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L'Étourdi ou Les Contre-Temps
L’Étourdi ou les Contretemps est une comédie en cinq actes et en vers.
Quand L'Étourdi a été joué pour la première fois à Paris, il a obtenu un grand succès bien méritée. La pièce est pour une grande partie basé sur une comédie italienne, écrite par Nicolo Barbieri, d'où le caractère de Mascarille, le valet, est pris, mais la finale est nettement supérieure à celle de la pièce italienne. Certaines des scènes nous rappellent des passages entre Arlequin et Pantaleone (les personnifications de l'impudence et l'ingéniosité par opposition à la douceur et la stupidité) dans plusieurs "Commedia del Arte» Italien.
Quand L'Étourdi a été joué pour la première fois à Paris, il a obtenu un grand succès bien méritée. La pièce est pour une grande partie basé sur une comédie italienne, écrite par Nicolo Barbieri, d'où le caractère de Mascarille, le valet, est pris, mais la finale est nettement supérieure à celle de la pièce italienne. Certaines des scènes nous rappellent des passages entre Arlequin et Pantaleone (les personnifications de l'impudence et l'ingéniosité par opposition à la douceur et la stupidité) dans plusieurs "Commedia del Arte» Italien.
156 pages, Paperback
First published January 1, 1655
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About the author
Molière
4,633 books1,509 followersSophisticated comedies of French playwright Molière, pen name of Jean Baptiste Poquelin, include
Tartuffe
(1664),
The Misanthrope
(1666), and
The Bourgeois Gentleman
(1670).
French literary figures, including Molière and Jean de la Fontaine, gathered at Auteuil, a favorite place.
People know and consider Molière, stage of Jean-Baptiste Poquelin, also an actor of the greatest masters in western literature. People best know l'Ecole des femmes (The School for Wives), l'Avare ou l'École du mensonge (The Miser), and le Malade imaginaire (The Imaginary Invalid) among dramas of Molière.
From a prosperous family, Molière studied at the Jesuit Clermont college (now lycée Louis-le-Grand) and well suited to begin a life in the theater. While 13 years as an itinerant actor helped to polish his abilities, he also began to combine the more refined elements with ccommedia dell'arte.
Through the patronage of the brother of Louis XIV and a few aristocrats, Molière procured a command performance before the king at the Louvre. Molière performed a classic of [authore:Pierre Corneille] and le Docteur amoureux (The Doctor in Love), a farce of his own; people granted him the use of Salle du Petit-Bourbon, a spacious room, appointed for theater at the Louvre. Later, people granted the use of the Palais-Royal to Molière. In both locations, he found success among the Parisians with les Précieuses ridicules (The Affected Ladies), l'École des maris</i> (<i>The School for Husbands</i>), and <i>[book:l'École des femmes (The School for Wives). This royal favor brought a pension and the title "Troupe du Roi" (the troupe of the king). Molière continued as the official author of court entertainments.
Molière received the adulation of the court and Parisians, but from moralists and the Church, his satires attracted criticisms. From the Church, his attack on religious hypocrisy roundly received condemnations, while people banned performance of Don Juan . From the stage, hard work of Molière in so many theatrical capacities began to take its toll on his health and forced him to take a break before 1667.
From pulmonary tuberculosis, Molière suffered. In 1673 during his final production of le Malade imaginaire (The Imaginary Invalid), a coughing fit and a haemorrhage seized him as Argan, the hypochondriac. He finished the performance but collapsed again quickly and died a few hours later. In time in Paris, Molière completely reformed.
French literary figures, including Molière and Jean de la Fontaine, gathered at Auteuil, a favorite place.
People know and consider Molière, stage of Jean-Baptiste Poquelin, also an actor of the greatest masters in western literature. People best know l'Ecole des femmes (The School for Wives), l'Avare ou l'École du mensonge (The Miser), and le Malade imaginaire (The Imaginary Invalid) among dramas of Molière.
