Kitobni o'qish: «The Blunderer»

INTRODUCTORY NOTICE

The Blunderer is generally believed to have been first acted at Lyons in 1653, whilst Molière and his troupe were in the provinces. In the month of November 1658 it was played for the first time in Paris, where it obtained a great and well-deserved success. It is chiefly based on an Italian comedy, written by Nicolo Barbieri, known as Beltrame, and called L'Inavvertito, from which the character of Mascarille, the servant, is taken, but differs in the ending, which is superior in the Italian play. An imitation of the classical boasting soldier, Captain Bellorofonte, Martelione, and a great number of concetti, have also not been copied by Molière. The fourth scene of the fourth act of l'Ètourdi contains some passages taken from the Angelica, a comedy by Fabritio de Fornaris, a Neapolitan, who calls himself on the title-page of his play "il Capitano Coccodrillo, comico confidente." A few remarks are borrowed from la Emilia, a comedy by Luigi Grotto, whilst here and there we find a reminiscence from Plautus, and one scene, possibly suggested by the sixteenth of the Contes et Discours d'Eutrapel, written by Nöel du Fail, Lord of la Hérissaye. Some of the scenes remind us of passages in several Italian Commedia del' arte between Arlecchino and Pantaleone the personifications of impudence and ingenuity, as opposed to meekness and stupidity; they rouse the hilarity of the spectators, who laugh at the ready invention of the knave as well as at the gullibility of the old man, Before this comedy appeared the French stage was chiefly filled with plays full of intrigue, but with scarcely any attempt to delineate character or manners. In this piece the plot is carried on, partly in imitation of the Spanish taste, by a servant, Mascarille, who is the first original personage Molière has created; he is not a mere imitation of the valets of the Italian or classical comedy; he has not the coarseness and base feelings of the servants of his contemporaries, but he is a lineal descendant of Villon, a free and easy fellow, not over nice in the choice or execution of his plans, but inventing new ones after each failure, simply to keep in his hand; not too valiant, except perhaps when in his cups, rather jovial and chaffy, making fun of himself and everybody else besides, no respecter of persons or things, and doomed probably not to die in his bed. Molière must have encountered many such a man whilst the wars of the Fronde were raging, during his perigrinations in the provinces. Even at the present time, a Mascarille is no impossibility; for, "like master like man." There are also in The Blunderer too many incidents, which take place successively, without necessarily arising one from another. Some of the characters are not distinctly brought out, the style has often been found fault with, by Voltaire and other competent judges, [Footnote: Victor Hugo appears to be of another opinion. M. Paul Stapfer, in his les Artistes juges et parties (2º Causerie, the Grammarian of Hauteville House, p. 55), states: – "the opinion of Victor Hugo about Molière is very peculiar. According to him, the best written of all the plays of our great comic author is his first work, l'Ètourdi. It possesses a brilliancy and freshness of style which still shine in le Dépit amoureux, but which gradually fade, because Molière, yielding unfortunately to other inspirations than his own, enters more and more upon a new way."] but these defects are partly covered by a variety and vivacity which are only fully displayed when heard on the stage.

