History of Western Theatre: 17th Century to Now/Boulevard of the 19th
Boulevard theatre is by definition popular art, separate and below major plays of either romantic or realist movements, with no outstanding dramatist to be speak of. Yet some interesting plays live on, mostly comedies, because of popular enthusiasm for the theatre in Paris throughout the 19th century.
- 1 Georges Feydeau
- 2 Eugène Labiche
- 3 Georges Courteline
- 4 Alfred Capus
- 5 Henry Becque
- 6 Alexandre Dumas the Younger
- 7 Victorien Sardou
One of the most often played comic playwright of Boulevard Theatre is Georges Feydeau (1862-1922), whose most famous farces include "L'Hôtel du libre échange" (The Free Exchange Hotel, 1894), "Le dindon" (Sauce for the goose, more precisely The Turkey 1896), and "La dame de chez Maxim" (The lady from Maxim's, 1899).
"The Free Exchange Hotel"
Time: 1890s. Place: Passy, France.
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Pinglet and and his wife, Angélique, receive the visit of their friend, Mathieu, for one month. Mathieu has the characteristic of stuttering whenever it rains. To their surprise, he comes with four daughters, recently removed from a convent. They are unable to lodge all these. Taking aside Marcelle, the wife of another friend, Paillardin, Pinglet assigns a rendez-vous at night with her at the Free Exchange Hotel, where Mathieu understands he is to stay. Since Angélique intends to visit her sister, Pinglet decides to eat at a restaurant. This angers her. She slaps his face and keeps the key of the main-door to the house. To escape, he places a rope against the window ledge and climbs down. As the man designated by a commercial commission, Paillardin is given by the hotel manager a room rumored to be haunted. Pinglet and Marcelle meet at the same hotel and enter their room. He first feels amorous then starts to feel ill, suspecting a too heavy dinner combined with champagne and a cigar as the cause. Meanwhile, Bulot, a hotel employee liking the looks of Marcelle, lewdly pierces a hole on the wall of their room to peep inside. As he does so, Pinglet feels a stabbing pain in the back. Bulot removes his tool, and, seeing it red at the tip, assumes he hit wet brick. Meanwhile, Mathieu enters the lobby with his daughters. Boulot gives them the haunted room. Mathieu and Marcelle meet by chance on the landing and with little ceremony, he and his daughters invade her room. Now feeling better, Pinglet re-enters the room and is surprised at finding the Mathieu family. He and Marcelle pretend to be surprised at seeing each other. In his hotel room but also Paillardin's by mistake, Mathieu uses Paillardin's toilet articles and smokes his cigar, presumed to be a courtesy of the hotel management, then retires for the night. When Paillardin enters the same room, he finds his possessions unaccountably shifted about. New visitors arrive in the lobby: Maxime, Paillardin's nephew, with Pinglet's servant-girl, Victoire. In their room, Mathieu's girls fight and by mistake extinguish their candle. They find colored lamps, producing a spooky effect on the walls, and eerily chant on their beds in their white night-clothes, awaking the frightened Paillardin, who, in turn, frightens the girls. Mathieu enters to find out what is happening and is told by the girls that there is a man in their room. He looks about and finds Victoire on the landing, then, more worrisome, Maxime. He asks Boulot what this can mean, who divulges that the room is haunted. The girls yell and run off, scaring Paillardin all the more, who precede them on the way out, looking very lively. Marcelle sees her husband running down the stairs and quickly re-enters her room. In great fear, Paillardin knocks at their door, but Pinglet refuses to let him enter. Paillardin forces his way inside, propulsing Pinglet down to the chimney corner, while Marcelle, to hide from her husband, puts his hat down to her neck. As Pinglet emerges in a sooty state, Paillardin thinks he is the chimney-sweeper. He tries to get his hat back but Marcelle screams for help and Pinglet kicks him out. As Marcello removes her hat and sees Pinglet, she cries out: "O God, a nigger!" but then recognizes him. Suddenly, the vice squad charges in, asking Pinglet and Marcelle separately their names, the latter declaring "Mrs Pinglet" and the former "Mr Paillardin". The next morning, Pinglet, after paying 5,000 francs in bail-money, advises Marcelle to get rid of her compromising dress, the only thing her husband managed to see of her during their escapade. He receives a letter from his sister-in-law, stating that she is worried over the fact that his wife never arrived. His face lights up on considering how she may have been kidnapped, but soon his wife returns, explaining she had an accident on the road when her carriage-horse ran out of control. She reads her letters, one of which surprises her, stating she was arrested in a police raid at the Free Exchange Hotel in the company of Paillardin. Pinglet pretends to be angry at her and interrogates Paillardin: "Where were you last night?" he asks. "At the Free Exchange Hotel," the other answers. She starts to believe