History of Western Theatre: 17th Century to Now/Late French 18th
The most important comic dramatist of late 18th century French theatre is Pierre-Augustin Caron de Beaumarchais (1732 –1799), whose two main plays are "Le barbier de Séville" (The barber of Seville, 1775) and "Le mariage de Figaro" (The marriage of Figaro, 1784). In both, Figaro, servant of a duke, comically and insolently questions the authority, social position, and aristocratic privileges of his master in a fashion unheard of in European theatre.
Another comedy of note, "Le vieux célibataire" (The old bachelor, 1793), was written by Collin d'Harleville (1755-1806). One century before, William Congreve had written on a similar subject.
Claude Prosper Jolyot de Crébillon (1707-1777), Crébillon the Younger, may also be worthily mentioned for "La Nuit et le moment" (Night and the moment, 1755). This play has a similar structure to August Strindberg's Miss Julie (1888), in the form of a dialogue between a man and woman, with one female servant.
In verse tragedy, Joseph Chénier (1764-1811) wrote "Tibère" (Tiberius, 1819), based on "The annals of ancient Rome" by Tacitus, mainly concerned with the life and death of Gnaeus Calpurnius Piso (ca. 44 BC/43 BC - 20 AD).
In this era, a new form of theatrical genre developed: bourgeois drama, with dramatic characters taken from lower social levels than is usually the case in tragedies, with prose being used, not verse, of which Denis Diderot (1713-1784) with "Le père de famille" (The father of the family, 1758) and Michel-Jean Sedaine (1719-1797) with "Le philosophe sans le savoir" (The philosopher without knowing it, 1765) are representative examples.
"The barber of Seville"
"The barber of Seville". Time: 1770s. Place: Seville, Spain.
"The barber of Seville" text at http://oll.libertyfund.org/index.php?option=com_staticxt&staticfile=show.php%3Ftitle=1562&Itemid=27
While waiting beneath Rosina's window for the purpose of courting her, Count Almaviva is interrupted by his servant, Figaro, in the throes of musical composition, convinced that "what is unworthy to be said one can sing". Almaviva takes the occasion to remind his servant of his many faults. "Does your excellence know of many masters worthy to be servants?" retorts sarcastically his servant. From the balcony, Rosina drops her song-book for the count's benefit, containing a message expressing her interest in him but also asking about his intentions. Almaviva learns by the way that her protector, Doctor Bartolo, intends to marry her the next day, so that he will strictly follow Figaro's plot to remove her. Almaviva enters Bartolo's house disguised as a drunken military officer, handing him a letter with an order from a field marshal that he lodge him for a single night, to which Bartolo answers he is exempt from such duties. Almaviva pretends Rosina has dropped a letter, which she picks up, but is is actually his own. When the count leaves, Bartolo wishes to read this letter. Instead she substitutes it with an innocent one from her cousin's and gives him that. Almaviva next enters as a bachelor of arts on behalf of Bazile, her music teacher, and shows to Bartolo the contents of Rosina's letter, which he says was obtained from Almaviva's mistress and then shown to Rosina. Bartolo laughs approvingly at this and suggests the bachelor should replace Bazile as her teacher. To enable the lovers to speak alone together, Figaro breaks some glassware on the stairs, prompting Bartolo's hurried exit. Figaro obtains the key to the Venetian blinds in Rosina's room, but the three plotters are stunned on seeing the unexpected arrival of Bazile followed by Bartolo re-entering. Being partly a barber by profession, Figaro proposes to shave Bartolo's head to distract attention. Eventually, his fooleries cause all four to show him the door. Bartolo notices the bachelor suspiciously whispering something to his future wife. His suspicions make her angry and she leaves the room. At the dead of night, Bartolo shows her the letter given him by the bachelor, revealing, to her surprise, that it came from Count Almaviva, obtained from his mistress. Now convinced that the bachelor wooed her for the benefit of another man, Rosina accepts Bartolo's marriage proposal. She reveals that the key to her room has been stolen. Now alone, on hearing a noise at the window, she leaves the room as Almaviva and Figaro enter, but then, recovering her senses, comes back and learns that the bachelor is actually Count Almaviva, loved for his own person, not his title. In joy, Rosina half-faints in his arms: "Is not hating the most awful torture when one is meant to love?" she asks. The lovers cannot escape because Bartolo removed the ladder. However, to their contentment, Bazile comes in with the notary meant for Bartolo's marriage. Bazile is surprised to find the count there but the count's purse is sufficient to quiet him. Although Bartolo arrives with an officer-of-law, they are too late to prevent the signatures of the marriage between the count and Rosina.
