Эдме Бурсо: Француз драматургі және әдеби даулары

French dramatist (1638–1701)

Edmé Boursault (October 163815 September 1701) was a French dramatist and miscellaneous writer, born at Mussy l'Evéque, now Mussy sur Seine (Aube).

On Boursault's first arrival in Paris in 1651 his language was limited to Burgundian, but within a year he had produced his first comedy, Le Mort vivant (Living Death). This and some other pieces of small merit secured for him distinguished patronage in the society ridiculed by Molière in the Ecole des femmes. Boursault was persuaded that the Lysidas of that play was a caricature of himself, and attacked Molière in Le Portrait du peintre ou la contre critique de l'Ecole des femmes (1663). Molière retaliated in L'Impromptu de Versailles, and Boileau attacked Boursault in Satires 7 and 9. Boursault replied to Boileau in his Satire des satires (1669), but was afterwards reconciled to him, when Boileau on his side erased his name from his satires. Portrait of the Painter, or Criticisms of the School for Women Criticized (French: Le Portrait du Peintre ou La Contre critique de L’École des femmes, September 1663). Part of an ongoing literary quarrel over The School for Wives (1662) by Molière. The original play had caricatured "male dominated exploitative marital relationships", and became a target of criticism. Criticisms ranged from accusing the playwright of impiety, to nitpicking over the perceived lack of realism in certain scenes. Molière had answered his critics with a second play, The School for Women Criticized (French: La Critique de L’École des femmes, June 1663). Boursault wrote his play in answer to this second play. Molière answered with a third play of his own, The Versailles Impromptu (French: L'Impromptu de Versailles, October 1663), which reportedly took him only eight days to write. It went on stage two weeks (or less) after the Portrait. This play takes place in the theatrical world, featuring actors playing actors on stage. Among jests aimed at various targets, Molière mocks Boursault for his obscurity. The characters have trouble even remembering the name of someone called "Brossaut". Les Cadenats, ou le Jaloux Endormi (English: The locks, or the jealous one asleep, 1663). A one act comedy. Les Nicandres, ou Les Menteurs qui ne mentent point (English: The Nicandres, or The Liars who do not lie, 1664). A comedy. A play about two identical twin brothers, who also use the same name: "Nicandre" (Nicander). There are constant confusions over their identities, and "ludicrous mistakes and misunderstandings" result from the fact that their own mistresses and valets can not tell them apart. The plot and its humor are similar, though not identical, to Menaechmi by Plautus. John Colin Dunlop lists it among several French imitations of the ancient play, noting that the earliest among them was a 1630s version by Jean Rotrou. Some scenes seem more developed in Boursault's version, possibly because of his attempt to closely follow the Italian original. His personal touches are evident in other ways. His characters speak in verse, and the dialogue at times includes allusions to the works of French dramatists. For example, to Polyeucte (1643) by Pierre Corneille, La Belle plaideuse (1655) by François le Métel de Boisrobert, and possibly Les Précieuses ridicules (1659) by Molière. While both identical named plays feature an impostor doctor, Boursault also adds a real one as an object or satire and ridicule. Boursault reported that he chose to limit the play to three acts, because in his observation four act and five act plays tend to fatigue the audience. The entire plot takes place in less than 24 hours, leaving little room for further intrigue or character study. "The verse is polished and correct, but conventional and monotonous". Certain scenes call for spectacular effects, such as the heavens opening and gods appearing to dictate their wishes, sounds of thunder, and the earth itself trembling. Others scenes rely on music and singing. Boursault likely counted on these scenes to be the highlights of the work. A one act play, written in response to criticisms by Nicolas Boileau Despréaux. Since Boileau had briefly targeted Boursault in his satires, Boursault evidently wanted to respond in kind. Boileau managed to prevent the staging of this play by an act of parlement. Years later, the two writers befriended each other. In response, Boileau edited the text of his satire to instead target Jacques Pradon. This altered version survived in subsequent editions of his work. The incident sheds some light on the legal limitations of theatrical satire at the time. The decision of parlement (dated to 22 October 1668) objected to the use of the proper name of Boileau, proclaiming that the practice was "defamatory of the honor" of the suppliant and therefore illegal. While successful at the time of its release, the tragedy went on to gain a reputation as an "indifferent work". Its main claim to fame has to do with indirectly causing a quarrel between two other writers. While congratulating Boursault for his play, Pierre Corneille commented that it only needed the signature of Jean Racine "to be deemed a great work". The comparison between Boursault and Racine pleased the former and infuriated the latter. Resulting in a verbal fight between Corneille and Racine. The two opponents were not on speaking terms afterwards. La Princesse de Clèves (English: The Princess of Clèves, December 1678). It was written for the Guénégaud Theatre, and proved a flop. Only two performances were staged. It was obviously based on the novel of the same name (1678) by Madame de La Fayette. Le Mercure galant or La Comédie sans titre ("Play without a title") (1683). A theatrical comedy, Monsieur de Boishuisant is an admirer of the eponymous periodical Mercure galant. Protagonist