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By William D. Howarth

William D Howarth units Le Mariage de Figaro and Beaumarchais's different dramatic works within the extensive ancient context of pre-revolutionary France, supplying a distinct and authoritative examine of the dramatist and his performs. He provides targeted analyses of the performs themselves, discussing their serious receptions, their effect on drama of the interval and their legacy. integrated is a dialogue of the operatic diversifications: Mozart's Mariage de Figaro and Rossini's Le Barbier de Seville. the writer additionally offers analyses of sketches and fragments only in the near past re-discovered.
Beaumarchais and the Theatre is a entire and lots more and plenty wanted examine of 1 of the main major playwrights of the turbulent eighteenth century. it really is important interpreting for college kids of theatre heritage.

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Francquet’s office had been paid, his benefactor was carried off by a stroke. The young man married the widow as soon as decency allowed, adopting the title ‘Caron de Beaumarchais’; and after less than a year of married life (during which it appears that the couple were not nearly as happy together as they had been while Francquet was still alive), Madame Caron was carried off in her turn by a sudden illness, very likely typhoid. The young widower – whom we can now legitimately call Beaumarchais – had believed he was marrying into wealth, but the lawyers had acted with unconscionable delay over the marriage settlement, and on his wife’s death he was left, in his own words, ‘naked in the full sense of the term, riddled with debts’.

6 Although this brush with the establishment gave Beaumarchais a renewed opportunity to practise his talent for polemic, the cause was lost, and the appointment went to someone else. 7 In this capacity – as nominal administrator of the royal hunting grounds to the south of Paris – he wielded a judicial authority which gave him precedence over some of the other Grand Masters who were members of the old nobility; and in practical terms it fell to him to sit in judgement as a magistrate, trying those accused of poaching and other similar offences in the royal domains under the jurisdiction of his office.

William Driver) Beaumarchais and the Theatre / William D. Howarth. p. cm. Includes bibliographical references and index. 1. Beaumarchais, Pierre Augustin Caron de, 1732–1799. 2. Dramatists, French–18th century–Biography. 3. Theater–France–History–18th century. I. Title. 5-dc20 94–22876 ISBN 0–415–00751–8 Publisher’s Note The publisher has gone to great lengths to ensure the quality of this reprint but points out that some imperfections in the original may be apparent CONTENTS Frontispiece Acknowledgements Notes to the Reader INTRODUCTION Part I The Making of a Dramatist 1 WATCHMAKER, MUSICIAN, COURTIER 2 PAMPHLETEER AND PUBLIC FIGURE 3 DIPLOMAT AND SECRET AGENT 4 BEAUMARCHAIS AND THE REVOLUTION Part II The Context of a Career 5 THEATRES AND THEATREGOING IN THE ANCIEN RÉGIME 6 DRAMATIC WRITING IN THE EIGHTEENTH CENTURY 7 THE THEATRE AND AUTHORITY IN THE EIGHTEENTH CENTURY Part III The Plays 8 BEAUMARCHAIS AND THE PARADES 9 OTHER FRAGMENTS 10 EUGÉNIE 11 LES DEUX AMIS 12 LE BARBIER DE SÉVILLE 13 LE MARIAGE DE FIGARO 14 TARARE 15 LA MÈRE COUPABLE CONCLUSION Notes Appendix: Translations of passages quoted Select Bibliography Index Acknowledgements It has been impossible to work on the text of Beaumarchais’s plays since 1988 without incurring a considerable debt to the revised edition of the Oeuvres prepared by P.

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