From a prosperous family, Molière studied at the Jesuit Clermont college (now lycée Louis-le-Grand) and well suited to begin a life in the theater. While 13 years as an itinerant actor helped to polish his abilities, he also began to combine the more refined elements with ccommedia dell'arte.
Through the patronage of the brother of Louis XIV and a few aristocrats, Molière procured a command performance before the king at the Louvre. Molière performed a classic of [authore:Pierre Corneille] and le Docteur amoureux (The Doctor in Love), a farce of his own; people granted him the use of Salle du Petit-Bourbon, a spacious room, appointed for theater at the Louvre. Later, people granted the use of the Palais-Royal to Molière. In both locations, he found success among the Parisians with les Précieuses ridicules (The Affected Ladies), l'École des maris</i> (<i>The School for Husbands</i>), and <i>[book:l'École des femmes (The School for Wives). This royal favor brought a pension and the title "Troupe du Roi" (the troupe of the king). Molière continued as the official author of court entertainments.
Molière received the adulation of the court and Parisians, but from moralists and the Church, his satires attracted criticisms. From the Church, his attack on religious hypocrisy roundly received condemnations, while people banned performance of Don Juan . From the stage, hard work of Molière in so many theatrical capacities began to take its toll on his health and forced him to take a break before 1667.
From pulmonary tuberculosis, Molière suffered. In 1673 during his final production of le Malade imaginaire (The Imaginary Invalid), a coughing fit and a haemorrhage seized him as Argan, the hypochondriac. He finished the performance but collapsed again quickly and died a few hours later. In time in Paris, Molière completely reformed.
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Displaying 1 - 30 of 41 reviews
August 8, 2022
Considered one of Moliere's best/signature plays, this is his first play in an extended format. By this I mean he has gone from short little one act plays to a full 5-act play with characters of his own invention. Very comic, as always, and here we deal with two young aristocrats who are both in love with the same gypsy/servant girl. Both of their parents want them, however, to marry the rather dowdy Hippolyta, and neither want to listen to their parents. So in order to win the hand of the lovely Celia, the aristocrat Lelio involves his valet to come up with ways in which Lelio can win the hand of Celia. Every time the valet devises a plan and puts it into play, Lelio bungles things up by interfering in a rather dimwitted manner. It is a fun play to read and I can imagine it would be great to see performed since there are many "asides" and places where physical mannerisms will enhance the enjoyment. Really liked this play, and can imagine it was a big hit in France in the 1650's!
April 16, 2021
Just as a kind of break from my current, typical areas of reading, I thought I would listen to a play by Moliere, his first, published in 1665. I have loved reading and seeing productions of his more famous plays over the years, always hilarious, but this was my first experience with this play. It’s inspired by the Italian Comedia dell'arte, and bears some resemblance to some of Shakespeare’s comedies. I listened to as part of The Molière Collection, a digital audiobook by L.A. Theater Works of performances of six plays using Richard Wilbur's translations. The translations involve intricately and delightfully written couplets and the rhyming adds to the farce.
In 17th Century Sicily, a valet named Mascarille tries to help his boss Llie win the girl of his dreams only to find that Llie is a bungler who ruins every one of his intricate schemes. The schemes get more and more elaborate, and fail every time, because of the dimwitted Llie. This is not as good as Moliere’s more mature plays, but it’s still funny. I recommend listening to it and the whole collection I’ll work my way through.
In 17th Century Sicily, a valet named Mascarille tries to help his boss Llie win the girl of his dreams only to find that Llie is a bungler who ruins every one of his intricate schemes. The schemes get more and more elaborate, and fail every time, because of the dimwitted Llie. This is not as good as Moliere’s more mature plays, but it’s still funny. I recommend listening to it and the whole collection I’ll work my way through.
December 13, 2023
Listened to as part of The Molière Collection, a digital audiobook by L.A. Theater Works of performances of 6 plays using Richard Wilbur's translations.
This first play in the collection was one unfamiliar to me - not as hilarious as Moliére's best but still quite funny. The plot is reminiscent of some of Shakespeare's comedies (The Comedy of Errors for example).