she is losing her senses. Pinglet proceeds to accuse his friend of adultery with his wife. Paillardin laughs at this until he receives a letter from the police in the same vein. As Marcelle enters, Pinglet perseveres in his accusations, so that she begins to feel faint. More worrisome for both her and Pinglet, Mathieu comes in, but is pushed out of sight by Pinglet. By then the police commissioner arrives, who recognizes from last night both Paillardin and Marcelle, the latter despite her veil, though remembering mostly the dress she wore. Paillardin asks for the list of other arrested persons and finds Mathieu on it, who is called in to be interrogated. When asked who he saw at the hotel, thunder strikes and he starts to stutter as he usually does in bad weather, but seeing Maxime walk in, he points at him. When asked with whom he went to the hotel, Maxime answers Victoire, who, when called in wearing Marcelle's dress, is recognized by the commissioner. As a result of this behavior, Pinglet fires her, while the commissioner gives Maxime Pinglet's 5,000 francs in bail-money.
Time: 1890s. Place: Paris, France.
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Lucienne is pursued by a man who has been following her in the street, Pontagnac, who is trying to seduce her. He follows her inside her house. Unfortunately for him, the house belongs to a friend of his, Vatelin, and Lucienne is his wife. Pontagnac is surprised at seeing him. "Since you are in my house," comments Vatelin, "you must have expected to see me." Lucienne coolly informs him that a man has been following her in the streets. Reluctantly, Pontagnac is forced to admit it is he, knowing of course who she was. Lucienne is surprised to learn from her husband that Pontagnac is married. "Yes," he admits, "a little." His wife is afflicted with rheumatism, he says, preventing her to go out. While the two friends examine pictures in another room, Rédillon arrives, another would-be lover of hers, "like a man always being served a cocktail, never dining". To Pontagnac's horror, his wife is then announced. After always hearing her husband mention the Vatelins, she decided to come over. Knowing about her so-called rheumatism, the Vatelins are surprised at hearing this. Vatelin is even more surprised on learning that he himself suffers from rheumatism. Each wife swears an oath that, should they catch their husbands straying, they will accept Rédillon as their lover. As his guests leave, Vautelin next receives the unwelcome visit of Maggy, his London mistress. He refuses to come to her apartment, so that, in despair, she reads to him a letter addressed to her husband, confessing she loves Vatelin, with his address included, and after that she intends to kill herself. He yields. Yet another person is announced: Maggy's husband, Soldignac, at which Maggy escapes in the adjoining room. Soldignac has found out his wife has a secret rendez-vous and plans to catch her with her lover and then divorce her, so that he requests Vautelin as his lawyer to prepare the necessary papers. Alone with Pontagnac, Vatelin asks him for a good place to meet a woman at night. He suggests the Ultimus Hotel. Vatelin will send the woman a telegraphed message to meet him there. Armed with these news and hoping to get her on the rebound, Pontagnac informs Lucienne of her husband's illicit rendez-vous at the Ultimus Hotel. Luciennne and Mrs Pontagnac reaffirm their oath. A client at the Ultimus Hotel, Armandine, advises the manager that she would like to change rooms. She receives the visit of Rédillon, a stranger to whom she left a note at the theatre. He kisses her, fervently calling her "Lucienne", but she is not available tonight because of her rendez-vous with Soldignac. He convinces her to leave a note to Soldignac to say she is sick. Vautelin is announced to take over her room, but, as a result of an administrative error, it is another client, Pinchard, who enters instead along with his deaf wife. On his way out, Rédillon takes Pinchard's bag by mistake. As husband and wife leave their room, Pontagnac shows Lucienne her husband's den of sin. To catch the adulterous lovers, he places electric bells underneath the mattress on each side of the bed. They go to an adjacent room as Maggy enters to meet Vautelin. When Maggy modestly takes off her clothes in the next room, her husband, Soldignac, enters. He first came to the hotel for his rendez-vous with Armandine, but was told she is sick and that Vatelin is here. Vatelin is very worried as he sees Soldignac gawking at a pretty arm in the next room, not knowing that it belongs to his wife. A knock at the door reveals the presence of Rédillon, who comes back to return the wrong bag. Vatelin precipitously sends Soldignac away with Rédillon, the latter taking Maggy's bag by mistake, so that she is unable to dress. She hides as Pinchard enters with his wife. With both bells ringing at once, Lucienne angrily comes in with Pontagnac following, only to discover the two Pinchards in bed. They rapidly disappear. After Pinchard leaves to prepare a cataplasm for his wife, Vatelin returns and notices a woman on the bed, admiring British