University Microfilms - The University of Arizona Campus Repository

More documents

Recommendations

Info

STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED:
TO MY GRANDFATHER ROLLIN PEASE So often I have looked at life And have seen nothing before me But a closed door With iron bars and a massive lock Then as I looked The door opened, and you came thru And lo! My prison was a house of beauty With many rooms. "The Door" Rollin Pease iv
Page 1 and 2: INFORMATION TO USERS This dissertat
Page 3 and 4: THE OPERA-BALLET: OPERA AS LITERATU
Page 5: PLEASE NOTE: Some pages may have in
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
show all

University Microfilms - The University of Arizona Campus Repository

Create successful ePaper yourself

Delete template?

Save as template?