This first play in the collection was one unfamiliar to me - not as hilarious as Moliére's best but still quite funny. The plot is reminiscent of some of Shakespeare's comedies (The Comedy of Errors for example).
May 6, 2024
Servitorul Măscărilă încearcă să își ajute stăpânul, pe tânărul Leliu, să o câștige pe Celia, sclava bătrânului Trufaldin. Planurile valetului sunt de fiecare dată sabotate de către Leliu, acesta nepricepând tertipurile la care Măscărilă apela pentru a-i obține fata („Că ești întotdeauna, în tot ce-i încerca/ Tont, zăpăuc, dezmetic, năuc și farfara”). Vândută odinioară ca sclavă unor nomazi, Celia se dovedește a fi chiar fiica lui Trufaldin. Aflându-se această noutate, Pandolf, tatăl lui Leliu, consimte la căsătoria fiului său cu Celia. Moliére împrumută intriga comediei sale din piesa «L’Inavertito» (1629) de Niccolò Barbieri, dar adâncește mult mai mult caracterul personajelor: „să înnodăm pe dată în alt chip sforăria…”
«O vivat Mascarillus, furbum imperator!”
(Trăiască Măscărilă, împăratul șmecherilor!)
«O vivat Mascarillus, furbum imperator!”
(Trăiască Măscărilă, împăratul șmecherilor!)
March 5, 2020
Read this for a challenge. It's an adventure which sounded like it would be fun to see as a stage production. The book didn't do it for me
January 6, 2025
Δεν ξέρω αν ο Μολιέρος είναι ο πατέρας της φαρσοκωμωδίας αλλά απόλαυσα αυτό το θεατρικό όσο λίγα.
Ίσως όχι τόσο διαχρονικό ως προς το κοινωνικό πλαίσιο (απόλυτα, ωστόσο, όσον αφορά την ανθρώπινη φύση) αλλά εξαιρετικά χαριτωμένο.
Ίσως όχι τόσο διαχρονικό ως προς το κοινωνικό πλαίσιο (απόλυτα, ωστόσο, όσον αφορά την ανθρώπινη φύση) αλλά εξαιρετικά χαριτωμένο.
July 20, 2023
Ah! Léandre, sortez de cet abaissement!
Ouvrez un peu les yeux sur votre aveuglement.
Si notre esprit n'est pas sage à toutes les heures,
Les plus courtes erreurs sont toujours les meilleures.
(...) Et dessus son lutin obtenir la victoire.
Plus l'obstacle est puissant, plus on reçoit de gloire;
Et les difficultés dont on est combattu
Sont les dames d'atours qui parent la vertu.
Ouvrez un peu les yeux sur votre aveuglement.
Si notre esprit n'est pas sage à toutes les heures,
Les plus courtes erreurs sont toujours les meilleures.
(...) Et dessus son lutin obtenir la victoire.
Plus l'obstacle est puissant, plus on reçoit de gloire;
Et les difficultés dont on est combattu
Sont les dames d'atours qui parent la vertu.
May 28, 2016
Translator Richard Wilbur refers to this play as the French enhancement of the Italian Comedia dell'arte, which is exactly what it is. It is pure, unapologetic fun and Mascarille could easily be the role of a lifetime for a skilled actor.
January 14, 2021
this was absolutely hilarious!
February 21, 2013
So much fun. Get caught up in each catastrophe after another you forget there's an unraveling plotline... Never fear, you are in the hands of a master.
January 14, 2022
Like most plays that touch humorously on the slave trade, it hasn't aged great. Also lacks the biting commentary on culture and society that fans of his later plays might come to expect. There's a couple truly funny lines though, and Wilbur's playful verse translation is utterly masterful and beyond reproach.
This entire review has been hidden because of spoilers.
Read
March 21, 2023lmao
January 22, 2022
Surprisingly witty and an awesome read. The translation was fantastic. Absolutely adore Mascarille.