phlegm. After taking laudanum meant for Mrs Pinchard, he falls asleep next to her. Pinchard returns with the cataplasm and administers it on Vatelin's stomach, who cries out in pain. "A man in bed with my wife!" exclaims Pinchard. Incensed, he tries to choke the culprit. Thinking to catch her husband in the act, Lucienne charges in a second time. "Heavens, my wife!" Vatelin cries out and flees. Pontagnac triumphs, expecting his reward. Instead, according to her oath, Lucienne intends to take Rédillon as her a lover. As Pontagnac grieves over this situation, a police commisioner, having tailed Maggy to the hotel, enters along with Soldignac, discovers Pontagnac with the almost naked Maggy, followed by Mrs Pontagnac and her own commissioner. After lying with Armandine all night in his bedroom, Rédillon feels tired. She flees on hearing a woman's voice. It is Lucienne's, come to keep her oath. But he is unable to please her at the moment. He asks her for a delay of one day. "Impossible," she retorts, "my husband is coming, and, when he arrives, I want my vengeance consummated." "Your husband here!" exclaims Rédillon, jumping in fear. They hear another woman's voice, Mrs Pontagnac's, also come to keep her oath. Since Rédillon is at present unavailable, Lucienne is willing to use Pontagnac for her purpose when he is announced. Mrs Pontagnac agrees to this. It is because of her that he has two charges leveled against him, for he was "caught by a man he does not know with a woman he does not know" and with divorce proceedings pending, appearing as the goose of all these goings-on. As Lucienne strips to her underclothes and encourages her friend to do the same, Vatelin enters with the police commissioner, who, looking at Pontagnac, exclaims: "You again, sir!" When Rédillon and Mrs Pontagnac enter, she lies in saying Rédillon is her lover. Rédillon consoles Vatelin by saying surely all this is merely Lucienne's plot to make him jealous. Vatelin is consoled and even more so when forgiven by Lucienne.
"The lady from Maxim's"
Time: 1890s. Place: France.
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After a wild night spent at Maxim's restaurant, Dr Mongicourt discovers his fellow surgeon, Dr Petypon, under the sofa, yet the latter's wife, Gabrielle, tells him she kissed him in bed this morning. As the doctors ponder over this mystery, they find a girl under the bed covers. Petypon has no idea who she is. She is Crevette, a dancer from the Moulin Rouge, whom Petypon brought home last night and had forgotten. They hide her as Gabrielle returns, only finding a woman's dress on the chair. Thinking it is her dressmaker's most recent invention, she goes away with it. Despite receiving a hefty sum of money, Crevette refuses to leave without her dress, so that, when Gabrielle returns, she is forced to hide. The doctors chortle silently as the pious Gabrielle describes a vision of St Catherine she has experienced, announcing that a seraphim will appear to reveal her mission. To tease her, Crevette calls out: "Gabrielle! Gabrielle!" Gabrielle is stunned on seeing a bright celestial-like figure appear, actually Crevette rising under the bed-sheets with a light reflector. "The seraphim!" exclaims the amazed Gabrielle, while the profane doctors kneel but pretend to see nothing. She is commanded to go to the obelisk at Concorde square and hear a man speak, for from his words a son will be born, whom all of France awaits: "Go, for your son, for your king, for your country," the vision announces. After the departure of her hosts, Crevette must hide again as a general enters, baron Petypon du Grêlé, Petypon's uncle, recently arrived from Africa. Nevertheless, he finds her but mistakes her for his nephew's wife. He asks her to take care of his niece, Clementine for a few days, who is to marry lieutenant Corignon, a man Crevette knows well. As Petypon's wife, she is invited to play the hostess' role at Clementine's wedding, which she accepts, to the astonishment of Petypon and Mongicourt, who have returned with Gabrielle, having accomplished her mission, whom the general takes for Mongicourt's wife. When the others leave, Petypon shows Mongicourt his new armchair, Dr Tunékunc's latest invention called the ecstatic seat, capable of anesthetizing any patient without the aid of ether, which works well on Mongicourt. Two men are announced on the subject of last night's business. A man has insulted Petypon and has challenged him to a duel. Provoked, Petypon pushes one of them on the ecstatic seat to quiet him, and learns in astonishment from the other that the dueller is Corignon, his nephew, who then enters, Petypon making himself small before him. But knowing now the insulted man as his uncle, Corignon asks to be forgiven for the misunderstanding. Gabrielle returns bearing a letter, an invitation to Clementine's wedding. She then accidently falls on the ecstatic seat. When the general re-enters, Petypon hides her by throwing a rug over her body. A street-sweeper then comes in, who was invited to dinner the previous night by a drunk Petypon, who allows him a meal in the kitchen and, in return, asks him to press a seat button as he