"The marriage of Figaro"
"The marriage of Figaro". Time: 1780s. Place: Near Seville, Spain.
"The marriage of Figaro" text at http://oll.libertyfund.org/index.php?option=com_staticxt&staticfile=show.php%3Ftitle=1563&Itemid=27
On their wedding day, to the servant Figaro and his fellow servant Suzanne there is one worry: their master, Count Almaviva, "has views on her". Was her dowry given by Almaviva because of Figaro's merits? If he thinks so, "how foolish are the witty!" exclaims Suzanne. Alamaviva possesses sexual rights on her by the ancient law of a lord's will on all female servants. The mere thought of that makes Figaro feel his "fertilized brow". Almaviva loses no time in trying to seduce her, at which point he discovers Cherubim, his page, hidden in her room, caught in this compromising situation out of panic. Suspecting that his page has views on several women of his domains including Rosina, his wife, he sends him away as a soldier in his legion. To make him jealous and distract him from Suzanne, Figaro writes the count an anonymous letter stating that during the wedding ball a gallant lover intends to seduce his wife. Figaro's second plan is to disguise Cherubim in Suzanne's clothes, preventing the count's access to her. Cherubim enters trembling in the countess' room, where Suzanne tries on him her clothes. They hear her husband knocking and the page runs to hide in the next room. Almaviva hears some noise within, but, unable to enter, goes off to find something to force open the door. This gives Cherubim time to jump out of the window and land safely on a melon patch. When the count returns, his wife says Cherubim is inside, but when the outraged count opens the door, he finds, confounded and ashamed, Suzanne instead. Suzanne's uncle, Antonio, a gardener, enters to complain that a man jumping from the window damaged his garden-plot. To protect Cherubim, Figaro says he was the one who jumped. Antonio is surprised, since the man he saw was much smaller, to which he counters: "Certainly, while jumping we crouch into a ball." The gardener then shows a sheet of paper that the jumper dropped, which the count seizes, interrogating his servant about its contents. Guided by the countess and Suzanne, Figaro reveals that the letter contains Cherubim's order for the army, given to him unsealed. As the wedding ceremony is underway, Marceline, previously engaged to be married to Figaro, arrives to break it up. The count promises to hear her complaints against Figaro in a tribunal. In view of the imminent danger of the count attempting to seduce Suzanne, Rosine proposes to take her place in bed. During the court-trial, Almaviva judges that Figaro must either pay money he owes Marceline or else marry her, but Figaro provides evidence that Marceline is her mother, with, according to her, Doctor Bartolo as the father. However, Bartolo does not acknowledge Figaro as his son. Because of this, Antonio refuses to give his niece's hand to him, till Bartolo, weakening, changes his mind. Bazile, an old lover of Marceline, arrives to remind her she once promised him marriage should he find her long-lost child, but when he discovers it is Figaro, he think he sees the devil. At night during the festivities, Figaro suspects a secret meeting has been planned between Suzanne and the count. As he looks on while hiding, Cherubim mistakes the disguised countess for Suzanne and offers to kiss her, but the kiss is received by Almaviva. The count moves forward to strike Cherubim but strikes Figaro instead by mistake. The count then grows very amorous towards the disguised countess, mistaking her for Suzanne, but, on seeing Figaro, escapes quickly away. Affronted for suspecting her loyalty, Suzanne slaps Figaro, a sign of love that rejoices him. The count returns, looking for Suzanne again. He sees what he thinks is his wife with another man. Angered at that sight, he calls for his servants to attack the man, but at last recognizes his wife and Suzanne in each other's clothes, for which he is forced again to beg his wife's pardon.
"The old bachelor"
"The old bachelor". Time: 1790s. Place: France.
"The old bachelor" text at ?
"Night and the moment"
"Night and the moment". Time: 1750s Place: France.
"Night and the moment" text at ?
