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    The Love-Tiff
    The Love-Tiff
    The Love-Tiff
    Ebook103 pages1 hour

    The Love-Tiff

    By Molière

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    About this ebook

    The Love-Tiff is a comedy about the love story between Eras and Lucile. Excerpt: "The Love-tiff (Le Dépit-amoureux) is composed of two pieces joined together. The first and longest is a comparatively modest imitation of a very coarse and indecent Italian comedy, L'Interesse, by Signer Nicolo Secchi; its intrigue depends chiefly on the substitution of a female for a male child, a change which forms the groundwork of many plays and novels, and of which Shakespeare has also made use."
    LanguageEnglish
    PublisherGood Press
    Release dateDec 19, 2019
    ISBN4064066150037
    The Love-Tiff
    Author

    Molière

    Molière was a French playwright, actor, and poet. Widely regarded as one of the greatest writers in the French language and universal literature, his extant works include comedies, farces, tragicomedies, comédie-ballets, and more.

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      Book preview

      The Love-Tiff - Molière

      Molière

      The Love-Tiff

      Published by Good Press, 2022

      goodpress@okpublishing.info

      EAN 4064066150037

      Table of Contents

      LE DÉPIT AMOUREUX.

      INTRODUCTORY NOTICE.

      DRAMATIS PERSONÆ.

      THE LOVE-TIFF.

      ACT I.

      SCENE I.—ÉRASTE, GROS-RENÉ.

      SCENE II.—MARINETTE, ÉRASTE, GROS-RENÉ.

      SCENE III.—ÉRASTE, VALÈRE, GROS-RENÉ.

      SCENE IV.—ÉRASTE, MASCARILLE, GROS-RENÉ.

      SCENE V.—ÉRASTE, GROS-RENÉ.

      SCENE VI.—ÉRASTE, MARINETTE, GROS-RENÉ.

      ACT II.

      SCENE I.—ASCANIO, FROSINE.

      SCENE II.—VALÈRE, ASCANIO, FROSINE.

      SCENE III.—LUCILE, ASCANIO, MARINETTE, FROSINE.

      SCENE IV.—LUCILE, MARINETTE.

      SCENE V.—MARINETTE, LUCILE, ALBERT.

      SCENE VI.—ALBERT, alone .

      SCENE VII.—ALBERT, METAPHRASTUS.

      SCENE VIII.—METAPHRASTUS, alone .

      SCENE IX.—ALBERT, METAPHRASTUS.

      ACT III.

      SCENE I.—MASCARILLE, alone .

      SCENE II.—ALBERT, MASCARILLE.

      SCENE III.—ALBERT, alone .

      SCENE IV.—ALBERT, POLYDORE.

      SCENE V.—POLYDORE, alone .

      SCENE VI.—POLYDORE, VALÈRE.

      SCENE VII.—VALÈRE, MASCARILLE.

      SCENE VIII.—ALBERT, VALÈRE, MASCARILLE.

      SCENE IX.—VALÈRE, ALBERT, LUCILE, MASCARILLE.

      SCENE X.—ALBERT, VALÈRE, MASCARILLE.

      SCENE XI.—VALÈRE, MASCARILLE.

      ACT IV.

      SCENE I.—ASCANIO, FROSINE.

      SCENE II.—ÉRASTE, GROS-RENÉ.

      SCENE III.—ÉRASTE, LUCILE, MARINETTE, GROS-RENÉ.

      SCENE IV.—MARINETTE, GROS-RENÉ.

      ACT V.

      SCENE I.—MASCARILLE, alone .

      SCENE II.—VALÈRE, MASCARILLE.

      SCENE III.—VALÈRE, LA RAPIÈRE, MASCARILLE.

      SCENE IV.—VALÈRE, MASCARILLE.

      SCENE V.—ASCANIO, FROSINE.

      SCENE VI.—POLYDORE, ASCANIO, FROSINE.

      SCENE VII.—MASCARILLE, POLYDORE, VALÈRE.

      SCENE VIII.—ALBERT, POLYDORE, LUCILE, ÉRASTE, VALÈRE, MASCARILLE.

      SCENE IX.—ALBERT, POLYDORE, ASCANIO, LUCILE, ÉRASTE, VALÈRE, FROSINE,. MARINETTE, GROS-RENÉ, MASCARILLE.

