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THE PRETENTIOUS YOUNG LADIES
THE PRETENTIOUS YOUNG LADIES MOLIERE There is no doubt that aristocratic society attempted about the latter
years of the reign of Louis XIII. to amend the coarse and licentious
expressions which during the civil wars had been introduced into
literature as well as into manners. It was praiseworthy of some
high-born ladies in Parisian society to endeavour to refine the language
and the mind. But there was a very great difference between the
influence these ladies exercised from 1620 until 1640 and what took
place in 1658 the year when Moliere returned to Paris. The Hotel de
Rambouillet and the aristocratic drawing-rooms had then done their
work and done it well; but they were succeeded by a clique which cared
only for what was nicely said or rather what was out of the common.
Instead of using an elegant and refined diction they employed only a
pretentious and conceitedly affected style which became highly
ridiculous; instead of improving the national idiom they completely
spoilt it. Where formerly D'Urfe Malherbe Racan Balzac and Voiture
reigned Chapelain Scudery Menage and the Abbe Cotin "the father of
the French Riddle" ruled in their stead. Moreover every lady in Paris
as well as in the provinces no matter what her education was held her
drawing-room where nothing was heard but a ridiculous exaggerated and
what was worse a borrowed phraseology. The novels of Mdlle. de Scudery
became the text-book of the _precieux_ and the _precieuses_ for such
was the name given to these gentlemen and ladies who set up for wits
and thought they displayed exquisite taste refined ideas fastidious
judgment and consummate and critical discrimination whilst they only
uttered vapid and blatant nonsense. What other language can be used when
we find that they called the sun _l'aimable eclairant le plus beau du
monde l'epoux de la nature_ and that when speaking of an old gentleman
with grey hair they said not as a joke but seriously _il a des
quittances d'amour_. A few of their expressions however are employed
even at the present time such as _chatier son style_; to correct one's
style; _depenser une heure_ to spend an hour; _revetir ses pensees
d'expressions nobles_ to clothe one's thoughts in noble expressions
etc.
Though the _precieux and precieuses_ had been several times attacked
before it remained for Moliere to give them their death blow and after
the performance of his comedy the name became a term of ridicule and
contumely. What enhanced the bitterness of the attack was the difference
between Moliere's natural style and the affected tone of the would-be
elegants he brought upon the stage.
This comedy in prose was first acted at Paris at the Theatre du Petit
Bourbon on the 18th of November 1659 and met with great success.
Through the influence of some noble _precieux_ and _precieuses_ it was
forbidden until the 2d of December when the concourse of spectators was
so great that it had to be performed twice a day that the prices of
nearly all the places were raised (See Note 7 page xxv.) and that it
ran for four months together. We have referred in our prefatory memoir
of Moliere to some of the legendary anecdotes connected with this play.
It has also been said that our author owed perhaps the first idea of
this play to a scarcely-known work _le Cercle des Femmes ou le Secret
du Lit Nuptial; entretiens comiques_ written by a long-forgotten
author Samuel Chapuzeau in which a servant dressed in his master's
clothes is well received by a certain lady who had rejected the master.
But as the witty dialogue is the principal merit in Moliere's play it
is really of no great consequence who first suggested the primary idea.
The piece though played in 1659 was only printed on the 29th of
January 1660 by Guillaume de Luyne a bookseller in Paris with a
preface by Moliere which we give here below:
A strange thing it is that People should be put in print against their
Will. I know nothing so unjust and should pardon any other Violence
much sooner than that.