At a mutual friend's house, Cidalisa receives a visit in her room from Clitander. She has heard that he is no longer with Araminta, she herself having separated from the disloyal Eraste. Because of the unhappy ending of that relation, she is unwilling to enter into a new one. Nevertheless, were she to love another, she could still maintain control. "I flatter myself that I could triumph over my feelings and even let the object of this love be unaware of them," she boasts. But she wants to hear more about Araminta. Clitander explains he lay with her "in a rather darkened grove" near Julia's house and repeated the performance in her room. As they talk of other love-matters, Clitander casually sits on her bed with Cidalisa in it, specifying that in regard to Araminta there was absolutely no love involved. Clitander begins to tremble, apparently from the cold, wearing nothing underneath his bath-robe. Cidalisa is scandalized that a man, though a professed friend, would enter her room so lightly clad. Clitander dismisses such feelings of delicacy and wants to enter the bed. "Is it possible you have a doubt of my respect for you?" asks he. "No," answers Cidalisa, "I wish to believe you respect me, and since the idea flatters me, I will not put you in a position to make me lose it." Clitander dismisses that argument and enters in the bed. At first, this bold move angers her, then she laughs about it, eventually requesting him to return to his room. He refuses on the pretext that, were he to meet someone in the corridor so late at night, everyone would infer they have lain together. When she reiterates her request, he reveals his love for her. Why did he not reveal this sooner? Because of her past relations, first with Damis, then with Eraste. "You were born tender," he assures her. Instead of pursuing this line of talk, she wants to hear more about Julia, to which he retorts there is not much to say. He becomes bolder, she more indignant, until she breaks down. "Rejoice in your victory: I adore you," she cries out. "Here they come back, those cruel feelings that have made till now all the unhappiness of my life!" He at last obtains what he came for, at the end of which Cidalisa immediately thinks he will leave her. He tries to reassure her. She blames him for not revealing his love sooner, in which case she would never have known Eraste, then wants to hear more of his amours, notably his supposed love for Belisa. He denies loving Belisa, though he admits laying with her, as well as Julia, on a particularly hot day after seeing her lounge about in scant attire. Julia hypothesized that a man cannot possibly have an erection in the midst of such heat, but Clitander proved to her that her notions of male physiology were incorrect. They repeated their performance on a particularly cold day with the same positive result. What about Luscinda? He admits having lain with Luscinda in his carriage on her way back from Julia's house. "But her house is only one street away," Cidalisa reminds him. True, but he hired a slow driver. After laying with her, but unwilling to keep her, he attempted to guide Luscinda back to more tender feelings towards her estranged lover, Oronte, and was succesful. To keep up appearances as morning breaks, Cidalisa asks the count to help her arrange the bedsheets. He does, but then destroys his good housekeeping work by laying with her a second time.
"Tiberius". Time: 20 AD. Place: Rome.
"Tiberius" text at ?
Under orders of the Roman emperor, Tiberius, Piso, a senator, lead an army against Germanicus, the emperor's stepson imposed on him by his predecessor, Augustus Caesar. Germanicus was killed. Knowing that a great number of the people are enraged at the death of this noble warrior and pity the victim's wife, Agrippina, Tiberius is ready to sacrifice Piso and thereby cover up his involvement. The emperor's favorite, Sejanus, declares that at least one senator will agree to prosecute and condemn Piso. "His willingness to please makes all his conscience," he assures him. Confronted with Agrippina leading in Germanicus' remains, Tiberius does not defend Piso and none of the Senators dares to contradict. Only Piso's son, Cneus, does so. Alone with the emperor, Agrippina requests his protection on behalf of her sons, whom she fears may be murdered, too, but he refuses. Piso knows that the senators are basely submissive to the emperor, but he has written proof of the emperor's order to kill Germanicus. He tells Tiberius he will use it to defend himself. Worried about this threat, Tiberius commands Sejanus to kill him and to bring him Cneus. He promises Cneus honors and his love, but the young man chooses instead to place his hopes on Agrippina, begging her to drop all charges. Recognizing that the main guilty party is the emperor not Piso, she acquiesces. However, Piso considers himself guilty, since Germanicus was treacherously poisoned by a slave and he knew all. He rejects Agrippina's pardon and wants to declare his and Tiberius' crime. Confident of the senate's vote of condemnation, Sejanus nourishes hopes that Piso's friends will seek revenge on Agrippina and her faction. When Agrippina requests Piso's pardon, Tiberius refuses and asks the senate to judge him. Sejanus enters with a bloody knife, pretending that Piso committed suicide. Cneus takes the knife from him. "My father was guilty but Tiberius even more," Cneus affirms before stabbing himself to death.
"The father of the family"
"The father of the family". Time: 1750s. Place: France.
"The father of a family" text at ?
