Edmé Boursault (October 163815 September 1701) was a French dramatist and miscellaneous writer from the era of Louis XIV. He is known for his innovative theatrical trends, polemical writing, epistolary novels, and friendships with other writers such as Pierre Corneille.
Biography Boursault was born at Mussy l'Evéque in the Province of Champagne, now Mussy-sur-Seine (Aube). 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).
This and some other pieces of small merit secured for him distinguished patronage in the society ridiculed by Molière in the Ecole des femmes. 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). Molière retaliated in L'Impromptu de Versailles, and Boileau attacked Boursault in Satires 7 and 9. 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.
Boursault 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. 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. 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.
Among 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). 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.
Boursault died in Paris on 15 September 1701. His Œuvres choisies were published in 1811, and a sketch of him can be found in Saint-René Taillandier's Etudes littéraires (1881).
Partial list of works Drama Le Mort Vivant (English:The Living Dead Man, 1662). A three-act comedy.Hawkins (1884), p. 369-370McGraw-Hill (1984), p. 376-377 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).Forman (2010), p. 204-205Slater (2008), Introduction Part of an ongoing literary quarrel over The School for Wives (1662) by Molière. The original play had caricatured "male-dominated exploitative marital relationships", and became a target of criticism. Criticisms ranged from accusing the playwright of impiety, to nitpicking over the perceived lack of realism in certain scenes. Molière had answered his critics with a second play, The School for Women Criticized (French: La Critique de L’École des femmes, June 1663). Boursault wrote his play in answer to this second play. In The School for Women Criticized, Molière poked fun at his critics by having their arguments expressed on stage by comical fools. While the character defending the original play, a mouthpiece for the writer, is a straight man with serious and thoughtful replies. In his Portrait, Boursault imitates the structure of Molière's play but subjects the characters to a role reversal. In other words, the critics of Molière are featured as serious and his defenders as fools. There is some question on the motivations of Boursault in getting involved in the quarrel. The character Lysidas, with which he took offense, may not have represented Boursault himself but his mentor Thomas Corneille. The play in its extant published form may differ considerably from its original staged version. The vulgar Chanson de la Coquille (Song of the Shell), which targeted Madeleine Béjart for her age and sexual history, seems to have been first used in the stage version of the Portrait and then re-used by Jean Donneau de Visé. Boursault probably included other malicious and personal attacks on Molière and his associates in the stage version, which were edited out in time for publication. The modern scholar can only guess at their nature by Molière's haste to respond.Scott (2002), p. 127-132 Molière answered with a third play of his own, The Versailles Impromptu (French: L'Impromptu de Versailles, October 1663), which reportedly took him only eight days to write. It went on stage two weeks (or less) after the Portrait.Scott (2002), p. 127-132 This play takes place in the theatrical world, featuring actors playing actors on stage. Among jests aimed at various targets, Molière mocks Boursault for his obscurity. The characters have trouble even remembering the name of someone called "Brossaut". Molière further taunts the upstart as "a publicity-seeking hack".Gaines (2002), p. 65 Les Cadenats, ou le Jaloux Endormi (English: The locks, or the jealous one asleep, 1663). A one-act comedy. A theatrical work involving a "girdle of chastity" (chastity belt). Eric Dingwall considered it "in places both dull and tedious".Dingwall (1931), p. 155 Les Nicandres, ou Les Menteurs qui ne mentent point (English: The Nicandres, or The Liars who do not lie, 1664). A comedy.Gaines (2002), p. 65Boursault (1746), Vol. 1, p. 275-276 A play about two identical twin brothers, who also use the same name: "Nicandre" (Nicander). There are constant confusions over their identities, and "ludicrous mistakes and misunderstandings" result from the fact that their own mistresses and valets can not tell them apart.Dunlop (1823), p. 195-209 The plot and its humor are similar, though