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72-23,377 McCONNELL, Anne, 1941- THE OPERA-BALLET: OPERA AS LITERATURE. [Portions of Text in French]. The University of Arizona, Ph.D., 1972 Language and Literature, general University Microfilms, A XEROX Company, Ann Arbor, Michigan •; BY ANNE McCONNELL 1972 THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. iii
THE OPERA-BALLET: OPERA AS LITERATURE by Anne McConnell A Dissertation Submitted to the Faculty of the DEPARTMENT OF ROMANCE LANGUAGES In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY WITH A MAJOR IN FRENCH In the Graduate College THE UNIVERSITY OF ARIZONA 1972
Page 1: INFORMATION TO USERS This dissertat
Page 5 and 6: PLEASE NOTE: Some pages may have in
Page 7 and 8: TO MY GRANDFATHER ROLLIN PEASE So o
Page 9 and 10: TABLE OF CONTENTS Page ABSTRACT vii
Page 11 and 12: ABSTRACT Since the seventeenth cent
Page 13 and 14: These works, combining insouciant l
Page 15 and 16: poets such as Benserade and great d
Page 17 and 18: opera to the literature of their pe
Page 19 and 20: written to be sung, and that a full
Page 21 and 22: Most of these royal entertainments
Page 23 and 24: "Academie de poesie et de musique,
Page 25 and 26: The first work in which all the dev
Page 27 and 28: Participating in this ballet with t
Page 29 and 30: Les Cris de Paris, show that the un
Page 31 and 32: outlined, more or less in detail, t
Page 33 and 34: songs related to the action of the
Page 35 and 36: the whole spirit of this period: lo
Page 37 and 38: primary importance in the ballets:
Page 39 and 40: Je rougis, je palis, je sofipire of
Page 41 and 42: (Pour LE ROY, represantant un Espri
Page 43 and 44: Le Balet est icy espece de Poeme Dr
Page 45 and 46: purpose, as had the ancient tragedy
Page 47 and 48: number of entrees be limited: "Quan
Page 49 and 50: Menestrier begins by praising the b
Page 51 and 52: ancient history or mythology, or fr
Page 53 and 54:
French court, but also as an expres
Page 55 and 56:
These intermSdes often had nothing
Page 57 and 58:
usually in a situation where the yo
Page 59 and 60:
a appele le concours de la musique,
Page 61 and 62:
about her own feelings. The stratag
Page 63 and 64:
me m£prise! Non, non, je sais bien
Page 65 and 66:
oreilles; elles sont cause que tout
Page 67 and 68:
necessary to such verses of love, a
Page 69 and 70:
mention the poetry, suffered from t
Page 71 and 72:
ordinaires n'en permettent. Cette p
Page 73 and 74:
Aux sujets qu'a traites Quinault, 5
Page 75 and 76:
l'opera a pour objet, en utilisant
Page 77 and 78:
subjects ridiculous. Rochemont prai
Page 79 and 80:
his life, since the spectacle almos
Page 81 and 82:
pour que, dans nos moeurs regues, l
Page 83 and 84:
16 veritablement un ideal, un plais
Page 85 and 86:
pastorale, and in the court ballet.
Page 87 and 88:
ne se plait 5. donner qu'aux heros
Page 89 and 90:
This pleasure, this easy diversion,
Page 91 and 92:
de faste et le plus fin poison, ses
Page 93 and 94:
Lies doux emportments de vos coeurs
Page 95 and 96:
But Boileau and his supporters kept
Page 97 and 98:
The two are of necessity different,
Page 99 and 100:
mis dans son Alexandre, nous faisan
Page 101 and 102:
eighteenth century, and became a po
Page 103 and 104:
La BruySre, who was fascinated by t
Page 105 and 106:
Des machines d'abord le surprenant
Page 107 and 108:
Boileau was not the only one to fin
Page 109 and 110:
l'ordre rigoureux des proportions,
Page 111 and 112:
criticize it than to work hard at d
Page 113 and 114:
On the subject of the literary valu
Page 115 and 116:
Quinault's operas throughout her le
Page 117 and 118:
CHAPTER 5 THE END OF THE REIGN OF L
Page 119 and 120:
to contradict the whole sensual spi
Page 121 and 122:
the society of Paris lived in the m
Page 123 and 124:
-the rest of the Regency court, how
Page 125 and 126:
maitre; et Philippe d'Orleans allai
Page 127 and 128:
114 The arts adapt to the new atmos
Page 129 and 130:
of the late seventeenth and early e
Page 131 and 132:
new society much more than the clas
Page 133 and 134:
L'essentiel de la volupte est bien
Page 135 and 136:
death of Lully in 1687, and during
Page 137 and 138:
As the large group of courtiers gat
Page 139 and 140:
p. 89). Hypocrisy is certainly pres
Page 141 and 142:
128 do in the simple life represent
Page 143 and 144:
130 This new form of opera, the ope
Page 145 and 146:
•Dissertation sur Hom&re' de Terr
Page 147 and 148:
symmetry and simplicity of form and
Page 149 and 150:
In the third entree, or that of Aut
Page 151 and 152:
anciens and the modernes, but as a
Page 153 and 154:
140 Folie, 1703); and though these
Page 155 and 156:
ather than the grandeur of classica
Page 157 and 158:
as the true expression of their des
Page 159 and 160:
propounded ideas that would be bett
Page 161 and 162:
This art of pleasing, according to
Page 163 and 164:
comme je l'ai dit, le sentiment sup
Page 165 and 166:
152 J'ai fait regner l'Amour dans t
Page 167 and 168:
n'emousse pas le moins du monde l'i
Page 169 and 170:
time. In his best moments, he sough
Page 171 and 172:
Campra, having become very popular
Page 173 and 174:
opera-ballet very well: "Nous irons
Page 175 and 176:
162 charms. Not only do we see the
Page 177 and 178:
Si vous voulez que les Graces Vous
Page 179 and 180:
to prove to Discord that she has lo
Page 181 and 182:
which heretofore has taken second p
Page 183 and 184:
the fete before declaring himself.