leaves with his uncle for the wedding in Touraine. He presses the button. Thinking she has gone blind with the rug still over her face, Gabrielle screams, then, taking it off, screams again on hearing the sweeper say: "I am the sweeper you are expecting for dinner." At the castle in Touraine, the provincial guests are impressed by Crevette's Parisian manners and expressions. Mrs Vidauban, who sets the tone and imposes fashions in dress and behavior among them all, is led to believe Crevette as a model to be followed, laughing and slapping her thigh, gestures imitated by all the others. On hearing her cry out with legs astride over a chair: "He ain't my father," the women are shocked, but Petypon explains this is the latest Parisian craze, first made fashionable by the princess of Waterloo and baroness Sussemann. Vidauban agrees, crying out with legs astride over a chair: "He's not my father," gestures imitated by the others, including one whose husband would have her learn such manners to promote his career. More mischief follows when Crevette flirts with the wealthy young duke of Valmonté and invites him to sit on her thighs. Fearing to be exposed, Petypon scolds and pushes her out of sight as his real wife approaches. Nevertheless, Crevette returns and is mistaken by Gabrielle as the general's new wife. Crevette is invited to sing a song concerning a kitchen-pot, which few of the guests understand, then dances a can-can ended by lifting her skirt and showing her buttocks. The women are shocked at this, but cheerfully go off dancing a farandole. Corignon is welcomed by Clementine, much changed in her manners since being instructed by Crevette. After Clementine leaves, Corignon has second thoughts about his marriage. Instead, he and Crevette agree to go off together. After being locked inside a room by her husband, Gabrielle escapes only to find the lights out. Petypon plays the piano while hiding underneath it, confirming his wife's opinion that the castle is haunted, then, hearing what she believes to be an angel's voice, she is advised to leave at once. Petypon crosses the Corignon-Crevette couple as they are about to leave, but does not recognize her because of her old woman's disguise. Corignon gives Petypon a letter for the general, informing him of his decision not to marry his niece. When the general receives this, he is incensed, and, learning from a servant that the traitor left with Mrs Petypon, happy news to the deceived Petypon, decides to pursue them. When the general returns, too late to catch them, he cries out in frustration: "Mrs Petypon is a hussy," confusing her with Crevette in Gabrielle's presence, because of which she slaps his face. In vengeful spite, he slaps in turn Mongicourt's face in retribution of his supposed wife's insolence. Back at his house, Petypon is alarmed on learning that his wife received flowers and a note from Valmonté, who also has confused her with Crevette. Petypon pretends to be angry with his wife. He then receives a visit from Mongicourt, who expects him to fight a duel with the general for insulting Gabrielle. The general has caught up with Crevette and brings her to Petypon's house with news that as the offended husband he must fight a duel with Corignon. The general asks for Mrs Petypon as the real one arrives. In a panic at being found out, Petypon presses the button of the ecstatic seat while the general is behind it, freezing him into place, as well as Gabrielle who touches him, followed by Petypon who touches her by mistake, a servant, and another man seeking to help. When the spell is broken, Petypon hurries everyone away to face the general. At this time, Crevette also sits on the ecstatic seat and is frozen beside the general while he goes to find Petypon. The love-smitten Valmonté enters, a bouquet of flowers in his hand for Crevette. When he kisses her hand, he is frozen, too, until Petypon presses the button to free both. When the general encourages husband and wife to kiss, they do so as Gabrielle enters, joyful to find Crevette again and as the general's wife takes her away to chat. While the general and Valmonté discuss Petypon's impending duel with Corignon's two witnesses, Gabrielle bursts in, fearful of the talk of a duel. The general now thinks he has discovered Gabrielle is Petypon's mistress and Crevette his wife. In distress, Petypon sits on the ecstatic seat and accidentally presses the button again. Gabrielle angrily confronts her husband lying in a trance for passing Crevette off as his wife, slapping his face several times with the safety gloves on and announcing her intention to divorce him. When Petypon leaves, Valmonté re-enters and hears Gabrielle say as a result of his letter she thought was addressed to her instead of Crevette: "Take me. I'm yours," at which he flees. Then Gabrielle hears again the same angel's voice, and, to convince the general of its reality, approaches the bed with a drawn sword until hearing her husband cry out in fear, who explains that he lied to her only on learning that Crevette is Corignon's mistress and by such means avoid a scandal. The way is now free for the general to unite with Crevette.