September 6, 2025
Bungler
Having just read Milkwishes which explores a lovely bit of wordplay to narrative and dramatic heights I should’ve been noting when Molière hits on idea as rich. But as the Mackarel allusion as explained in the introduction is lost (still a good joke) what else is gone? This is what happens in translation, one would hope as much could be gained in some places as may be lost in others. But that’s where a retelling might come into play.
It’s here at Act II Sc. III that I see a scene of great fun. Lélie pretends at grief with conviction and Anselme says of death “deaf to our prayers, that ravenous beast//will not forgo one morsel of his feast//he eats us all.” “Ohh—!” cries Lélie.
As far as fourth wall break meta stuff “Hear me, this is going to be—“ “What” “Like the ending of a comedy.” This sentiment is maybe the simplest but in the timing with the “what” it’s the perfect amount of obvious.
Someone made pencil notes in my copy as a director doing a stage adaptation, in the fashion a WHS Shakespeare society person would try to see the passages that can be cut to get the Shakespearean runtime down for the high school cast and audience’s workload. With some ideas as to which characters could be merged, which I feel messes too much with the playwrights centuries old balance of their plot and character’s character.
Having just read Milkwishes which explores a lovely bit of wordplay to narrative and dramatic heights I should’ve been noting when Molière hits on idea as rich. But as the Mackarel allusion as explained in the introduction is lost (still a good joke) what else is gone? This is what happens in translation, one would hope as much could be gained in some places as may be lost in others. But that’s where a retelling might come into play.
It’s here at Act II Sc. III that I see a scene of great fun. Lélie pretends at grief with conviction and Anselme says of death “deaf to our prayers, that ravenous beast//will not forgo one morsel of his feast//he eats us all.” “Ohh—!” cries Lélie.
As far as fourth wall break meta stuff “Hear me, this is going to be—“ “What” “Like the ending of a comedy.” This sentiment is maybe the simplest but in the timing with the “what” it’s the perfect amount of obvious.
Someone made pencil notes in my copy as a director doing a stage adaptation, in the fashion a WHS Shakespeare society person would try to see the passages that can be cut to get the Shakespearean runtime down for the high school cast and audience’s workload. With some ideas as to which characters could be merged, which I feel messes too much with the playwrights centuries old balance of their plot and character’s character.
July 2, 2013
At first I thought that I was going to be annoyed by the rhyming lines in this play, and at first I was. But the more I listened to the play (audiobook), the more I became impressed with Molière's skill! The rhymes were complex, and flowed nicely, never hurting the dialog or the story being told. Now, I suppose that some of the credit has to go to the actors--I could certainly see how a bad actor could slaughter this play, but I think that even good actors would find that this kind of play could really test their acting skills.
In addition, I thought The Bungler was pretty funny! It did remind me fairly strongly of some of William Shakespeare's romantic comedies (Much Ado About Nothing, As You Like It, Twelfth Night, etc.), but this play succeeded for me where those Shakespeare plays did not: The Bungler was actually funny! The joke did run on a little bit longer than was probably good for the play, but still, this was was an enjoyable little work.
In addition, I thought The Bungler was pretty funny! It did remind me fairly strongly of some of William Shakespeare's romantic comedies (Much Ado About Nothing, As You Like It, Twelfth Night, etc.), but this play succeeded for me where those Shakespeare plays did not: The Bungler was actually funny! The joke did run on a little bit longer than was probably good for the play, but still, this was was an enjoyable little work.
October 31, 2011
My excitement at seeing a newly published Richard Wilbur translation of a Moliere play I hadn't heard of was tempered slightly by the worry it was just a different title for a play I had already read. (This recently happened to me with Bulgakov's A Dead Man's Memoir, and years ago I was excited to read Camus' The Outsider -- only to figure out pretty quickly it was just a different translation of The Stranger.)
