not asking at what
game they played, give thanks to God for such
good luck ! In short, there 's everywhere such
chance for satire, how can I help it if I have to
laugh ? If men are fools, shall I not — 1
Chrysalde.
Yes ; but he who laughs at others must fear
that in revenge they '11 laugh at him. I hear
the talk of the world and of those who idly run
about to tell the things that happen; but, often
as they divulge their secrets in my presence, I
never yet was known to spread such gossip. I
am reserved; and thovigh on some occasions
I may condemn a husband's tolerance and, in my own care what I see others bearing do not say so openly. We should fear the rebound of satire ; and we cu ( swear in any given case what we niiglit do, 6r not do. So if my
foreliead, by fate which rules us all, should be
disgraced, I may feel pretty certain that the
world will be content to laugh in secret; nay,
I might even have the comfort that some good
folks would say it was a pity. But as for
you, my friend, the case is different; and I
say again, you run a devilish risk. If you
•would not be jeered at in your turn, you'll
have to walk erect and straight among these
husbands, whom for years your tongue has
lashed until they think you in their hearts a
devil let loose; for, if you give them but the
.slightest chance, beware the hue-and-cry they 'II
raise about you.
Arnolphe.
Good heavens! my friend, don't worry about
that. Adroit indeed would be the man who 'd
catch me there. I know the artful tricks and
subtle plots the women use to fool us ; and as
so many men are duped by their dexterity, I
have taken sure precautions in my case. The
girl I marry has all the innocence I need to save
my forehead from malignant influence.
Chrysalde.
And do you think a little fool — i
Abnolphe.
I wed a fool to he no fool myself. I think,
as I am bound to do, your better half is virtuous,
but an able woman is an ominous thing. I
know the cost to some men of choosing wives
with talent. What ! saddle myself with a clever
creature who could talk routs and ruelle, write
prose and verse, receive the visits of choice
wits and little marquises; while T, called by
them all " the husband of madame, " must play
the part of saint whom no one worships ? No,
no, I do not want a mind so high ; a wife who
scribbles verses knows too much. Mine shall
have less sublime illumination; she shall not
even know what makes a rhyme, for if she
plays at crambo she shall answer, when her
turn comes, " Cream-tarts." In other words, I
mean that she shall be extremely ignorant. It
is enough for her if she can pray to God, love
me, and sew and spin.
ChRTSALDE.
Well, well! a stupid woman is your hobby,
is she 1
Arnolphb.
So much so I would rather wed an ugly fool
than take a handsome wife if clever.
Chrtsalde.
Mind and beauty —
Arnolphe.
Virtue is enough.
Chrtsalde.
But how do you expect a fool to know what
virtue is 1 Besides the weariness, as I conceive,
of liaving all one's life a fool to live with, think
you that you are wise to take her, and that the
safety of your honor can rest upon this theory 1
A woman of mind may, certainly, betray her
duty; but at least she does so by deliberate
choice. A stupid fool may fail in hers without
desire or even thought of doing so.
Arnolphe.
To that fine argument and wise discourse I
answer, as Pantagruel answered Panurge : Urge
me to marry other than a fool, preach at me.
argue on from now till Pentecost, and when 't is
done you will not have persuaded me one jot.
—————————————————————————
Chbtsalde.
Then I shall say no more.
Aenolphe.
f To each his own idea. About a wife, as in
all else, I mean to follow m^ne. I am rich
enough to choose a mate who will have nothing
of her own but all from me; and whose sub-
mission and complete dependence will not oppose
her wealtli or birth to mine, f Some time ago I
saw with other children a child, then four years
old, whose gentle quiet air inspired me with
love. Her mother being in the utmost poverty,
it came into my mind to ask her for her daughter;
and the good peasant-woman, when she learned
my wish, was glad enough to lay that burden
down. In a little convent quite remote from life
I have brought her up according to my policy ;
that is to say, I ordered that every means should
be employed to make her mind as vacant as it
can be. Success, thank God, has followed this
design; and now, full grown, she is so simple-
minded that I bless Heaven for granting what
I want, — a wife who suits my wishes to a T.
I have now removed her from the convent; but
as my dwelling is open to all sorts of persons all
day long, I keep her in this little house apart,
where no one comes to see me; and, in order
not to spoil her natural goodness, I have hired
servants as simple as herself. Perhaps you ■'11
say, " Why this narration 1" It is that I may
show you my precautions ; and I now invite you,
as my faithful friend, to sup with her to-night.
I wish you to examine her a little and tell me
if my choice is one to be condemned.
Chkysalde.
I readily consent.
Abnolphe.
You will be able at this interview to judge
not only of her .person but her innocence.
Chkysalde.
As for that latter article, what you have told
me cannot —
Arnolphe.
The truth exceeds my statement. I am forced
at every turn to admire her simplicity; some-
times she says a thing at which I die with
laughter. The other day (if you '11 believe it),
she seemed to be in trouble, and asked me, with
unequalled innocence, whether the children
people made came through their ears.
Chkysalde.
I am truly glad, Seigneur Amolphe —
Arnolphe.
There, there ! why will you always call me
by that name 1
Cheysalde.