Not that I here intend to personate the bashful Author and out of a
point of Honour undervalue my Comedy. I should very unseasonably
disoblige all the People of Paris should I accuse them of having
applauded a foolish Thing: as the Public is absolute Judge of such sort
of Works it would be Impertinence in me to contradict it; and even if I
should have had the worst Opinion in the World of my _Pretentious Young
Ladies_ before they appeared upon the Stage I must now believe them of
some Value since so many People agree to speak in their behalf. But as
great part of the Pleasure it gave depends upon the Action and Tone of
the Voice it behooved me not to let them be deprived of those
Ornaments; and that success they had in the representation was I
thought sufficiently favorable for me to stop there. I was I say
determined to let them only be seen by Candlelight that I might give
no room for any one to use the Proverb; [Footnote: In Moliere's time it
was proverbially said of a woman "_Elle est belle a la chandelle mais
le grand jour gate tout_." She is beautiful by candle-light but
day-light spoils everything.] nor was I willing they should leap from
the Theatre de Bourbon into the _Galerie du Palais_. [Footnote: The
_Galerie du Palais_ was the place where Moliere's publisher lived.]
Notwithstanding I have been unable to avoid it and am fallen under the
Misfortune of seeing a surreptitious Copy of my Play in the Hands of the
Booksellers together with a Privilege knavishly obtained for printing
it. I cried out in vain O Times! O Manners! They showed me that there
was a Necessity for me to be in print or have a Law-suit; and the last
evil is even worse than the first. Fate therefore must be submitted to
and I must consent to a Thing which they would not fail to do without
me.
Lord the strange Perplexity of sending a book abroad! and what an
awkward Figure an Author makes the first time he appears in print! Had
they allowed me time I should have thought it over better and have
taken all those Precautions which the Gentlemen Authors who are now my
Brethren commonly make use of upon the like Occasions. Besides some
noble Lord whom I should have chosen in spite of his Teeth to be the
Patron of my Work and whose Generosity I should have excited by an
Epistle Dedicatory very elegantly composed I should have endeavoured to
make a fine and learned Preface; nor do I want books which would have
supplied me with all that can be said in a scholarly Manner upon Tragedy
and Comedy; the Etymology of them both their Origin their Definition
and so forth. I should likewise have spoken to my friends who to
recommend my Performance would not have refused me Verses either in
French or Latin. I have even some that would have praised me in Greek
and Nobody is ignorant that a Commendation in Greek is of a marvellous
efficacy at the Beginning of a Book. But I am sent Abroad without giving
me time to look about me; and I can't so much as obtain the Liberty of
speaking two words to justify my Intention as to the subject of this
Comedy. I would willingly have shewn that it is confined throughout
within the Bounds of allowable and decent Satire that Things the most
excellent are liable to be mimicked by wretched Apes who deserve to be
ridiculed; that these absurd Imitations of what is most perfect have
been at all times the Subject of Comedy; and that for the same Reason
that the truly Learned and truly Brave never yet thought fit to be
offended at the Doctor or the Captain in a Comedy no more than Judges
Princes and Kings at seeing Trivelin [Footnote: The Doctor and the
Captain were traditional personages of the Italian stage; their parts
need no further explanation; Trivelin was a popular Italian actor who
in a humorous and exaggerated way played the parts of Judges Princes
and Kings.] or any other upon the Stage ridiculously act the Judge the
Prince or King; so the true _Precieuses_ would be in the wrong to be
angry when the pretentious Ones are exposed who imitate them
awkwardly. In a Word as I said I am not allowed breathing time; Mr. de
Luyne is going to bind me up this Instant: ... let it be so since the
Fates so ordain it.
In the third volume of the "Select Comedies of M. de Moliere" this
comedy is called "The Conceited Ladies." It is dedicated to Miss Le Bas
in the following words:---
MADAM Addresses of this Nature are usually fill'd with Flattery: And it
is become so general and known a Practice for Authors of every kind to
bedeck with all Perfections Those to whom they present their Writings
that Dedications are by most People at Present interpreted like
Dreams directly backwards. I dare not therefore attempt Your
Character lest even Truth itself should be suspected--Thus far
however I'll venture to declare that if sprightly blooming Youth
endearing sweet Good-nature flowing gentile Wit and an easy unaffected
Conversation maybe reckon'd Charms--_Miss_ LE BAS is exquisitely
charming.