Another popular comedy of literary interest includes Eugène Labiche (1815-1888)'s "Un chapeau de paille d'Italie" (An Italian straw hat, 1851).
"An Italian straw hat"
Time: 1850s. Place: Paris.
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On Fadinard's wedding day, his horse eats part of Anais' Italian straw hat suspended from a tree. Her cousin Emile, a lieutenant, arrives with her at Fadinard's house to insist he apologize to her for losing the hat. He must also replace it at once. On entering a milliner's shop, Fadinard is disagreeably surprised to find a shopkeeper, Clara, he recently broke up with. "You said to me: I'll go get an umbrella. I wait, and here you are 6 months later without an umbrella," she complains. Nonetheless, she agrees to get him a similar hat provided he eats out with her. "What a good idea! Just by chance I have a free night," he exclaims. Helen, the bride, Nonancourt, her father, and Bobin, her cousin, enter the milliner's shop by mistake, thinking it is city hall, where Nonancourt discovers the prospective bridegroom kissing Clara. Fadinard explains she is her cousin who cannot come to the wedding. "She is in mourning," says Fadinard. "In a pink dress?" Nonancourt sarcastically queries. While the family members sign what they think is the attendance register, Clara discloses to Fadinard that no one owns such hat except the baroness of Champigny. At her house, he is confused with an Italian tenor while his wedding guests eat at the baroness's party, much time being wasted since the baroness' hat was given to her godchild, Anais. At Anais' house, Fadinard asks her husband, Beauperthuis, for the Italian straw hat, the wedding guests following him. Nonancourt invites his daughter to "penetrate with no childish fear into the conjugal domicile", yet she trembles. To him, this behavior is "part of the program of the situation". He pronounces a solemn speech, but Fadinard is not there to listen. Instead, he takes away Beauperthuis' two pistols from his pockets and threatens him with them: "The hat or you life!" he shouts. "What is happening to me now is perhaps unique in the annals of humanity," comments the astounded Beauperthuis. But when Fadinard sees Virginia, Anais' servant, he recognizes there is no further need to search. Knowing there is a woman (Anais) in Fadinard's house, Nonancourt and the others remove Helen's trousseau and the wedding gifts, one of which, to Fadinard's astonished delight, is an Italian straw hat, but as he enters his house, unbeknown to him, he sees it was removed from the box by his father-in-law, who with the other wedding guests is taken to the police station for loitering without identity papers, Fadinard standing before Anais and Emile standing with an empty box. While Emile rushes out to find the hat, Beauperthuis arrives to find his wife. Emile recovers the hat and throws it to Fadinard from a height, but it lands on a street lamp. At last, Anais retrieves the hat and scolds her husband for being out at such an hour.
Also of comic interest is Georges Courteline (1858-1929) and his harassed "Boubouroche" (1893).
Time: 1890s. Place: France.