In spite of me it comes upon my lips; I can't
remember Monsieur de la Souche ! But what
the devil induced you, in your forty-second year,
to be re-christened, and give yourself a title of
nobility out of that poor old rotten farm? - ..-^'<i-
Arnolphe.
'T is the name of the house. But no matter
for that, de la Souche to my ears is more pleas-
ing than Arnolphe.
Cheysalde.
What folly to give up the name of your
fathers and try to take one which is based upon
fancy! Most people will call it a morbid ca-
price. I once knew (not meaning to make a
comparison) a peasant known to all by the name
of Fat Peter, who owning a quarter of an acre
of land dug a ditch all around it, and called
himself pompously Lord of the Isle.
Abnolphb.
Enough of such cases. De la Souche is the
name that I hear. I have my own reasons;
I find it agreeable ; and to call me by any other
name will simply displease me.
Chetsalde.
Most people, I'm thinking, will hardly
conform; in fact, all your letters I still see
addressed —
Arnolphe.
I bear it from persons not rightly informed; but from you —
Chktsalde.
Oh ! there 's no need to squabble for that.
I '11 take care to accustom my mouth to the
name, and Monsieur de la Souche I will call
you henceforth.
Aenolphe.
Adieu; I shall knock at my door just to
say how d' ye do and annovmce my return.
Chbtsalde, aside, as he walks away.
Faith ! he 's crazy — crazy in every way.Did You Pay Attention?
Test Questions
1. Under which king did the neoclassical era begin?
a. Louis the XIII
b. Napoleon Bonaparte
c. Barack Obama
d. Marie Antoinette
2. What important school did Cardinal Richelieu Establish?
a. The French Academy
b. The French University
c. The Notre Dame
d. The French School of Theatre and Cats
3. What country was the French Academy in?
a. The United States of America
b. Brazil
c. Austria
d. France
4. Which playwright wrote Le Cid?
a. Tennessee Williams
b. Pierre Corneille
c. Lord Byron
d. Shakespeare
5.. Which playwright was influenced by Roman comedies?
a. Molière
b. Percy Bysshe Shelley
c. Moss Hart
d. Thornton Wilder
6.. Which playwright wrote one of the best French Neoclassical tragedies according to the Greeks?
a. Jean Racine
b. Agatha Christie
c. Gore Vidal
d. W.H. Auden
7. How does Arnolphe view the role of women in marriage?
a. He views them as to be submissive and ignorant to the man in the marriage, and to not be admired by other men
b. He thinks that they should be the dominant in the relationship
c. He believes that they have the right to their own decisions
d. That they need to have a more sense of independence from the household, and work outside the home
8. How do Sganarelle and Ariste views on treating the two sisters differ?
a. Ariste gives Leoner full liberty in her actions, while Sganarelle is tyrannical over Isabelle
b. Sganarelle gives Isabelle full liberty in her actions, while Ariste is tyrannical over Lenoer
c. Both want the girls to have full liberty
d. Both are tyrannical over the girls
9. Why does Argan wish to marry his daughter off to the doctors son?
a. He is very ill and wishes to have access to immediate medical care
b. He refuses to let his daughter to have any freedom
c. He has always dreamed of his daughter marrying a doctor
d. His daughter is ill and he wants someone who will take care of her
10. What was the stage set-up like during French Neoclassicism?
a. Open Dome Shape
b. Auditorium
c. Shakespeare Theater
d. Roman Theater
11. What was the make up like?
a. Modern Makeup
b. Makeup was a whitening powder and masks
c. Victorian Era Makeup
d. All Natural Makeup
12. What were the costumes like in the plays?
a. 1990’s swim wear for both men and women
b. 1870’s nightwear for both men and women
c. Big Ballgowns for the women and suits for men (Correct Answer)
d. Victorian dresses for the women and Victorian suits for the man
13. The two were referring to marriage in the scene.
a. True
b.False
14. Where does the setting take place?
Time: 17th century Place: A country home in France
15. The main character in this scene was Chrysalde.
a. True
b. False
Answers
- A
- A
- D
- B
- A
- A
- A
- A
- A
- A
- B
- C
- A
- Time: 17th century Place: A country home in France
- B
Sources
https://www.theatrefolk.com/spotlights/moliere-and-17th-century-french-theatre
http://www.webpages.uidaho.edu/thea101/chapters/chapter_16.htm
http://timetourclassicaltheatre.weebly.com/study-guide-french-neoclassical-theatre.html
https://www.theatrefolk.com/spotlights/moliere-and-17th-century-french-theatre
- http://www.theatrehistory.com/french/schoolforwives001.html
http://timetourclassicaltheatre.weebly.com/study-guide-french-neoclassical-theatre.html
- http://novaonline.nvcc.edu/eli/spd130et/neocfrance.htm
- http://www.enotes.com/topics/school-for-wives
- https://youtu.be/xPS_jx_53_c
- https://youtu.be/TcKT-kGW2uE
- https://youtu.be/AxaNLOfVWGw
- https://youtu.be/fPiCj9kWNyc
- https://youtu.be/m8xidNSJQf4