Don Juan ; Les précieuses ridicules : théâtre PDF

A new conception of nobility, modelled on the Italian Renaissance courts and their concept of the perfect courtier, was beginning to evolve through French literature. Henry IV’s court was considered by contemporaries a rude one, lacking the Italianate sophistication of the court don Juan ; Les précieuses ridicules : théâtre PDF the Valois kings.


Don Juan ; Les précieuses ridicules : théâtre de Molière
Date de l’édition originale : 1895
Collection : Bibliothèque nationale

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Henry’s literary tastes were largely limited to the chivalric novel Amadis of Gaul. The word salon first appeared in French in 1664 from the Italian word sala, the large reception hall of a mansion. Before 1664, literary gatherings were often called by the name of the room in which they occurred — cabinet, réduit, alcôve, and ruelle. For instance, the term ruelle derives from literary gatherings held in the bedroom, a practice popular even with Louis XIV.

In the context of French scholastica, academies were scholarly societies which monitored, fostered, and critiqued French culture. In the mid-17th century, academies gradually came under government control and sponsorship and the number of private academies decreased. The first private academy to fall under governmental control was L’Académie française, which remains the most prestigious governmental academy in France. In certain instances, the values of 17th-century nobility played a major part in the literature of the era. The spectacle of power, prestige and luxury found in 17th-century literature may be distasteful or even offensive. They were also required to show generosity by hosting sumptuous parties and by funding the arts. Many of these notions are directly inspired by the works of Aristotle and Horace, and by classical Greek and Roman masterpieces.

Unity of place: The setting should not change. In practice this led to the frequent « Castle, interior ». Unity of time: Ideally, the entire play should take place in 24 hours. Unity of action: There should be one central story, and all secondary plots should link to it.

China or Africa, or over many years would—critics maintained—break the theatrical illusion. Sometimes, grouped with unity of action is the notion that no character should appear unexpectedly late in the drama. La vraisemblance: Actions should be believable. When historical events contradict believability, some critics advised the latter. Hippolyte by a monster in Phèdre could only take place offstage. Corneille’s Le Cid was criticised for having Rodrigue appear before Chimène after having killed her father, a violation of moral codes. La Princesse de Clèves’ revelation to her husband of her adulterous feelings for the Duc de Nemours was criticised for being unbelievable.