Oronte aspires to marry the daughter of the Monsieur and happens to be a friend of the editor. He gets permission to act as editor for a day to impress his prospective father in law. The play takes place in the offices of the periodical, and includes 13 vignettes where typical members of Parisian society present various requests to Oronte. The loosely connected scenes make this a work of social satire. There was little originality in the types depicted, which like a revue took its inspiration from contemporary figures and incidents. The people asking the support of the editor include an upwardly mobile bourgeois. He seeks to acquire a noble title, which would allow him to marry a young marquise. Another petitioner is a tax collector who has embezzled tax money, and wants the periodical to champion the cause of clearing his name. An old seaman wants to sell his life story to the periodical, certain that it will sell well among former veterans. He is a veteran of the Battle of Augusta (1676) and claims to be personally responsible for the death of enemy admiral Michiel de Ruyter. His actual claim to fame is that he provided the match which fired the cannon responsible for the deed. Marie Stuart (Mary Stuart, 1683). A tragedy. Based on the life of the ill fated Mary, Queen of Scots. An unsuccessful work, though profitable for the writer. Boursault dedicated the work to François de Beauvilliers, 1st duc de Saint Aignan. The Duc was sufficiently pleased to pay him a sum of 100 louis. This play was an entry to a long string of epic poems and dramas on the subject, mostly produced in France and Spain. Previous writers which had covered this popular subject were Antoine de Montchrestien (his version was written in 1596, and published in 1601), Tommaso Campanella (1598), Lope de Vega (1627), Charles Regnault (1639), Juan Bautista Diamante (1660), and Manuel de Gallegos (1660). Subsequent ones would include Vittorio Alfieri (1788), Friedrich Schiller (1800), and Gaetano Donizetti (1834). Les Fables d'Ésope, comédie or Ésope à la Ville (English: Aesop's Fables or Aesop in the City, 1690). A moralistic play, where Aesop responds to any question and difficulty by reciting a relevant fable. The "superhuman wisdom and virtue" of the character were derided by later critics, who tended to find the traits wearisome. The initial production was not without its problems. The theatrical company which staged the play insisted on excluding a certain scene of the second act, while Boursault insisted on its inclusion. He only prevailed on the argument by convincing a valet de chambre to intervene on his behalf. On the opening performance, the initial audience reception was hostile. The play consisted of the main character narrating familiar tales, against their expectations. Jean Baptist Raisin, the lead actor, then interrupted the performance to explain why it was necessary. He explained that Aesop reciting his fables preserved the very essence of his character. His speech was met with applause and requests for the performance to continue. The play became a profitable hit. The work served at familiarizing Aesop to a wide English audience. Already in 1698, it inspired various pamphlets with titles such as Aesop at Epsom, Old Aesop at White Hall, etc. In content they ranged from political commentary to scandal sheets. La Feste de la Seine (English: The feast of the Seine, 1690). A one act divertissement, set to music. Phaeton (1691). A comedy. Fashionable Words (French: Les Mots à la mode, 1694). A comedy spoofing the fashion fads of the time and their associated terminology. Scenes are devoted to listing the many names for variants of the fontange hairstyle. The long list includes names such as "bourgogne" (Burgundy), "jardiniere" (gardener), "souris" (mouse), "effrontée" (shameless), and "crève cœur" (heartbreaker). Meleager (French: Méléagre, 1694). A tragedy, unperformed. Based on the legendary hunt for the Calydonian Boar. The play takes place in Calydon, a city in Aetolia. The main characters are (1) Meleager, son of Oeneus and Althaea, and his lover (2) Atalanta, daughter of Iasus. Ésope à la Cour (English: Aesop at the Court, 1701). Sequel to the previous work, first performed shortly after the death of the writer. A number of characters and situations point to its social context at the dawn of the 18th century. Croesus appoints Aesop as his Minister of State, and the newly appointed man delivers a speech condemning the vices of the royal court: dishonesty, hypocrisy, deception, flattery, love of gambling, and dissipation. The target is evidently not the court of Croesus, but that of Louis XIV. Another scene has Aesop debating religion with Iphicrates, a retired general who doubts the very existence of God. Iphicrates is a representative of freethought, though Aesop reminds him that free thinkers still send for priests when at death's door. Another target for criticism was relatively new for French comedy, "M. Griffet" the fermier (tax farmer). Jean de La Bruyère had already targeted these tax contractors at his works. But Boursault's take on the subject serves as a precursor to Turcaret (1709) by Alain René Lesage.

Lettres de respect, d'obligation et d'amour (English:Letters of Respect, Gratitude and Love, 1669). An early epistolary novel. Artémise et Poliante (English: Artemisia and Polyanthus, 1670). Le Marquis de Chavigny (English:The marquis de Chavigny, 1670). One of several contemporary works based on "Spanish plots", in this case deriving from the works of Pedro Calderón de la Barca. Le Prince de Condé (English: The prince de Condé, 1675). "Sept Lettres amoureuses d'une dame à un cavalier" in Lettres nouvelles (1697). An epistolary novel translated by Eliza Haywood as Letters from a Lady of Quality to a Chevalier (1720)Treize Lettres amoureuses d'une dame à un cavalier'' (1709).