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Updated: June 28, 2025
On the other hand, many comedies have a common noun as their title: l'Avare, le Joueur, etc. Were you asked to think of a play capable of being called le Jaloux, for instance, you would find that Sganarelle or George Dandin would occur to your mind, but not Othello: le Jaloux could only be the title of a comedy.
Last of all came the conventional scene from Molière's "L'Avare." Maître Jacques was good; Harpagon more than good. I came away well satisfied, only regretting I had not brought my eldest boy to see it. My eldest boy! Egad, and I was just such as he is now, when I used to creep like a snail unwillingly to those scholastic shades.
Talking of a very penurious gentleman of our acquaintance, he observed, that he exceeded L'Avare in the play. I concurred with him, and remarked that he would do well, if introduced in one of Foote's farces; that the best way to get it done, would be to bring Foote to be entertained at his house for a week, and then it would be facit indignatio. JOHNSON. 'Sir, I wish he had him.
We see this in the French comedies of the eighteenth century, even in some of Molière's in his L'Avare and his Le Misanthrope, for example.
Whilst waiting for permission to have Tartufe played, Moliere had brought out le Medecin malgre lui, Amphitryon, Georges Dandin, and l'Avare, lavishing freely upon them the inexhaustible resources of his genius, which was ever ready to supply the wants of kingly and princely entertainments.
I have seen 'Le Misanthrope', 'L'Avare', 'Tartufe', 'Le Joueur', 'Le Glorieux', and many other comedies; and, no matter how often I saw them. I always fancied it was the first time.
"Come, my friend," said Danglars, seeing that he made no impression on Peppino, "you will not refuse me a glass of wine?" "I have already told you that we do not sell at retail." "Well, then, let me have a bottle of the least expensive." "They are all the same price." "And what is that?" "Twenty-five thousand francs a bottle." * The miser in Moliere's comedy of "L'Avare." Ed.
The part of Maître Jacques in "L'Avare," for instance, which I have just seen him perform with such gusto and such certainty, had not been acted by him for twenty years, and it was done, without rehearsal, in the midst of a company that required prompting at every moment.
Molière, it has been ascertained, discovered in the Italian theatre at Paris his "Medecin malgre Lui," his "Etourdi," his "L'Avare," and his "Scapin." Milan offered a pimp in Brighella; Florence, an ape of fashion in Gelsomino.
The very titles of certain classical comedies are significant in themselves. Le Misanthrope, l'Avare, le Joueur, le Distrait, etc., are names of whole classes of people; and even when a character comedy has a proper noun as its title, this proper noun is speedily swept away, by the very weight of its contents, into the stream of common nouns.
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