In the third volume of the "Select Comedies of M. de Molière, London, 1732." The Blunderer is dedicated to the Right Honorable Philip, Earl of Chesterfield, in the following words: – "MY LORD, – The translation of L'Ètourdi, which, in company with the original, throws itself at your lordship's feet, is a part of a design form'd by some gentlemen, of exhibiting to the public a Select Collection of Molière's Plays, in French and English. This author, my lord, was truly a genius, caress'd by the greatest men of his own time, and honoured with the patronage of princes. When the translator, therefore, of this piece was to introduce him in an English dress in justice he owed him an English patron, and was readily determined to your lordship, whom all the world allows to be a genius of the first rank. But he is too sensible of the beauties of his author, and the refined taste your lordship is universally known to have in polite literature, to plead anything but your candour and goodness, for your acceptance of this performance. He persuades himself that your lordship, who best knows how difficult it is to speak like Molière, even when we have his sentiments to inspire us, will be readiest to forgive the imperfections of this attempt. He is the rather encouraged, my lord, to hope for a candid reception from your lordship, on account of the usefulness of this design, which he flatters himself will have your approbation. 'Tis to spirit greater numbers of our countrymen to read this author, who wou'd otherwise not have attempted it, or, being foil'd in their attempts, wou'd throw him by in despair. And however generally the French language may be read, or spoke in England, there will be still very great numbers, even of those who are said to understand French, who, to master this comic writer, will want the help of a translation; and glad wou'd the publishers of this work be to guide the feebler steps of some such persons, not only till they should want no translation, but till some of them should be able to make a much better than the present. The great advantage of understanding Molière your Lordship best knows. What is it, but almost to understand mankind? He has shown such a compass of knowledge in human nature, as scarce to leave it in the power of succeeding writers in comedy to be originals; whence it has, in fact, appear'd, that they who, since his time, have most excelled in the Comic way, have copied Molière, and therein were sure of copying nature. In this author, my lord, our youth will find the strongest sense, the purest moral, and the keenest satyr, accompany'd with the utmost politeness; so that our countrymen may take a French polish, without danger of commencing fops and apes, as they sometimes do by an affectation of the dress and manners of that people; for no man has better pourtray'd, or in a finer manner expos'd fopperies of all kinds, than this our author hath, in one or other of his pieces. And now,'tis not doubted, my lord, but your lordship is under some apprehensions, and the reader under some expectation, that the translator should attempt your character, in right of a dedicator, as a refin'd wit, and consummate statesman. But, my lord, speaking the truth to a person of your lordship's accomplishments, would have the appearance of flattery, especially to those who have not the honour of knowing you; and those who have, conceive greater ideas of you than the translator will pretend to express. Permit him, then, my lord, to crave your lordship's acceptance of this piece, which appears to you with a fair and correct copy of the original; but with a translation which can be of no manner of consequence to your lordship, only as it may be of consequence to those who would understand Molière if they could. Your lordship's countenance to recommend it to such will infinitely oblige, my lord, your lordship's most devoted, and most obedient, humble servant, THE TRANSLATOR."

To recommend to Lord Chesterfield an author on account of "the purest moral," or because "no man has … in a finer manner exposed fopperies of all kinds," appears to us now a bitter piece of satire; it may however, be doubted if it seemed so to his contemporaries. [Footnote: Lord Chesterfield appeared not so black to those who lived in his own time as he does to us, for Bishop Warburton dedicated to him his Necessity and Equity of an Established Religion and a Test-Law Demonstrated, and says in his preface: "It is an uncommon happiness when an honest man can congratulate a patriot on his becoming minister," and expresses the hope, that "the temper of the times will suffer your Lordship to be instrumental in saving your country by a reformation of the general manners."]