According to the introductory notes, this was Moliere's first major play and the first play in verse. It is a Commedia Dell Arte that tells a stock farce plot of a bungling young man, Lelie, and his resourceful valet as they attempt to get a woman, currently held as a slave and also pursued by another young man. Every time the valet has a new scheme it gets thwarted by Lelie's bungling. It is a testament to the play that I found myself laughing just as hard the twelfth or so time the formula of valet devises a seemingly fool-proof plan to get the girl, and the fool ruins it.
Nowhere near Moliere's later plays in depth, complexity, psychological insight and development, plot etc. But Wilbur's verse translation is as witty and enjoyable as the best of Moliere -- as I suspect the original French is as well.
According to the introductory notes, this was Moliere's first major play and the first play in verse. It is a Commedia Dell Arte that tells a stock farce plot of a bungling young man, Lelie, and his resourceful valet as they attempt to get a woman, currently held as a slave and also pursued by another young man. Every time the valet has a new scheme it gets thwarted by Lelie's bungling. It is a testament to the play that I found myself laughing just as hard the twelfth or so time the formula of valet devises a seemingly fool-proof plan to get the girl, and the fool ruins it.
Nowhere near Moliere's later plays in depth, complexity, psychological insight and development, plot etc. But Wilbur's verse translation is as witty and enjoyable as the best of Moliere -- as I suspect the original French is as well.
September 10, 2018
The Bungler by Moliere is at times genuinely amusing, but sometimes often misses the mark. The tale is essentially Murphy's Law when applied to the schemes of love and romance, where love and romance is a broke son of a man of high station is trying to contrive a way to buy/obtain a wife of apparently low-born, gypsy status. It shows its age in that regard, but one can situate oneself fairly easily with a dramatic production or some other element to keep the mood. Mascarille certainly sells the story as worth a go, though some of his schemes blacken him in ways that are difficult to really describe without giving away the turns of the plot - really the only thing that keeps the pages turning since we know the ending already as a success.
I don't love the play, but it killed an hour or so and helped me unwind before the week began.
80/100 | B-
I don't love the play, but it killed an hour or so and helped me unwind before the week began.
80/100 | B-
July 29, 2017
Books and Chocolate 2017 Classic Reading Challege. A book in translation.
In 17th Century Sicily, Mascarille, a clever valet, attempts to help his employer Lélie win the girl he desires. However, Mascarille discovers that Lélie is a dunce who ruins every one of his intricate schemes. A determined Mascarille invents wilder plots, only to see each of his best-laid plans fouled. Translated by Richard Wilbur. This is playwright Moliere's first full length comedy. It is often overlooked by Americans, but then most of Moliere's plays are overlooked by Americans.
In 17th Century Sicily, Mascarille, a clever valet, attempts to help his employer Lélie win the girl he desires. However, Mascarille discovers that Lélie is a dunce who ruins every one of his intricate schemes. A determined Mascarille invents wilder plots, only to see each of his best-laid plans fouled. Translated by Richard Wilbur. This is playwright Moliere's first full length comedy. It is often overlooked by Americans, but then most of Moliere's plays are overlooked by Americans.
August 27, 2016
The play tells the story of a young man, Lelie, who's in love with a woman, Celie, but she's kept as slave by another man. So Mascarille, Lelie's faithful servant, tries absolutely everything to see his master happy with his beloved woman, but Lelie always messes the things up, without the intention to. Basically, the result is very similar to "The Comedy of Errors" by Shakespeare.
Overall, it's quite good.
Overall, it's quite good.
May 28, 2016
A young man in pursuit of a wife constantly bungles every scheme to obtain the woman of his dreams. His manservant (similar to PG Wodehouse's Jeeves character) is the mastermind of each of the schemes, and he is very put out when his plans are "bungled".
January 14, 2018
Très facile a lire, et rapide. Mais ce n’est pas la meilleure pièce de Moliere, encore un combat pour vendre la fille de ... entre trois hommes.
Je vous recommande des pièces plus connues de Moliere pour ne pas mal juger son travail qui est excellent :)
Recommandations : Le Misanthrope, Les fourberies de Scapin, Sganarelle, l’Avare ...
