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    The Self-Deceived Husband
    The Self-Deceived Husband
    The Self-Deceived Husband
    Ebook57 pages37 minutes

    The Self-Deceived Husband

    By Molière

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    About this ebook

    Molière was a French playwright who is considered to be one of the greatest comedians in all of Western literature.  With classics such as Tartuffe, The School for Wives, and The Misanthrope, Molière is one of the most widely read playwrights in history.  This edition of The Self-Deceived Husband includes a table of contents.
    LanguageEnglish
    PublisherCharles River Editors
    Release dateMar 22, 2018
    ISBN9781531284879
    The Self-Deceived Husband
    Author

    Molière

    Molière was a French playwright, actor, and poet. Widely regarded as one of the greatest writers in the French language and universal literature, his extant works include comedies, farces, tragicomedies, comédie-ballets, and more.

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      Book preview

      The Self-Deceived Husband - Molière

      THE SELF-DECEIVED HUSBAND

      ..................

      Molière

      KYPROS PRESS

      Thank you for reading. If you enjoy this book, please leave a review or connect with the author.

      All rights reserved. Aside from brief quotations for media coverage and reviews, no part of this book may be reproduced or distributed in any form without the author’s permission. Thank you for supporting authors and a diverse, creative culture by purchasing this book and complying with copyright laws.

      Copyright © 2016 by Molière

      Interior design by Pronoun

      Distribution by Pronoun

      TABLE OF CONTENTS

      The Self-Deceived Husband

      INTRODUCTORY NOTICE.

      DRAMATIS PERSONÆ

      SCENE I.—GORGIBUS, CELIA, CELIA’S MAID.

      SCENE II.—CELIA, CELIA’S MAID.

      SCENE III.—CELIA, SGANARELLE, CELIA’S MAID.

      SCENE IV.—CELIA, SGANARELLE, SGANARELLE’S WIFE.

      SCENE V.—SGANARELLE’S WIFE, alone.

      SCENE VI.—SGANARELLE, SGANARELLE’S WIFE.

      SCENE VII.—LELIO, GROS-RENÉ.

      SCENE VIII.—LELIO, alone.

      SCENE IX.—SGANARELLE, LELIO.

      SCENE X.—LELIO, alone.

      SCENE XI.—LELIO, SGANARELLE’S WIFE.

      SCENE XII.—SGANARELLE, A RELATIVE OF SGANARELLE’S WIFE.

      SCENE XIII.—SGANARELLE, alone.

      SCENE XIV.—SGANARELLE, SGANARELLE’S WIFE, standing at the door of her house, with LELIO.

      SCENE XV.—SGANARELLE, LELIO.

      SCENE XVI.—SGANARELLE, CELIA, at her window, seeing Lelio go away.

      SCENE XVII.—SGANARELLE, alone.

      SCENE XVIII.—GORGIBUS, CELIA, CELIA’S MAID.

      SCENE XIX.—CELIA, CELIA’S MAID.

      SCENE XX.—LELIO, CELIA, CELIA’S MAID.

      SCENE XXI.—CELIA, LELIO, SGANARELLE armed cap-a-pié, CELIA’S MAID.

      SCENE XXII.—CELIA, LELIO, SGANARELLE, SGANARELLE’S WIFE, CELIA’S MAID.

      SCENE XXIII.—GORGIBUS, CELIA, LELIO, SGANARELLE, SGANARELLE’S WIFE, CELIA’S MAID.

      SCENE XXIV.—VILLEBREQUIN, GORGIBUS, CELIA, LELIO, SGANARELLE, SGANARELLE’S WIFE, CELIA’S MAID.

      THE SELF-DECEIVED HUSBAND

      ..................

      INTRODUCTORY NOTICE.

      Six months after the brilliant success of the Précieuses Ridicules, Molière brought out at the Théâtre du Petit-Bourbon a new comedy, called Sganarelle, ou le Cocu Imaginaire, which I have translated by Sganarelle, or the self-deceived Husband. It has been said that Molière owed the first idea of this piece to an Italian farce, Il Ritratto ovvero Arlichino cornuto per opinione, but, as it has never been printed, it is difficult to decide at the present time whether or not this be true. The primary idea of the play is common to many commedia dell’ arte, whilst Molière has also been inspired by such old authors as Noël Du Fail, Rabelais, those of the Quinze joyes de Mariage, of the Cent nouvelles Nouvelles, and perhaps others.

      The plot of Sganarelle is ingenious and plausible; every trifle becomes circumstantial evidence, and is received as conclusive proof both by the husband and wife. The dialogue is sprightly throughout, and the anxious desire of Sganarelle to kill his supposed injurer, whilst his cowardice prevents him from executing his valorous design, is extremely ludicrous. The chief aim of our author appears to have been to show how dangerous it is to judge with too much haste, especially in those circumstances where passion may either augment or diminish the view we take of certain objects. This truth, animated by a great deal of humour and wit, drew crowds of spectators for forty nights, though the play was brought out in summer and the marriage of the young king kept the court from Paris.

      The style is totally different from that employed in the Précieuses Ridicules, and

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