Dryden has imitated The Blunderer in Sir Martin Mar-all; or the Feigned Innocence, first translated by William Cavendish, Duke of Newcastle, and afterwards adapted for the stage by "glorious John." It must have been very successful, for it ran no less than thirty-three nights, and was four times acted at court. It was performed at Lincoln's Inn Fields by the Duke of York's servants, probably at the desire of the Duke of Newcastle, as Dryden was engaged to write for the King's Company. It seems to have been acted in 1667, and was published, without the author's name, in 1668. But it cannot be fairly called a translation, for Dryden has made several alterations, generally not for the better, and changed double entendres into single ones. The heroine in the English play, Mrs. Millisent, (Celia), marries the roguish servant, Warner (Mascarille), who takes all his master's blunders upon himself, is bribed by nearly everybody, pockets insults and money with the same equanimity, and when married, is at last proved a gentleman, by the disgusting Lord Dartmouth, who "cannot refuse to own him for my (his) kinsman." With a fine stroke of irony Millisent's father becomes reconciled to his daughter having married a serving-man as soon as he hears that the latter has an estate of eight hundred a year. Sir Martin Mar-all is far more conceited and foolish than Lelio; Trufaldin becomes Mr. Moody, a swashbuckler; a compound of Leander and Andrès, Sir John Swallow, a Kentish knight; whilst of the filthy characters of Lord Dartmouth, Lady Dupe, Mrs. Christian, and Mrs. Preparation, no counterparts are found in Molière's play. But the scene in which Warner plays the lute, whilst his master pretends to do so, and which is at last discovered by Sir Martin continuing to play after the servant has finished, is very clever. [Footnote: According to Geneste, Some Accounts of the English Stage, 10 vols., 1832, vol. i., p. 76, Bishop Warburton, in his Alliance of Church and State (the same work is mentioned in Note 2), and Porson in his Letters to Travis alludes to this scene.] Dryden is also said to have consulted l'Amant indiscret of Quinault, in order to furbish forth the Duke of Newcastle's labours. Sir Walter Scott states in his introduction: "in that part of the play, which occasions its second title of 'the feigned Innocence,' the reader will hardly find wit enough to counterbalance the want of delicacy." Murphy has borrowed from The Blunderer some incidents of the second act of his School for Guardians, played for the first time in 1767.

DRAMATIS PERSONAE

[Footnote: Molière, Racine, and Corneille always call the dramatis personae acteurs, and not personnages.]

LELIO, son to PANDOLPHUS.

LEANDER, a young gentleman of good birth.

ANSELMO, an old man.

PANDOLPHUS, an old man.

TRUFALDIN, an old man.

ANDRÈS, a supposed gipsy.

MASCARILLE, servant to Lelio.

[Footnote: Mascarille is a name invented by Molière, and a diminutive of the Spanish mascara, a mask. Some commentators of Molière think that the author, who acted this part, may sometimes have played it in a mask, but this is now generally contradicted. He seems, however, to have performed it habitually, for after his death there was taken an inventory of all his dresses, and amongst these, according to M. Eudore Soulié, Recherches sur Molière, 1863, p. 278, was: "a … dress for l'Étourdi, consisting in doublet, knee-breeches, and cloak of satin." Before his time the usual name of the intriguing man-servant was Philipin.]

ERGASTE, a servant.

A MESSENGER.

Two Troops of Masqueraders.

CELIA, slave to TRUFALDIN.

HIPPOLYTA, daughter to ANSELMO.

Scene. – MESSINA.

ACT I

SCENE I. – LELIO, alone

LEL. Very well! Leander, very well! we must quarrel then, – we shall see which of us two will gain the day; and which, in our mutual pursuit after this young miracle of beauty, will thwart the most his rival's addresses. Do whatever you can, defend yourself well, for depend upon it, on my side no pains shall be spared.

SCENE II. – LELIO, MASCARILLE

LEL. Ah! Mascarille!

MASC. What's the matter?

LEL. A great deal is the matter. Everything crosses my love. Leander is enamoured of Celia. The Fates have willed it, that though I have changed the object of my passion, he still remains my rival.

MASC. Leander enamoured of Celia!

LEL. He adores her, I tell you.

[Footnote: In French, tu, toi, thee, thou, denote either social superiority or familiarity. The same phraseology was also employed in many English comedies of that time, but sounds so stiff at present, that the translator has everywhere used "you."]

MASC. So much the worse.

LEL. Yes, so much the worse, and that's what annoys me. However, I should be wrong to despair, for since you aid me, I ought to take courage. I know that your mind can plan many intrigues, and never finds anything too difficult; that you should be called the prince of servants, and that throughout the whole world…

MASC. A truce to these compliments; when people have need of us poor servants, we are darlings, and incomparable creatures; but at other times, at the least fit of anger, we are scoundrels, and ought to be soundly thrashed.