Page 185 and 186:
Lorsque Doris me parut belle, Je ne
Page 187 and 188:
174 will continue the game. In acce
Page 189 and 190:
176 Although the main characters ma
Page 191 and 192:
of the Regency originated. Italy wi
Page 193 and 194:
180 and a Troupe of Masques enters
Page 195 and 196:
follow the Masque offstage, and we
Page 197 and 198:
Olimpia, while she calmly pursues h
Page 199 and 200:
186 Je sens les plus vives allarmes
Page 201 and 202:
Des beautes de ces lieux j'emprunto
Page 203 and 204:
Qu'il reunisse en lui la force et l
Page 205 and 206:
seulement que dfes l'slge de vingt-
Page 207 and 208:
CHAPTER 7 THE OPERA-BALLET: DEFINIT
Page 209 and 210:
the opera-ballet was not the predec
Page 211 and 212:
again explains this need: "Quelles
Page 213 and 214:
elaxing entertainment, which requir
Page 215 and 216:
They consisted mostly of airs (many
Page 217 and 218:
assure the success of Rameau in the
Page 219 and 220:
206 II existe tout un courant, au X
Page 221 and 222:
Memoires of Barbarigo, who died in
Page 223 and 224:
sc&nes de veritable comedie. A ce p
Page 225 and 226:
expressed by. charming and unrealis
Page 227 and 228:
opera-ballet, which begins again to
Page 229 and 230:
dry to touch the heart profoundly,
Page 231 and 232:
is overwhelmed, and lets the two go
Page 233 and 234:
One of the most interesting of the
Page 235 and 236:
222 Les Fetes venitiennes, in all i
Page 237 and 238:
le jeu, et tout ce qui y avoit rapp
Page 239 and 240:
are charming and pert, and even in
Page 241 and 242:
qualities her daughter lacks. Cleon
Page 243 and 244:
in love with her. She promised to m
Page 245 and 246:
eautiful, commands the sailors and
Page 247 and 248:
only way to interest the society of
Page 249 and 250:
written the entrees of "Les Jours"
Page 251 and 252:
discussed at greater length in the
Page 253 and 254:
240 It is finally revealed that Luc
Page 255 and 256:
•Oronte might marry again, thus m
Page 257 and 258:
theatres of the Foire, where he con
Page 259 and 260:
Venus, will triumph over the evil T
Page 261 and 262:
The sparring between Eraste and Luc
Page 263 and 264:
CHAPTER 8 THE PROLOGUE Due to the f
Page 265 and 266:
entertainment prepared for the grea
Page 267 and 268:
le merveilleux still alive in this
Page 269 and 270:
But poor old Time is also expelled
Page 271 and 272:
(L'Ete vient dans un char) L'ETE Je
Page 273 and 274:
260 Because the purpose of the prol
Page 275 and 276:
262 governed by dance rhythms, that
Page 277 and 278:
youth and to love without ceasing a
Page 279 and 280:
Les Fetes de l'ete is a good exampl
Page 281 and 282:
268 Des Ris et des Jeux; Et l'aimab
Page 283 and 284:
safety of anonymity: Pour cacher un
Page 285 and 286:
272 When folly was praised so highl
Page 287 and 288:
Veilles Bacchus, veilles Amour, End
Page 289 and 290:
CHAPTER 9 THE PASTORALE Although th
Page 291 and 292:
however, the author of the pastoral
Page 293 and 294:
almost voluptuously or they shrug t
Page 295 and 296:
Ciel! c'est pour la premiere fois Q
Page 297 and 298:
with an inconstant lover prevents o
Page 299 and 300:
we feel distinctly that, though she
Page 301 and 302:
Votre douleur vous est trop chere,
Page 303 and 304:
Quel triomphe pour vous! quelle glo
Page 305 and 306:
up his inability to keep silent abo
Page 307 and 308:
win her over, and Iphise, Isabelle'
Page 309 and 310:
The rondeau will be a favorite form
Page 311 and 312:
Probably Pellegrin's best accomplis
Page 313 and 314:
ut a rather peaceful and unhurried
Page 315 and 316:
Fuyons done .... ISABELLE LEANDRE Q
Page 317 and 318:
Lisidor, she knows he flees any per
Page 319 and 320:
of the opera, it is a gentle expres
Page 321 and 322:
new idea. The repetition of the fir
Page 323 and 324:
for the games of the Carte de Tendr
Page 325 and 326:
312 The comparison with the Goddess
Page 327 and 328:
She also shows strength and spirit,
Page 329 and 330:
L'Amour est un enfant qui ne cherch
Page 331 and 332:
however, in her fears and in her ch
Page 333 and 334:
In two entrees, "Les Devins de la P
Page 335 and 336:
II va s'enfuir avec les graces Que
Page 337 and 338:
La Laideur se perd par mon fard, La
Page 339 and 340:
LEANDRE Croyez-vous que bientot je
Page 341 and 342:
LEONORE Faudra-t-il toujours vous e
Page 343 and 344:
330 of many comic devices, this sce
Page 345 and 346:
There are some comic entrees in Les
Page 347 and 348:
After singing the praises of reason
Page 349 and 350:
Frenchman, is again ridiculed as he
Page 351 and 352:
COLOMBINE Pourquoi detournes-tu les
Page 353 and 354:
LUCILE Vous avez icy devance Le che
Page 355 and 356:
The lines in the preceding passage
Page 357 and 358:
upon each other, the two cannot hol
Page 359 and 360:
LEONTINE L'amour, que dans mes chan
Page 361 and 362:
LEONTINE "C'est Flore qui t'appelle
Page 363 and 364:
350 It is in Les Fetes de Thalie th
Page 365 and 366:
more central to the interest of the
Page 367 and 368:
ACASTE L'Hymen ne servira jamais qu
Page 369 and 370:
many suitors, finding that being a
Page 371 and 372:
358 Caliste merite mes soins, A reg
Page 373 and 374:
ZERBIN Elle est prude, bizarre, inc
Page 375 and 376:
CALISTE Quoi jamais ? DORANTE Jamai
Page 377 and 378:
e all the greater because of the es
Page 379 and 380:
of her ugliness). In the scene with
Page 381 and 382:
HORTENSE Je regarde partout, et ne
Page 383 and 384:
Au seul nom de l 1 Amour, d'oii vie
Page 385 and 386:
Que le calme le plus heureux Regne
Page 387 and 388:
Lucinde) or indulgent (for Belise)
Page 389 and 390:
OCTAVE Je n'aime pas assez? Cruelle
Page 391 and 392:
than admirable, including young peo
Page 393 and 394:
Ma Soeur se plaint de son partage,
Page 395 and 396:
to profit from the springtime of th
Page 397 and 398:
satiety and langor has not yet desc
Page 399 and 400:
Oil ne volent les Amours. Plaignons
Page 401 and 402:
LEANDRE Florise m'aimez-vous .. . F
Page 403 and 404:
J'aime, lorsque je voi la beaute qu
Page 405 and 406:
the first to desert Lucinde, it bei
Page 407 and 408:
characters, the satire of their old
Page 409 and 410:
Quel seroit le triste entretien, D'
Page 411 and 412:
Silvanire is the man the real Silva
Page 413 and 414:
Triomphez charmante Folie, Chez vou
Page 415 and 416:
sensibilite" in France, which led t
Page 417 and 418:
The Regency man believed in this re
Page 419 and 420:
406 single-minded--unable to change
Page 421 and 422:
oth. The accompaniment of music and
Page 423 and 424:
disapproval, seldom ridiculed or cr
Page 425 and 426:
SELECTED BIBLIOGRAPHY Texts of ball
Page 427 and 428:
Boileau-Despreaux, Nicolas. Les pre
Page 429 and 430:
Galli de Bibiena, Jean. Histoire de
Page 431 and 432:
Parfaict, Claude and Fran$ois. Hist
Page 433 and 434:
Brunetifere, Ferdinand. Etudes crit
Page 435:
Rolland, Romain. Lies Origines du t
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