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Le Barbier de Séville Pierre Beaumarchais. Role of wit in the dialogue and character of Figaro one in the same- he drives the plot forward, instrumental.

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Présentation au sujet: "Le Barbier de Séville Pierre Beaumarchais. Role of wit in the dialogue and character of Figaro one in the same- he drives the plot forward, instrumental."— Transcription de la présentation:

1 Le Barbier de Séville Pierre Beaumarchais

2 Role of wit in the dialogue and character of Figaro one in the same- he drives the plot forward, instrumental in Le Comptes plan. Mocking of the normal conventions of romance in le Drame- serious character of Le Compte vs. comedy of Figaro. Seeing the comparison of opposites tragedy and comedy. Idea of comédie larmeuse- Acte 1 Scène 2- Figaro: Lhabitude du malheur. Je me presse de rire de tout, de peur dêtre obligé den pleurer.

3 Wit used to satire contemporary values and foreign culture- Acte 1 Scène 2, Figaro: …la république des Lettres étoit celle des loups…tout ce qui sattache à la peau des malheureuses Gens de Lettres achevoit de déchiqueter et fucer le peu de substance qui leur restoit… Robert Niklaus writes: By seeming to satirize foreign ways Beaumarchais is able to call French prejudices to account, a duality that would delight his audiences as it revealed the relativity of moral values.

4 Acte 1 Scène 1 Count Almavivas speech: first profession of his love for Rosine Il est doux dêtre aimé pour soi- même…. Mais quoi! Suivre une femme à Seville quand Madrid et la Cours offrent de toutes parts des plaisirs si faciles? Here also mocking the popular values of the court- sarcastic tone.

5 Acte 1 Scène 2 Figaro and Le Compte are reunited. Figaros back story. The way his songs so disjointed important stylistically- critical of contemporary comic opera- confirmed when he says- Aujourdhui ce qui ne vaut pas la peine detre dit But satire of Madrid from Figaro shows importance as moral figure also.

6 Acte 1 Scène 3 Important as Bartholo critiques contemporary drama and Enlightenment ideas- also the interlexical reference to La Précaution inutile as similar plot to Le Barbier de Séville- play within a play- Bartholo: Quelque drame encore! Quelque sotisse dun nouveau genre! ….Sotisses de toute espèce: la liberté de penser, lattraction, lelectricité, le tolerantisme, linnoculation…

7 Acte 1 Scène 4 Importance of wit from Figaro in comparison to seriousness of Le Compte, for example in his imitation of Rosine. Figaro: Cest bien là un propos damant! Est-ce que je ladore, moi? Puissez- vous prendre ma place? Acte 1 Scène 5 Bartholo revealing his plan to marry Rosine obvious and possibly clichéd dramatic feature

8 Acte 1 Scène 6 Figaros wit as a reaction to Bartholos plan, undermines any serious tone and instead adds to comedy Figaro: Monseigneur la difficulté de réussir ne fait quajouter à la necessité dentreprendre.

9 Acte 2 Scène 1 Rosines speech of being imprisoned by Bartholo and scene description emphasise the difference in the two settings. Acte 2 Scene 2 Figaro as moral figure in helping Rosine and Le Compte- possible contrast to him stating his self-interest earlier?

10 Acte 2 Scènes 4/5 Stage directions and the servant named LEveille add to comic element of the scene. Comparative/binary aspect of plays structure with LEveille and La Jeunesse as servants. Reversing roles of morality as Bartholo says to his servants- De la justice! Cest bon entre vous autres misérables la justice! Je suis votre maitre moi, pour avoir toujours raison.

11 Acte 2 Scène 13 Le Comptes song towards Bartholo is mocking and influenced by Figaro. Acte 2 Scène 14 Bartholo: Allez toujours si javois ce crédit-là fur la mort- Le Compte: Sur la mort? Ah Docteur vous faites tant de choses pour elle, quelle na rien à vous refuser. Sarcasm towards Bartholo as a real doctor.

12 Acte 2 Scène 15 Bartholo: Nous ne sommes pas ici en France ou lon donne toujours raison en femmes… Beaumarchais making the audience reflect on criticisms of contemporary French culture through this comic statement. Acte 2 Scène 16 Rosine ends her speech with Mais un homme injuste parviendront à faire un rusée de linnocence même- making even Rosine act against her moral judgement.