D'Orbesson is very worried about his son, Saint-Albin, who often goes out at night no one knows where. "If you are crazy about them when they are young," says D'Orbesson's brother, Commander D'Auvilé, "you will become their martyrs when they will get bigger." When interrogated, Saint-Albin explains to his father that he rented an apartment next door to a poor woman, Sophie, accompanied by a servant, Mrs Hebert. Pretending to be as poor as they are, he then moved in with them. He begs his father to consent to their marriage. The father knows even before speaking with her that such a marriage is impossible, her social condition being so low. D'Orbesson reveals to Sophie their so-called poor friend is actually his son, which grieves her very much. He next proceeds to tell his son he has seen her, believes her wise, but as a matter of course he will not consent: "I, by a shameful weakness authorizing the disorder of society, the confusion of blood and rank, the degradation of families?" he asks him ironically. The commander agrees with his brother, promising his nephew money after his death to compensate for the loss. Let Saint-Albin use her as a mistress but not as a wife. Sophie, abashed, unwilling to enter a family that does not want her, relinquishes her dream and leaves him. A friend of the family, Germeuil, in love with Saint-Albin's sister, Cecilia, despite the commander's disapproval, also advises him to submit to his father's decision, but Saint-Albin does not. To help his friend, Germeuil asks Cecilia to see Sophie. Although Cecilia refuses, he takes Sophie in, who appears dazed and confused at the attention from such a wealthy family. Cecilia harbors her. Angry at his nephew, the commander now devotes his entire attention to Cecilia. He has changed his mind concerning Germeuil, now wishing him married to her, for whom he is ready to leave his fortune, but she refuses such a boon. Saint-Albin despairs because he can no longer find Sophie. The commander informs him that with the help of Germeuil he has taken her away from him, but the latter reveals he has not done as his uncle wished. From Cecilia Saint-Albin learns that Germeuil has brought Sophie over to his house, but, to counter their plot, the commander does the same. He discloses these news to his pained brother, who hopes eventually that son, daughter, and friend will all plead for pity at his feet. The commander sneers at this. "Pusillamous man, have you no shame?" asks he. When the entire family meets Sophie, she discovers that the commander is her uncle. Although disgusted at not obtaining what he wished, the father forgives everyone. He consents that his son marry his niece and his daughter marry Germeuil. The commander is not so generous as his brother, declaring that he hates Sophie and will disinherit his nephew: "Had you one hundred children, I would acknowledge none," he says.
"The philosopher without knowing it"
"The philosopher without knowing it". Time: 1760s. Place: France.
"The philosopher without knowing it" text at ?
When Antoine asks his daughter, Victorine, why she is crying, she answers: "My good father, sometimes young girls cry to rid themselves of boredom." The true cause is that she heard of a quarrel between Vanderk, the son of her father's friend, and a cavalry officer in a coffee-house. Vanderk's sister, Sophie, is to marry the next day. Vanderk denies that there is a quarrel, but nonetheless she is worried about him. Vanderk broaches the subject as to why his father is a merchant when he has just found out he is also of noble descent. The reason is that his father fought a duel in his youth, escaped to prevent punishment, and was befriended by a Dutch merchant, though whom he met Antoine, who facilitated his eventual marriage. Vanderk's father defends his profession, but his son does not like it. "What has it that is respectable?" he asks. Vanderk's aunt is even more prejudiced against commercial interests. When confronted with Victorine's anxieties about his approaching duel, he responds: "What does it matter?" Late at night when about to leave the house surreptitiously, Vanderk wakes up Antoine to obtain the keys of the main entry-door, but he does not have them, since they are in the possession of Vanderk's father. Vanderk asks Antoine to get them for him. Instead of Antoine, his father comes out. Vanderk is to fight a duel with a cavalry officer who insulted the merchant class. His father is sorrowful about this, but does not prevent his going, and does not embrace him either. Antoine learns of the duel and desires to take his place, but Vanderk's father wants him present at the duel without interfering in anything. If his son loses, he is to knock three times at the door. Vanderk's father then receives the visit of baron D'Esparville with a pressing need of cash, whom he helps in a commercial exchange. He discovers that D'Esparville is the father of the man his son is challenging, and while he is talking hears the three knocks at the door. Antoine confirms his son is dead, but, while talking with Victorine, Vanderk's father sees D'Esparville re-enter with both duellers, for Antoine only saw Vanderk's hat blown off by a bullet and assumed he was dead, both sons having agreed beforehand to fake a fight only to keep up appearances.