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Boubouroche learns from a neighbor that his girl-friend, Adele, has been cheating on him for several years, but he refuses to believe it. In the apartment he is paying for her, the lover, Andrew, complains of always having to hide in a small room whenever Boubouroche visits her. He must do so again as Boubouroche confronts her with the neighbor's story, all the more plausible in that he saw two shadows from the street against the window-pane. Adele denies she has a lover other than Boubouroche and dares him to search the apartment. He hesitates, begins to back down. "He's there," announces Adele defiantly, pointing towards the small room. When Boubouroche's lamp is accidently extinguished, Andrew is revealed next to his candle in the darkness. Knowing the game is up, he gives Boubouroche his card, at his disposal should the misled man insist on a duel. But before leaving, he wants Boubouroche to swear he will not harm Adele. Boubouroche does so. "Who is this man?" asks Boubouroche. "How do I know!" exclaims Adele. Despite his promise, as soon as Andrew leaves, he starts to strangle her, then, weakening, desists from his wavering purpose. She eventually tells him the man's presence is a "family secret" and because he evidently lacks confidence in her, they must part company. Weakening all the more, Boubouroche is ready to pardon her. "You need not pardon a fault I did not commit," she declares and blames him for his lack of confidence in her. "The worm is on the fruit: throw it away," she states. Miserably, Boubouroche begs her to stay. She finally accepts. He then heads towards the neighbor's apartment to browbeat him for spreading lies against his love.
Alfred Capus (1857-1922) claims some degree of fame with "Petites folles" (Little fools, 1897). He also wrote Brignol and his daughter (1894) about a father and daughter cheating friends and acquaintances, "The adversary" (1902) about a woman driven to adultery through her husband's lack of ambition, and Mister Piégois (1905) about the owner of a casino rejected by high society because of the nature of his source of income. The overall impression is that, as Mrs Bréneuil tells Le Hautois in "The two schools" (1902), "everything can be arranged". Indeed, why all the fuss?
Time: 1890s. Place: Paris, France.
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Adolph and his mother-in-law, Eudoxia, quarrel because he did so little to defend her when she was bumped by a man while looking at a nude painting in a picture gallery. He, on his part, is distraught at her choice of dinner guests when obscenities are commonly heard. She retorts that she wants to amuse himself at last after having undergone a sad marriage for many years. Miffed at this comment, her husband, August, declares that he is quite gay. “With others, not with me,” she accuses. “You have not made me laugh since our wedding night.” She welcomes her nephew, Edgard, who surprised his mistress late last night with two men at her house. He suspects that one of them at least is a friend of his because he shook his hand in the dark before leaving. As for the other, he managed to pull down his hat before his face but could not identify him. To help raise the standard of her diner parties, he promises to bring over the baron of Encolure, at which she is pleased until she discovers that the baron is the man who insulted her at the picture gallery. Yet she wants to keep him as a dinner guest, encouraging her nephew to settle the matter one way or the other. She next welcomes her stock broker, Edmund, who informs Edgard that he is courting Adolph’s wife, Lucy. At the same time, Eudoxia’s other daughter, Estelle, is also courted by a would-be adulterer, Albert. Adolph is so fearful of the temptations surrounding Lucienne at her mother’s dinner parties that he has decided to move away from their apartment above her own. An enraged Eudoxia counters this by writing a letter to the owner of the building to annul any such intent, approved by Lucienne who proposes to deliver it. Their talk is interrupted by Estelle, worried because her husband, Leverquin, discovered she and Albert suspiciously eating together at a pastry house. Eudoxia considers her daughter’s complaints about their husbands of small importance, at the worst a subject of divorce. “Divorce is the only thing the least bit poetical an honest woman may do these days,” she declares. Although to her surprise Leverquin blandly dismisses the incident, Estelle, in mortal fright, announces to an angry Albert that she wishes to end their relation. Still worried over his wife’s fidelity, Adolph asks her to follow him to Spain where he has business interests. Lucy refuses and has only seven words to say to a delighted Edmund: “Tomorrow at three o’clock at your place.” Despite overhearing these words, Adolph tells Leverquin he has no intention of interfering but rather will ask for a divorce if she commits adultery. Meanwhile, Edgard has arranged for a meeting between the baron’s two witnesses and himself along with another man so that formal excuses may be expressed on Adolph’s part for insulting the baron. However, to his horror, Edgard discovers that the two witnesses were the two men at his mistress’ house. In ill humor, he refuses to offer the expected apology on Adolph’s part so that a duel must now ensue at three o’clock on the following day. When an astonished Adolph learns of these proceedings, he nevertheless accepts the challenge. “At three o’clock,” Adolph informs Lucy. “How romanesque, how exciting!” Lucy does not think so and instead cancels her rendez-vous. When Adolph returns with only a mild wound on his arm, Lucy informs him she did not go to Edmund’s house. Unimpressed, he nevertheless calls her a depraved coquette and still wishes a divorce until he learns that she arranged matters so that their servant, Louisette, will leave their employ to marry Edmund.