13 ACT 3 Scene 2- Opens with the count in disguise again, Que la paix et la joie habitent toujours céans!. Ironic, tongue-in-cheek as he is trying to steal Bartholos wife. Emphatic, first line of Scene. - Dynamic between Bartholo and Count. Stages directions suggest suspicious of each other, Count takes advantage and uses quick-wit to trick Bartholo La Signora Rosine lui a écrit....Mais la manière dont vous prenez les choses... and gain an apology. Comte : Oui! Vous croyez donc que mon air peut aider à la tromperie? Ironic as he is already in disguise to Bartholo.

14 Scene 5 - The lazzo of Bartholo Fallin asleep, Count and Rosine trying to talk/kiss. Lazzi (from the Italian lazzo, a joke or witticism) is an improvised comic dialogue or action commonly used in the Commedia dell'arte - Figaro - je dirai à celu qui éternue, Dieu vous bénisse; & va te coucher à ce-lui quie baille. Cest nest pas cela, Monsieur, qui groffira la memoire. Quick witted response to Bartholos hostile questions, shows his intelligence and confidence. - Bartholo : Quand je dispute avec un fat, je ne lui céde jamais Figaro: Nous différons en cela, Monsieur; moi je lui céde toujours. Entire scene similar tone, Figaro one-ups Bartholo. Shows his intelligence afterwards jai travaillé de la plume à Madrid.

15 Scene 7 - Figaro - La peste! il y feroit bon, méfiant comme vous êtes! Voyez comme le ciel protége linnocence. Almost farcical as he is trying to trick Bartholo, emphatic positioning of linnocence adds to humour/irony. Scene 11 - Arrival of Bazile, Count manages to convince Bartholo it is all their plan, Bartholo implicates himself Nallez pas nous démentir, Bazile, vous gâteriez tout.

16 Scene 13 - Figaro interrupts twice consecutively. The Count first Oui, une jeune femme, & un grand âge; voilà ce qui trouble la tête dun vieillard. Then, immediately after interrupting to insult Bartholo, he interrupts Bartholo - Je me retire, il est fou. Doesnt miss an opportunity to offend Bartholo with his sharp wit, and also has the last word.

17 ACT 4 Act 4 Scene 8 - Bazile Que voulez-vous? Ce diable dhomme a toujours des poches pleines darguments irrésistible - Humorous use of diable as Bazile was not forced to accept the bribe. His attitude is confirmed after, largent vous reste.

18 71 - John Dunkley Just as rapid movement marks the characters actions, it also marks the dialogue. A result of the authors conscious and sustained effort to achieve concision. - Due to concision and characters speaking broadly in the same way, songs used to give personal images, eg Contrast between Rosines song longing for freedom (Act 4, Scene 3) and her actual situation (169-70, 205, ) - Punctuation to add to wit. Reduplicated ellipsis for economy and to amuse. (Act 4 Scene 1 : Bartholo and Bazile.) 73 - Beaumarchais allows himself increased spread where a further comic effect/characterisation is possible, eg sentence hi-jacking. (Act 4 Scene 1 Bartholo and Bazile.) The interruption is reinterrupted immediately, further illustrates Baziles chracter (gleeful cynicism) and makes for amusing wordplay Short symmetrical exchanges when one interlocutor is being rude to another eg Act 2 Scene 13 - The count and Bartholo (Bartholo : Un art dont le soleil shonore déclairer les succès - Et dont la terre sempresse de couvrir les bévues. Generates sharpness and concision First song of Figaro, associates his character with traditional comic-servant traits (intemperance, idleness), which he is not at all. Clever from Beaumarchais, a false trail? 84 - Gabriel Conesa Beaumarchais fais flèche de tout bois - To really make the most of it. (not sure about this, just thought it might slot in somewhere!)

19 85 - Mimicry - Figaro parodies Rosines feigned dismay at dropping her song (186-88), repeats some of her words exactly ( ), followed by laugh and reflection about women in general. Intended to show an amused sympathy with Rosine. - Similar sentiment of sympathetic playfulness, Figaro parodies Almavivas Que de Grâces, que desprit with Que de Ruse! que damour! (syntactically + rhythmically identical. Benign Laughter. - Lines (742-43) Bartholo mimics Rosines thoughts of Act 2 scene 1. Based on his shrewd guesswork, it underlines power disparity between the two characters. (Not sure if applicable but thought it was a good point!) - Act 3 Scene 5 - Figaro parodies Bartholos song (accompanied with burlesque dance) behind his back. This underlines the distance in age, social competence, attractiveness which separates the two sides of this contest.


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