Je vous recommande des pièces plus connues de Moliere pour ne pas mal juger son travail qui est excellent :)
Recommandations : Le Misanthrope, Les fourberies de Scapin, Sganarelle, l’Avare ...
February 11, 2013
I listened to the audiobook. Richard wilbur did the translation and it was superb.
January 18, 2018
Kind of like the comedies of mistaken identity in Shakespeare, this is just one comic scenario with misunderstandings after another.
July 30, 2018
Free Audio Play of The Blunderer, or The Counterplots by Molière to download or to listen to online:
https://librivox.org/the-blunderer-or...
https://librivox.org/the-blunderer-or...
January 18, 2020
-"Sous quel astre ton maître a-t-il reçu le jour ?
-Sous un astre à jamais ne changer son amour."
-Sous un astre à jamais ne changer son amour."
December 23, 2022
Quotable and highly hilarious, especially in the first three acts(Of 5 total). It dragged out a bit, and it could have been a superb very short play, yet it wasn't and I shant take this as much of a blunder, seeing as my experience would not agree with that judgement:
I was drawn to continue the play whenever I stopped.
Given I listened on a travel day, I finished it in more or less one sitting.
I had my fair share of giggles and just did not seem to be able to put my smile down while listening to a recorded performance produced by the LA-theatre works(Part of the Molière collection on audible)
The rhymes flowed splendidly, even in translation. How could I describe it sensibly? Almost no edges, just a continuous flow of dialogue in verse, which was at parts so well put and funny that I simply had to stop, against some of my inclinations to just sit backa and enjoy the specatacle, and take a note.
Likely the original french version is just a bit more round and buttery but I did not feel like having an incomplete experience having listened to it in English. As a matter of fact I was astounded by how well the translation, and the performers, were able to preserve the verseflow.
The humor wasn't soly situational comedy; how the situations were talked about made the whole situation so funny. Everything happened in dialogue or was talked about in it. I wonder if a playright version would enact some of the scenes. It is possible to follow the story without them.
I don't take much from the this work as a social commentary. But I am not sure it is meant to be one, so I would be amiss to hold it against it.
I love how this made me feel. It felt like it was making fun of itself as a play and I liked that too.
But I have the feeling Molière can do better, and for this arbitrary reason I will give it a very strong 3 stars.
I was drawn to continue the play whenever I stopped.
Given I listened on a travel day, I finished it in more or less one sitting.
I had my fair share of giggles and just did not seem to be able to put my smile down while listening to a recorded performance produced by the LA-theatre works(Part of the Molière collection on audible)
The rhymes flowed splendidly, even in translation. How could I describe it sensibly? Almost no edges, just a continuous flow of dialogue in verse, which was at parts so well put and funny that I simply had to stop, against some of my inclinations to just sit backa and enjoy the specatacle, and take a note.
Likely the original french version is just a bit more round and buttery but I did not feel like having an incomplete experience having listened to it in English. As a matter of fact I was astounded by how well the translation, and the performers, were able to preserve the verseflow.
The humor wasn't soly situational comedy; how the situations were talked about made the whole situation so funny. Everything happened in dialogue or was talked about in it. I wonder if a playright version would enact some of the scenes. It is possible to follow the story without them.
I don't take much from the this work as a social commentary. But I am not sure it is meant to be one, so I would be amiss to hold it against it.
I love how this made me feel. It felt like it was making fun of itself as a play and I liked that too.
But I have the feeling Molière can do better, and for this arbitrary reason I will give it a very strong 3 stars.
May 13, 2023
Sans atteindre le niveau des grands chefs-d’oeuvre de Molière, L’Étourdi est une comédie amusante et pleine de péripéties. L’argument est simple : onze fois de suite, les interventions maladroites de Lélie déjouent les stratagèmes que son valet Sganarelle met en exécution pour lui obtenir la belle Célie, jeune gitane sous la garde du vieillard Trufaldin. Pandolfe, père de Lélie, veut par contre que son fils épouse Hippolyte, fille d’Anselme. Autre obstacle: Léandre, qui souhaite également la main de Célie.
