[PDF] Molieres Les precieuses ridicules and English Restoration comedy.

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RICE UNIVERSITY

MOLIERE*S

LES

PREOIEUSES

RIDICULES

AND

ENGLISH

RESTORATION

COMEDY

by ELMER

RICHARD

GREGORY,

JR. A

THESIS

SUBMITTED

TO THE

FACULTY

IN

PARTIAL

FULFILLMENT

OF THE

REQUIREMENTS

FOR THE

DEGREE

OF

MASTER

OF ARTS

Houston,

Texas May, 1961

THIS THESIS

IS

DEDICATED

TO MY

PARENTS

TABLE OP CONTENTS

PREFACE

I .-.v

I. MOLIERIAN

AND

JONSONIAN

COMEDY DEFINED

. . ; . 1-5

II. PRECIOSITY

AND LES

PREOIEUSES RIDICULES

... 6-18

III. FLECKNOE*S

DAMOIBELLES

1 9 3 2

IV. MRS.

BEHN*S

THE FALSE COUNT 3 3 "39

V. SHADWELL'S

BURY FAIR 4 0-54

VI. MILLER*

S THE MAN OF TASTE 5 5 5 9

VII. CONCLUSION

6 0-65

FOOTNOTES

6 6 -71

BIBLIOGRAPHY

7 2 -73

PREFACE

Although

borrowings from

Moliere

by the

Restoration

comic writers have been known and noted since the time of

Langbaine

and

Voltaire,

attempts to assess the nature and depth of his influence were not made until the first half of the nineteenth century when John

Genest

first argued that

Moli&re

had been one of the great influences on

Res¬

toration comedy* The twentieth century has seen at least two full-length studies of his influence D. H.

Miles's

The

Influence

of

Moll&re

on

Restoration

Comedy

and John

Wilcox's

The

Relation

of

Moliere

to

Restoration

Comedy

Both works are valuable but neither can be regarded as completely dependable.

Miles's

work, published in 1910,
is out of date and suffers from a floridly elaborate style*

Scholarship

was not then as exacting as it is at the present, and many of the plays the

Demoiselles

a la Mode of

Richard

Flecknoe,

for example were not available to him. He was, moreover, emphatically a

Victorian,

and his general attitude toward literature is reflected in this passages Not only were the ephemeral playwrights trilling to insert passages having no attraction but their indecency, but some of the most sparkling wit of the leaders played around subjects now no longer alluded to in refined society. I need dvr ell on this notorious characteristic no longer that I have on the delight in amorous

Intrigues.

It is already indelibly stamped on every man's memory. Besides, it has absolutely nothing to do with Moliere's influence.1 ii Of course, this so-called "notorious characteristic 1 does indeed have little to do with

Mollbre's

influence, hut cer¬ tainly no adequate treatment of

Restoration

comedy can be trimmed to a pattern of subjects currently "alluded to in refined society."

Often,

Miles's

criteria for identifying borrowings are vague and unconvincing. For example, he cites

Congreve's

Way of the World as one of the comedies containing an important direct borrowing from

Kollere,

stat¬ ing that "Waitwell's disguise was suggested by the plot of Les

Preoieuses

Ridicules

1 1 By 1700,
however, the disguise element had long been common property, and on no greater similarity than that one cannot consider the example as an unquestionable borrowing.

Unlike

Mascarille,

Waitwell's

disguise is not that of the young dandy, but rather one of an older person.

Mirabell's

reason for having him undertake the disguise is to further his own courtship of

Millamant

and not to humiliate Lady

Wishfort.

Earlier

he had notquotesdbs_dbs46.pdfusesText_46

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