The following COMEDY of _Monsieur_ MOLIERE that celebrated Dramatick
Writer was by him intended to reprove a vain fantastical conceited
and preposterous Humour which about that time prevailed very much in
_France_. It had the desir'd good Effect and conduced a great deal
towards rooting out a Taste so unreasonable and ridiculous.---As Pride
Conceit Vanity and Affectation are Foibles so often found amongst the
Fair Sex at present I have attempted this Translation in hopes of
doing service to my pretty Country-Women.--And certainly it must have
a double efficacy under the Patronage of one who is so bright an
Example of the contrary fine Accomplishments which a large Fortune
makes her not the less careful to improve.
I am not so presumptuous to imagine that my _English_ can do sufficient
Justice to the sense of this admir'd AUTHOR; and therefore have caused
the ORIGINAL to be placed against it Page for Page hoping that both
together may prove an agreeable and useful Entertainment.----But I have
detain'd you too long already and shall only add that I am with much
respect and every good Wish MADAM _Your most Obedient Humble
Servant_ THE TRANSLATOR.
The _Precieuses Ridicules_ have been partly imitated in "_The
Damoiselles a la Mode_ Compos'd and Written by Richard Flecknoe.
London: Printed for the Author 1667. To their graces the Duke and
Duchess of Newcastle the Author dedicates this his comedy more humbly
than by way of epistle." This gentleman who was "so distinguished as a
wretched poet that his name had almost become proverbial" and who gave
the title to Dryden's _Mac-Flecknoe_ is said to have been originally a
Jesuit. Langbaine states "that his acquaintance with the nobility was
more than with the Muses." In the preface our author says: "This Comedy
is taken out of several excellent pieces of _Moliere_. The main plot out
of his _Pretieusee's Ridiculee's_; the Counterplot of _Sganarelle_ out
of his _Escole des Femmes_ and out of the _Escole des Marys_ the two
_Naturals_; all which like so many _Pretieuse_ stones I have brought
out of _France_; and as a Lapidary set in one Jewel to adorn our English
stage."
This motley play was never acted; at least the author says: "for the
Acting it those who have the Governing of the Stage have their
Humours and wou'd be intreated; and I have mine and won't intreat them;
and were all Dramatick Writers of my mind they shou'd wear their old
_Playes_ Thred-bare e're they shou'd have any _New_ till they better
understood their own Interest and how to distinguish betwixt good and
bad."
The "Prologue intended for the overture of the Theater 1666" opens
thus:--
"In these sad Times our Author has been long
Studying to give you some diversion;
And he has ta'en the way to do't which he
Thought most diverting mirth and Comedy;
And now he knows there are inough i' the Town
At name of mirth and Comedy will frown
And sighing say the times are bad; what then?
Will their being sad and heavy better them?"
[Footnote: In 1665 the plague broke out in London and in the succeeding
year the great fire took place; only at Christmas 1666 theatrical
performances began again.]
According to the list of "The Representers as they were first
design'd." I see that Nell Gwyn should have played the part of
"_Lysette_ the _Damoiselle's_ waiting Woman."
James Miller a well-known dramatist and joint-translator of Moliere
with H. Baker has also imitated part of "the _Pretentious Young
Ladies_" and with another part borrowed from Moliere's _School for
Husbands_ two characters taken from Moliere's _Learned Ladies_ and
some short speeches borrowed from the _Countess of Escarbagnas_ he
composed a comedy which was played at Drury Lane March 6th 1735
under the title of _The Man of Taste or The Guardians_. Mr. Miller
appears to have been a man of indomitable spirit and industry. Being a
clergyman with a very small stipend he wrote plays to improve his
circumstances but offended both his bishop and the public. At last he
was presented to the very valuable living of Upcerne in Dorsetshire
and was also successful with a translation of _Mahomet_ of Voltaire but
died within the year after his induction. _The Man of Taste_ was printed
for J. Watts MDCCXXXV. and is dedicated to Lord Weymouth. We give part
of the dedication:
"As to the Attempt here made to expose the several Vices and Follies
that at present flourish in Vogue I hope your Lordship will think it
confined within the bounds of a modest and wholesome Chastisement. That
it is a very seasonable one I believe every Person will acknowledge.
