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Updated: May 9, 2025
This is what every great dramatist has done; it is what Shakespeare did and Molière also; it is what Stevenson did not care to do, because he did not understand the necessity of it. He did not borrow the formula of the most successful of the plays which chanced to be pleasing the public just then.
We see him reflected with marvellous fidelity in those wonderful comedies of the French Shakespeare; he is more than the fashion of an epoch he is one of the eternal types of human nature. We learn what a man becomes whose business is "deportment." It was such a one as this who was kind to poor Moliere.
Moliere fixed upon Porthos one of those looks which penetrate the minds and hearts of men. The subject doubtless appeared a very promising one, for he immediately rose and led the way into the adjoining chamber.
Molière evidently took the attitude that since any ending whatsoever must be in the nature of an artifice, and contrary to the laws of life, he might as well falsify upon the pleasant side and send his auditors happy to their homes. Shakespeare took the same attitude in many comedies, of which As You Like It may be chosen as an illustration.
The Two Orphans of Dennery and The Misanthrope of Molière aim to interest two different types of audience. To say that The Two Orphans is a bad play because its appeal is not so intellectual as that of The Misanthrope would be no less a solecism than to say that The Misanthrope is a bad play because its appeal is not so emotional as that of The Two Orphans.
He remembered the saying of Meredith concerning the spectacle of Bossuet over the dead body of Moliere "at which the dark angels may, but men do not, laugh." This bitterness might have festered within him, but for the blessedness of Mary Elsmere's letters. She had seen the apology; she knew nothing of its causes.
"He's like Jacob," said Florinda, looking at the newcomer. "The way he stares." She stopped laughing. Jacob, leaning forward, drew a plan of the Parthenon in the dust in Hyde Park, a network of strokes at least, which may have been the Parthenon, or again a mathematical diagram. And why was the pebble so emphatically ground in at the corner? "He is," she mused, "like that man in Moliere."
She never speaks of Robert, and she shuts herself up in her room reciting Marivaux and Molière. The d'Alchingens have invited her to Hadley next Saturday. They encourage her theatrical ideas. And why? They wish her to lose caste. She is an Archduchess, Sara, an Alberian Archduchess. What a living argument against unequal marriages!" "Will she go to Hadley?" "Yes wholly against my advice.
D'Artagnan recoiled, as though the sesquipedalian syllables had knocked the breath out of his body. "Ah! very good. Let us return to the looking-glass, my friend." "Then, this good M. Voliere " "Moliere." "Yes Moliere you are right. You will see now, my dear friend, that I shall recollect his name quite well.
The necessity for the two conditions will explain how it is that we count him during centuries in the singular number. 'C'est une etrange entreprise que celle de faire rire les honnetes gens, Moliere says; and the difficulty of the undertaking cannot be over-estimated.
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