Malgré toutes les difficultés, Sganarelle est toujours sur le point d’atteindre son but, à ceci près que Lélie ne peut s’empêcher d’intervenir, toujours dans les meilleures intentions, mais avec les résultats catastrophiques qu’on s’imagine.
Il s’agit, bien entendu, d’une comédie, et donc tout va bien qui finit bien. Mais comment y parvient-on ? Lisez pour le découvrir.
La pièce est écrite en vers rimés, dans la belle langue du XVIIe siècle. L’argument et les péripéties sont souvent copiés de pièces italiennes ou espagnoles de l’époque, et on est loin du Molière immortel du Tartuffe et du Misanthrope. Mais l’Étourdi a du charme : si Voltaire ne l’aimait pas, Victor Hugo l’appréciait plus que toute autre pièce de Molière.
Malgré toutes les difficultés, Sganarelle est toujours sur le point d’atteindre son but, à ceci près que Lélie ne peut s’empêcher d’intervenir, toujours dans les meilleures intentions, mais avec les résultats catastrophiques qu’on s’imagine.
Il s’agit, bien entendu, d’une comédie, et donc tout va bien qui finit bien. Mais comment y parvient-on ? Lisez pour le découvrir.
La pièce est écrite en vers rimés, dans la belle langue du XVIIe siècle. L’argument et les péripéties sont souvent copiés de pièces italiennes ou espagnoles de l’époque, et on est loin du Molière immortel du Tartuffe et du Misanthrope. Mais l’Étourdi a du charme : si Voltaire ne l’aimait pas, Victor Hugo l’appréciait plus que toute autre pièce de Molière.
December 17, 2022
I've been going through all of the LA Theatre Works audioplays of Moliere's works available on scribd (which I believe is almost every one of his they've done), and The Bungler was the final one available. I've ended up really enjoying going through these works from Moliere (Tartuffe, The Misanthrope, The School for Husbands, The Imaginary Cuckold, The School for Wives, and now The Bungler), who is so much funnier and more timely than I would have thought. The Bungler is perhaps my least favourite of the bunch, as I didn't feel it was as funny or had as much to say as his other works, and certainly it dates poorly in comparison, but it was still a pretty solid play overall, and it's hard not to laugh when one person bungles so many things. I hope I get the chance to explore more of Moliere's works after this.
January 6, 2024
« L’étourdi » pourrait s’appeler « Le crétin » tant les bourdes que provoque Lélie et qui font tomber les ruses de son valet Mascarille afin de lui obtenir les faveurs de la belle esclave Célie, sont grossières !
Une pièce peu connue de Molière pleine de rebondissements !
L’écriture magistrale de Molière, en alexandrins, trouve toujours le bon mot et la précision d’une tournure d’un humour faisant mouche à chaque phrase.
Une fois, deux fois, trois fois Lélie fait tomber les stratagèmes de Mascarille, tantôt pour racheter Lélie, tantôt pour évincer un prétendant concurrent.
Une belle découverte que cette pièce en cinq actes dont on ne se défait pas tant on est impatient de voir quel subterfuge va encore être inventé par un valet décidément bien plus malin que son maître et avant de connaître enfin le dénouement inattendu et bien évidemment heureux !
Une pièce peu connue de Molière pleine de rebondissements !
L’écriture magistrale de Molière, en alexandrins, trouve toujours le bon mot et la précision d’une tournure d’un humour faisant mouche à chaque phrase.
Une fois, deux fois, trois fois Lélie fait tomber les stratagèmes de Mascarille, tantôt pour racheter Lélie, tantôt pour évincer un prétendant concurrent.
Une belle découverte que cette pièce en cinq actes dont on ne se défait pas tant on est impatient de voir quel subterfuge va encore être inventé par un valet décidément bien plus malin que son maître et avant de connaître enfin le dénouement inattendu et bien évidemment heureux !
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