When what is set up for the Standard of Taste is but just the Reverse
of Truth and Common Sense; and that which is dignify'd with the Name of
Politeness is deficient in nothing--but Decency and Good Manners: When
all Distinctions of Station and Fortune are broke in upon so that a
_Peer_ and a _Mechanick_ are cloathed in the same Habits and indulge in
the same Diversions and Luxuries: When Husbands are ruin'd Children
robb'd and Tradesmen starv'd in order to give Estates to a _French_
Harlequin and _Italian_ Eunuch for a Shrug or a Song; [Footnote:
Farinelli an eminent Italian soprano went to England in 1734 remained
there three years sang chiefly at the Theatre of Lincoln's-Inn-Fields
then under the direction of Porpora his old Master became a great
favorite and made about L5000 a year. As _The Man of Taste_ was
performed at a rival house Drury Lane the bitterness of the allusion
may be easily understood. The French Comedians acted at the Haymarket
from November 22 1734 to June 1735 hence the allusion to a French
Harlequin.] shall not fair and fearless Satire oppose this Outrage upon
all Reason and Discretion. Yes My Lord resentment can never better be
shown nor Indignation more laudably exerted than on such an occasion."
The Prologue spoken by Mr. Cibber is racy. We give the first half of
it:--
"Wit springs so slow in our bleak Northern Soil
It scarce at best rewards the Planter's Toil.
But now when all the Sun-shine and the Rain
Are turn'd to cultivate a Foreign grain;
When what should cherish preys upon the Tree
What generous Fruit can you expect to see?
Our Bard to strike the Humour of the Times
Imports these Scenes from kindlier Southern Climes;
Secure his Pains will with Applause be crown'd
If you're as fond of Foreign sense as ... sound:
And since their Follies have been bought so dear
We hope their Wit a moderate Price may bear.
Terence Great Master! who with wond'rous Art
Explor'd the deepest Secrets of the Heart;
That best Old Judge of Manners and of Men
First grac'd this Tale with his immortal Pen.
Moliere the Classick of the Gallick Stage
First dar'd to modernize the Sacred Page;
Skilful the one thing wanting to supply
Humour that Soul of Comic Poesy.
The Roman Fools were drawn so high ... the Pit
Might take 'em now for Modern Men of Wit.
But Moliere painted with a bolder Hand
And mark'd his Oafs with the Fool's-Cap and Band:
To ev'ry Vice he tagged the just Reproach
Shew'd Worth on Foot and Rascals in a Coach."
[Footnote: The plot of _The Man of Taste_ as we have said before was
partly borrowed from Moliere's _School for Husbands_ partly from the
_Pretentious Young Ladies_ and other of his plays. The first-mentioned
French comedy owes part of its plot to Terence's _Adelphi_ hence the
allusion to "his immortal Pen." in the above poem.]
Mrs. Aphra Behn a voluminous writer of plays novels poems and
letters all of a lively and amorous turn was the widow of a Dutch
merchant and partly occupied the time not engaged in literary pursuits
in political or gallant intrigues. Her comedies are her best works and
although some of her scenes are often indecent and not a few of her
expressions indelicate yet her plots are always lively and well
sustained and her dialogues very witty. The date of her birth is
unknown but she died on the 16th of April 1689 and was buried in the
cloisters of Westminster Abbey.
In 1682 was performed at the Theatre Dorset Garden her play. _The
False Count or a New Way to Play an Old Game_. The prologue attacks the
Whigs most furiously and the epilogue spoken by Mrs. Barry is very
indecent. The plot of this play or rather farce is very improbable
and the language is more than free. Julia in love with Don Carlos
afterwards Governor of Cadiz was forced by her father to marry
Francisco a rich old man formerly a leather-seller; the latter going
with his family to sea on a party of pleasure are taken prisoners by
Carlos and his servants disguised as Turks. They are carried to a
country house and made to believe they are in the Grand Turk's
seraglio. There is also an underplot in which Isabella Francisco's
proud and vain daughter is courted by Guilion a supposed Count but in
reality a chimney-sweep whose hand she accepts. In the end everything
is discovered and Guilion comes to claim his wife in his sooty clothes.