One of the principal melodramas of the period is "La Parisienne" (The Parisian woman, 1885) by Henry Becque (1837-1899). Of this play, Lewisohn (1915) writes: "The unity of place is maintained and the movement is both swift and nimble. Here the dramatist's whole art is concentrated upon the ironic self-revelation of a single character. Clotilde is the woman who is respectably adulterous, sentimentally vicious. She amuses herself with her lovers and is concerned to better her husband's position. She is utterly unaware of her own corruption and makes speech after speech that is memorable for its incisive moral irony." Walkley (1908) points out that the relation between Clotilde and Lafont “consists in the spectacle of two people carrying on irregular relations with precisely the same set of feelings and prejudices which would be operative were their relations regular…Lafont is exigent, querulous, jealous, and tiresome. He is even prudish. He forbids Clotilde to visit in a household of somewhat doubtful reputation…And Clotilde, with all her irregularity of conduct, is entirely conventional in her ideas. She declares herself a conservative in politics, because she inclines to the party of social "order". She is indignant at the thought that her lover might leave her for another mistress who is " without religious principles"." (p 284-285) Lamm (1952) views Clotilde as a conventional woman lacking any sense of conscience whatsoever and Du Mesnil as a “complaisant ass” content as long as there is peace in the house.
Becque also wrote "L'enfant prodigue" (The prodigal son, 1868) about a father unable to get his son to return back home away from Paris until he encounters his son's mistress. He next wrote "Michel Pauper" (Michael Pauper, 1870) in which Helen has a choice between casting her lot with Michael Pauper, an industrious young man willing to marry her, and the count of Rivailles, a profilgate with no intention of marrying her. On her wedding night, she admits to Michael her attachement to his rival and rushes off to him, only to repent. Better than those two plays is the mordant satire, "Les corbeaux" (The vultures, more precisely The crows, 1882) in which a widow with three daughters and a son is assailed by her husband's business associate, her notary, and the architect in charge of building on her property, all after her money.
"The Parisian woman"
Time: 1880s. Place: Paris.
Clotilde has had an elegant, comfortable life with her husband, Du Mesnil, not into the habit of looking closely at what she is doing. Her lover, Lafont, suspecting she has a second lover, demands to know the contents of a letter he saw her hide in the drawer and what she did all afternoon. She shows the letter to her husband. It concerns visits to Mrs Simpson, a woman of the world of bad repute, whom both consider deplorable for her to know. On learning that Du Mesnil is scolded by his uncle for not having gained a more important social position and that by his means he may obtain one in the government, she proposes to help him by contacting her women friends, including Mrs Simpson. He responds by saying that if all else fails they should try that. When left alone with Lafont, she complains that his troublesomeness started January 15, a date she has particular reasons to remember. As to where she went, at one point she says her milliner, at another her tailor, because of which he is tormented all over again. Days later, Lafont returns to harass her further, still complaining about Mrs Simpson's bad reputation. "Too bad for the men who gave it to her!" she cries out. "When a man sees part of a woman's shirt, that woman is sacred to him, sacred." Du Mesnil enters in a terrible mood, having been told he will not obtain the position he sought. She immediately writes to Mrs Simpson, expecting her husband to get further ahead with her help than with his ineffective uncle's, which is what occurs. Despite swearing never to come back, Lafont does so, certain now she has a lover, a certain Mercier. He hesitantly breaks off their relation. Clotilde receives Mrs Simpson's son, with whom she has had amorous relations since January 15. But now the man wishes to leave Paris and she is beginning to be bored with his idle talk of hunting guns, despite shedding a few tears at this announcement. When he asks why, she answers: "Does one know? There is a little of everything in a woman's tears." As soon as Simpson goes away, Lafont returns and their amorous relation renews itself. She announces, to Lafont's approval, that she will no longer see Mrs Simpson. When her husband arrives, they explain to him that Lafont's absence was due to an unhappy love affair of his. "Confidence is the only system that works with us," she declares to Lafont. Du Mesnil agrees.
