![]() ![]() There is some question on the motivations of Boursault in getting involved in the quarrel. In other words, the critics of Molière are featured as serious and his defenders as fools. In his Portrait, Boursault imitates the structure of Molière's play but subjects the characters to a role reversal. While the character defending the original play, a mouthpiece for the writer, is a straight man with serious and thoughtful replies. ![]() In The School for Women Criticized, Molière poked fun at his critics by having their arguments expressed on stage by comical fools. Boursault wrote his play in answer to this second play. Molière had answered his critics with a second play, The School for Women Criticized (French: La Critique de L’École des femmes, June 1663). Criticisms ranged from accusing the playwright of impiety, to nitpicking over the perceived lack of realism in certain scenes. The original play had caricatured "male-dominated exploitative marital relationships", and became a target of criticism. Part of an ongoing literary quarrel over The School for Wives (1662) by Molière. Portrait of the Painter, or Criticisms of the School for Women Criticized (French: Le Portrait du Peintre ou La Contre-critique de L’École des femmes, September 1663).Le Mort Vivant (English:The Living Dead Man, 1662).His Œuvres choisies were published in 1811, and a sketch of him can be found in Saint-René Taillandier's Etudes littéraires (1881). īoursault died in Paris on 15 September 1701. His lack of dramatic instinct could hardly be better indicated than by the scheme of his Esope, which allows the fabulist to come on the stage in each scene and recite a fable. French literatureĪmong his best-known plays are Le Mercure galant, the title of which was changed to La Comédie sans titre ("Play without a title", 1683) when the publisher of a literary review of the same name objected (see " Mercure de France") La Princesse de Clêves (1676), an unsuccessful play which, when refurbished with fresh names by its author, succeeded as Germanicus Esope à la ville (1690) and Esope à la cour (1701). The post then went to Pierre Huet, but perhaps in compensation, Boursault was made collector of taxes at Montluçon about 1672, an appointment that he retained until 1688. In 1671 he produced a work of edification in Ad usum Delphini: la veritable étude des souverains, which so pleased the court that its author was about to be made assistant tutor to Louis, Grand Dauphin when it was found that he was ignorant of Greek and Latin. īoursault obtained a considerable pension as editor of a rhyming gazette, which was, however, suppressed for ridiculing a Capuchin friar, and the editor was only saved from the Bastille by the interposition of Condé. Boursault replied to Boileau in his Satire des satires (1669), but was afterwards reconciled to him, when Boileau on his side erased his name from his satires. Molière retaliated in L'Impromptu de Versailles, and Boileau attacked Boursault in Satires 7 and 9. Boursault was persuaded that the Lysidas of that play was a caricature of himself, and attacked Molière in Le Portrait du peintre ou la contre-critique de l'Ecole des femmes (1663). This and some other pieces of small merit secured for him distinguished patronage in the society ridiculed by Molière in the Ecole des femmes. On Boursault's first arrival in Paris in 1651 his language was limited to Burgundian, but within a year he had produced his first comedy, Le Mort vivant (Living Death). ![]() Edmé Boursault (October 1638 – 15 September 1701) was a French dramatist and miscellaneous writer, born at Mussy l'Evéque, now Mussy-sur-Seine ( Aube). ![]()
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