LEL. Nay, upon my word, you wrong me by this remark. But let us talk a little about the captive. Tell me, is there a heart so cruel, so unfeeling, as to be proof against such charming features? For my part, in her conversation as well as in her countenance, I see evidence of her noble birth. I believe that Heaven has concealed a lofty origin beneath such a lowly station.

MASC. You are very romantic with all your fancies. But what will Pandolphus do in this case? He is your father, at least he says so. You know very well that his bile is pretty often stirred up; that he can rage against you finely, when your behaviour offends him. He is now in treaty with Anselmo about your marriage with his daughter, Hippolyta; imagining that it is marriage alone that mayhap can steady you: now, should he discover that you reject his choice, and that you entertain a passion for a person nobody knows anything about; that the fatal power of this foolish love causes you to forget your duty and disobey him; Heaven knows what a storm will then burst forth, and what fine lectures you will be treated to.

LEL. A truce, I pray, to your rhetoric.

MASC. Rather a truce to your manner of loving, it is none of the best, and you ought to endeavour.

LEL. Don't you know, that nothing is gained by making me angry, that remonstrances are badly rewarded by me, and that a servant who counsels me acts against his own interest?

MASC. (Aside). He is in a passion now. (Aloud). All that I said was but in jest, and to try you. Do I look so very much like a censor, and is Mascarille an enemy to pleasure? You know the contrary, and that it is only too certain people can tax me with nothing but being too good-natured. Laugh at the preachings of an old grey-beard of a father; go on, I tell you, and mind them not. Upon my word, I am of opinion that these old, effete and grumpy libertines come to stupify us with their silly stories, and being virtuous, out of necessity, hope through sheer envy to deprive young people of all the pleasures of life! You know my talents; I am at your service.

LEL. Now, this is talking in a manner I like. Moreover, when I first declared my passion, it was not ill received by the lovely object who inspired it; but, just now, Leander has declared to me that he is preparing to deprive me of Celia; therefore let us make haste; ransack your brain for the speediest means to secure me possession of her; plan any tricks, stratagems, rogueries, inventions, to frustrate my rival's pretensions.

MASC. Let me think a little upon this matter. (Aside). What can I invent upon this urgent occasion?

LEL. Well, the stratagem?

MASC. What a hurry you are in! My brain must always move slowly. I have found what you want; you must… No, that's not it; but if you would go…

LEL. Whither?

MASC. No, that's a flimsy trick. I thought that…

LEL. What is it?

MASC. That will not do either. But could you not…?

LEL. Could I not what?

MASC. No, you could not do anything. Speak to Anselmo.

LEL. And what can I say to him?

MASC. That is true; that would be falling out of the frying-pan into the fire. Something must be done however. Go to Trufaldin.

LEL. What to do?

MASC. I don't know.

LEL. Zounds! this is too much. You drive me mad with this idle talk.

MASC. Sir, if you could lay your hand on plenty of pistoles, [Footnote: The pistole is a Spanish gold coin worth about four dollars; formerly the French pistole was worth in France ten livres– about ten francs – they were struck in Franche-Comté.] we should have no need now to think of and try to find out what means we must employ in compassing our wishes; we might, by purchasing this slave quickly, prevent your rival from forestalling and thwarting you. Trufaldin, who takes charge of her, is rather uneasy about these gipsies, who placed her with him. If he could get back his money, which they have made him wait for too long, I am quite sure he would be delighted to sell her; for he always lived like the veriest curmudgeon; he would allow himself to be whipped for the smallest coin of the realm. Money is the God he worships above everything, but the worst of it is that…

LEL. What is the worst of it?..

MASC. That your father is just as covetous an old hunk, who does not allow you to handle his ducats, as you would like; that there is no way by which we could now open ever so small a purse, in order to help you. But let us endeavour to speak to Celia for a moment, to know what she thinks about this affair; this is her window.

LEL. But Trufaldin watches her closely night and day; Take care.

MASC. Let us keep quiet in this corner. What luck! Here she is coming just in the nick of time.