Alexandre Dumas the Younger
"La dame aux camélias" (The lady of the camellias, 1852) by Alexandre Dumas the Younger (1824-1895) is another melodrama of note. Lamm (1952) criticizes one aspect of Marguerite’s character: “It is difficult to understand how or why the diffident, melancholy Marguerite and came to adopt this way of life and why she has to lead such a hectic and extravagant existence” (p 19-20). One can conclude that life’s bitter experience has tamed some of her courtesan manner without affecting old habits of extravagance. This draws more pity to her plight than if she were hardened in the toils of prostitution. He noes that she does not criticize society, exemplified by Armand’s father, for the way she is treated, but rather the emptiness of her own bohemian life. He also criticizes Armand’s manner of talking about his mother “at the most unsuitable moment” (p 20), a trait which softens a character who would otherwise appear as too much of a rake.
"The lady of the camellias"
Time: 1850s. Place: Paris, France.
Marguerite Gautier has been leading a restless life of worldly activities and incurred heavy debts. Her revenues derive in part from a duke's benevolence, whose daughter died and and whom she resembled as a child. She obtains only half of the sum she might have received because, though considering her his daughter, he is only half pleased with her life style as a famous courtesan, receiving money, jewels, and camellias from a series of men. One year ago, Marguerite lay in bed for three months and a man anonymously asked about her every day. In the company of her friends, Marguerite starts to dance but suddenly stops, being easily tired. After being silent through a long conversation among the company, Armand Duval is the only one worried about her condition. He admits being the anonymous man. She does not encourage his love, specifying she is unworthy and speaking of herself as "a woman nervous, ill, sad, or of a type of gaiety sadder than grief". She proposes instead that they remain friends, but this is not enough for him. Soon she accepts him as a lover and plans to rent a summer house outside of Paris to live with him, but for this idyll to be possible, she must pay her many debts and has recourse to one of her lovers, the count of Giray, who accepts to pay them. When Armand sees the count enter her house, he refuses to condone such behavior, so that she renounces to receive any money from the count. Instead she sells her coach and horses, cashmere linen, and diamonds to live with Armand at Auteuil. Aware of her debts, he intends to sacrifice money received on his mother's death, his only source of income. Informed of this, Armand's father begs Marguerite to let him go. In addition to ruining his son, she will ruin his daughter's marriage prospect to a man born in a conservative family who would never accept even a former courtesan as a family member. Marguerite first rejects but then accepts his proposal, returning to her hectic life. She pretends to tire of Armand, who, unaware of his father's visit and her sacrifice, challenges one of her lovers, Varville, to a duel, from which the latter emerges with a slight wound. Recognizing the nobility of Marguerite's character, the father informs his son of their agreement, but it is too late: she dies of consumption.
"La Tosca" (1887) by Victorien Sardou (1831-1908) also figures as a notable example of successful melodrama.
Time: 1800s. Place: Rome, Italy.
Text at http://www.toscasprism.com/
Inside a church, Mario is painting a picture of Marquis Attavanti's wife as Mary Magdalene when surprised by the arrival of Cesare, Attavanti's brother-in-law, recently escaped from prison for his liberal opinions, who hides as Floria Tosca, Mario's lover, enters, expressing jealousy of the model in the portrait, to the extent of asking him to change the color of her eyes. At the Fernese palace where Floria is to sing, Baron Scarpia, head agent of the police force and responsible for recapturing Cesare, attempting to find out what she knows about his whereabouts, shows her a fan found in the church, belonging to Attavanti's wife. Although she knows nothing, Scarpia notes her jealousy and thinks he may use her to trap Cesare. She confronts Mario with another fit of jealousy. "The first bold one robs me of him and I am so cowardly that I love him still, and I feel that, though I detest him, I'll always love him," she says. Floria discovers that Cesare is hiding in Mario's house They are surprised by the arrival of Scarpia and Attavanti. When shown the fan, Mario explains its presence by saying Marquise Attavanti is serving as the model for his picture, but Scarpia arrests him in any case to interrogate him as to Cesare's whereabouts. Although police agents torture Mario in the room adjacent to the one where Scarpia and Floria are, he reveals nothing. However, Floria is unable to bear the strain of the procedure and reveals the secret hiding place, but before the agents get to him, Cesare commits suicide. Scarpia arrests Mario for harboring an escaped prisoner and he is condemned to be shot. Scarpia offers Floria one way out to save her lover. He will order a fake execution provided she agrees to sleep with him. Floria pretends to acquiesce, then finds a knife and stabs her tormentor to death. She visits Mario in his prison cell to inform him of the fake execution, but after he is led out to the firing squad, she discovers too late that the executioners used real bullets. After police agents discover Scarpia's murder, she jumps off from the prison turret to her death.