This is a rich collection of essays on French comic drama of the period from the renewal of comic drama in the 1640s to the eve of the French Revolution. The book offers exciting new studies of individual works and authors, while giving full consideration to broader issues. Major authors (such as Molière, Marivaux and Beaumarchais) are treated alongside authors who, while famous in their day and instrumental in the development of the genre, have lesser reputations today. The collection reveals the continuities, variations and new departures in the diverse comic traditions of the period in the different Paris theatres, including both the officially recognised Comédie-Française and Comédie-Italienne and the independent commercial Fair companies.
Oxford, Bern, Berlin, Bruxelles, Frankfurt/M., New York, Wien, 2000. 236 pp.
Contents: Guy Snaith: Dom Japhet d'Arménie and other descendants of Noah – Christopher J Gossip: Thomas Corneille and the
comic tradition – William Brooks: Quinault and La Mère coquette – Nicholas Hammond: Authorship and authority in Molière’s
Le Misanthrope – Marie-Claude Canova-Green: Feinte et comédie dans La Comtesse d’Escarbagnas de Molière – Michael
Cardy: A trumpet obbligato: contextualisation of a passage from Lesage’s Turcaret – Richard Waller: The theatrical
writings of Jacques Autreau and the problems of experimentation – George Evans: Marivaux’s Arlequin poli par l’amour
and the implications of play-acting – Derek F Connon: Piron’s Arlequin-Deucalion: Fair play, or anti-Fair play? – Philip
Robinson: Reflexions on early eighteenth-century French theatrical parody – John Dunkley: Destouches and moralising comedy:
the defining of a genre – Katherine Astbury: Marmontel’s theories on comedy and his moral tales: the influence of prose on
the theatre in the second half of the eighteenth century – Mark Darlow: Parody and the comédie mêlée d’ariettes, 1752-1789
– Mark Ledbury: Beaumarchais’s visual vocabulary.