Thomas Shadwell a dramatist and the poet-laureate of William III. who
has been flagellated by Dryden in his _MacFlecknoe_ and in the second
part of _Absalom_ and _Achitophel_ and been mentioned with contempt by
Pope in his _Dunciad_ took from the _Precieuses Ridicules_ Mascarille
and Jodelet and freely imitated and united them in the character of La
Roch a sham Count in his _Bury-Fair_ acted by His Majesty's servants
in 1689. This play dedicated to Charles Earl of Dorset and Middlesex
was written "during eight months' painful sickness." In the Prologue
Shadwell states:
That every Part is Fiction in his Play;
Particular Reflections there are none;
Our Poet knows not one in all your Town.
If any has so very little Wit
To think a Fop's Dress can his Person fit
E'en let him take it and make much of it.
Whilst in The _Pretentious Young Ladies_ Mascarille and Jodelet impose
upon two provincial girls in _Bury-Fair_ La Roch "a French
peruke-maker" succeeds in deceiving Mrs. Fantast and Mrs. Gertrude under
the name of Count de Cheveux. The Count is very amusing and though a
coward to boot pretends to be a great warrior. His description of war
is characteristic; he states that "de great Heros always burne and kille
de Man Woman and Shilde for deir Glory."
DRAMATIS PERSONAE.
LA GRANGE
) _repulsed Lovers_.
DU CROISY /
GORGIBUS _a good citizen_.
[Footnote: Gorgibus was the name of certain characters in old comedies.
The actor L'Epy who played this part had a very loud voice; hence
Moliere gave him probably this name.]
THE MARQUIS DE MASCARILLE _valet to La Grange_.
[Footnote: _Mascarille_ was played by Moliere and has a personality
quite distinct from the servant of the same name in the _Blunderer_ and
the _Love-Tiff_. The dress in which he acted this part has not been
mentioned in the inventory taken after his death but in a pamphlet
published in 1660 he is described as wearing an enormous wig a very
small hat a ruff like a morning gown rolls in which children could
play hide-and-seek tassels like cornucopise ribbons that covered his
shoes with heels half a foot in height.]
THE VISCOUNT JODELET _valet to Du Croisy_.
ALMANZOR _footman to the pretentious ladies_.
TWO CHAIRMEN.
MUSICIANS.
MADELON _daughter to Gorgibus_
) _The pretentious young ladies_.
CATHOS _niece to Gorgibus_ /
MAROTTE _maid to the pretentious young ladies_.
LUCILE.
) _two female neighbours_.
CELIMENE. /
SCENE--GORGIBUS' HOUSE PARIS.
THE PRETENTIOUS YOUNG LADIES. (LES PRECIEUSES RIDICULES.)
ACT I.
SCENE I.--LA GRANGE DU CROISY.
DU. CR. Mr. La Grange.
LA. GR. What?
DU. CR. Look at me for a moment without laughing.
LA. GR. Well?
DU. CR. What do you say of our visit? Are you quite pleased with it?
LA. GR. Do you think either of us has any reason to be so?
DU. CR. Not at all to say the truth.
LA. GR. As for me I must acknowledge I was quite shocked at it. Pray
now did ever anybody see a couple of country wenches giving themselves
more ridiculous airs or two men treated with more contempt than we
were? They could hardly make up their mind to order chairs for us. I
never saw such whispering as there was between them; such yawning such
rubbing of the eyes and asking so often what o'clock it was. Did they
answer anything else but "yes" or "no" to what we said to them? In
short do you not agree with me that if we had been the meanest persons
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