      LE DÉPIT AMOUREUX.

      Table of Contents

      COMÈDIE.

      THE LOVE-TIFF.

      A COMEDY IN FIVE ACTS.

      (THE ORIGINAL IN VERSE.)

      1656.

      INTRODUCTORY NOTICE.

      Table of Contents

      The Love-tiff (Le Dépit-amoureux) is composed of two pieces joined together. The first and longest is a comparatively modest imitation of a very coarse and indecent Italian comedy, L'Interesse, by Signer Nicolo Secchi; its intrigue depends chiefly on the substitution of a female for a male child, a change which forms the groundwork of many plays and novels, and of which Shakespeare has also made use. The second and best part of the Love-tiff belongs to Molière alone, and is composed chiefly of the whole of the first act, the first six verses of the third scene, and the whole of the fourth scene of the second act; these, with a few alterations and a few. lines added, form, the comedy which the Théâtre Française plays at the present time. It was first represented at Béziers towards the end of 1656, when the States General of Languedoc were assembled in that town, and met with great success; a success which continued when it was played in Paris at the Théâtre du Petit-Bourbon in 1658. Why in some of the former English translations of Moliére the servant Gros-René is called Gros-Renard we are unable to understand, for both names are thoroughly French. Mr. Ozell, in his translation, gives him the unmistakably English, but not very euphonious name of "punch-gutted Ben, alias Renier, whilst Foote calls him Hugh." The incidents of the Love-tiff are arranged artistically, though in the Spanish taste; the plot is too complicated, and the ending very unnatural. But the characters are well delineated, and fathers, lovers, mistresses, and servants all move about amidst a complication of errors from which there is no visible disentangling. The conversation between Valère and Ascanio in man's clothes, the mutual begging pardon of Albert and Polydore, the natural astonishment of Lucile, accused in the presence of her father, and the stratagem of Éraste to get the truth from his servants, are all described in a masterly manner, whilst the tiff between Éraste and Lucile, which gives the title to the piece, as well as their reconciliation, are considered among the best scenes of this play.

      Nearly all actors in France who play either the valets or the soubrettes have attempted the parts of Gros-René and Marinette, and even the great tragédienne Madlle. Rachel ventured, on the 1st of July, 1844, to act Marinette, but not with much success.

      Dryden has imitated, in the fourth act of An Evening's Love, a small part of the scene between Marinette and Éraste, the quarrelling scene between Lucile, Éraste, Marinette, and Gros-René, as well as in the third act of the same play, the scene between Albert and Metaphrastus. Vanbrugh has very closely followed Molière's play in the Mistake, but has laid the scene in Spain. This is the principal difference I can perceive. He has paraphased the French with a spirit and ease which a mere translation can hardly ever acquire. The epilogue to his play, written by M. Motteux, a Frenchman, whom the revocation of the Edict of Nantes brought into England, is filthy in the extreme. Mr. J. King has curtailed Vanbrugh's play into an interlude, in one act, called Lover's Quarrels, or Like Master Like Man.

      Another imitator of Molière was Edward Ravenscroft, of whom Baker says in his Biographia Dramatica, that he was a writer or compiler of plays, who lived in the reigns of Charles II. and his two successors. He was descended from the family of the Ravenscrofts, in Flintshire; a family, as he himself, in a dedication asserts, so ancient that when William the Conqueror came into England, one of his nobles married into it.

      He was some time a member of the Middle Temple; but, looking on the dry study of the law as greatly beneath the attention of a man of genius, quitted it. He was an arrant plagiary. Dryden attacked one of his plays, The Citizen turned Gentleman, an imitation of Molière's Bourgeois-Gentilhomme, in the Prologue to The Assignation.

      Ravenscroft wrote "The Wrangling Lovers, or the Invisible Mistress. Acted at the Duke's Theatre, 1677. London, Printed for William Crook, at the sign of the Green Dragon, without Temple-Bar, 1677." Though the plot was partly taken from a Spanish novel, the author has been inspired by Molière's Dépit amoureux. The scene is in Toledo: Éraste is called Don Diego de Stuniga, Valère Don Gusman de Haro, a well-bred cavaliere, Lucile is Octavia de Pimentell, and Ascanio is Elvira; Gros-René's name is Sanco, vallet to Gusman, a simple pleasant fellow, and Mascarille is Ordgano, "a cunning

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