not identical, to Menaechmi by Plautus. John Colin Dunlop lists it among several French imitations of the ancient play, noting that the earliest among them was a 1630s version by Jean Rotrou. The Flying Doctor (French:Le médecin volant, 1664). This work went on stage in October 1664, and received its first publication in 1665. Boursault claimed to have translated this work from an Italian original. Molière also staged, but did not publish, an identical-named play in 1664. A number of scholars have theorized that Boursault was directly influenced by Molière's version. Comparisons of the two plays have revealed near-identical plots, but also substantial differences. These range from the names and occupations of various characters to different takes on certain scenes. A number of phrases used in both plays seem to point to a common source for both works.Lancaster (1936), p. 683-684 Some scenes seem more developed in Boursault's version, possibly because of his attempt to closely follow the Italian original. His personal touches are evident in other ways. His characters speak in verse, and the dialogue at times includes allusions to the works of French dramatists. For example, to Polyeucte (1643) by Pierre Corneille, La Belle plaideuse (1655) by François le Métel de Boisrobert, and possibly Les Précieuses ridicules (1659) by Molière. While both identical-named plays feature an impostor doctor, Boursault also adds a real one as an object or satire and ridicule. There is some confusion over the reception of the work. There are references to Le médecin volant receiving a Dutch translation in 1666, entering the repertory of provincial theaters in 1668, and being regularly staged by the Comédie-Française from 1685 to 1687. But the primary sources rarely make the distinction between the two plays, so whether it was Molière's or Boursault's version who had enduring success is uncertain. Les Yeux de Philis changés en astres (English:Metamorphosis of Phyllis' eyes into stars, 1665). A pastoral drama, in three-acts. It was first staged by the Troupe royale in the Hôtel de Bourgogne. It was based on the 1639 poem of the same name by Germain Habert. The original poem was rather short at c. 600 lines, depicting the love story of Daphnis and Phyllis. Boursault initially planned to dramatize all its verses, and to add short scenes connecting the major ones to each other. Realizing that the play lacked in action, Boursault added more characters and subplots. He retained the basic three characters of the original: Daphnis, Phyllis, and Helios/Sol (French:Soleil for Sun). He then created a secondary couple in the persons of Lisis, brother to Phyllis, and Carite, sister to Daphnis. A major departure from the original was the intervention of the gods. The action takes place in the island of Delos and the Sun is identified with Apollo. He too loves Phillis and his love is rejected. He first asks his sister Artemis/Diana to intervene on his behalf, to little effect. But the new couple has to drink from a certain spring for their nuptials, and Hermes/Mercury assists Apollo by poisoning it. Daphnis is fatally poisoned and Phyllis weeps. Eros/Cupid and Hymen then jointly plead to Zeus/Jupiter for justice. He is sufficiently moved to carry off Phillis to the heavens, where she and Daphnis can re-unite. The eyes of the young woman turn into the twin stars of Gemini.Lancaster (1936), p. 502-503 Boursault reported that he chose to limit the play to three acts, because in his observation four-act and five-act plays tend to fatigue the audience. The entire plot takes place in less than 24 hours, leaving little room for further intrigue or character study. "The verse is polished and correct, but conventional and monotonous". Certain scenes call for spectacular effects, such as the heavens opening and gods appearing to dictate their wishes, sounds of thunder, and the earth itself trembling. Others scenes rely on music and singing. Boursault likely counted on these scenes to be the highlights of the work. The Satire of Satires (French: La satire des satires, 1668/1669).Norman (2010), p. 104-106 A one-act play, written in response to criticisms by Nicolas Boileau-Despréaux. In his Satire VII, Boileau had included Boursault in a list of bad poets. A list which included several obscure figures and possible made-up names. (For example, "Titreville" is mentioned only in Satire VII and Satire IX. There is no other source on his existence.) Pocock (1980), p. 54-55 Since Boileau had briefly targeted Boursault in his satires, Boursault evidently wanted to respond in kind. Boileau managed to prevent the staging of this play by an act of parlement. Years later, the two writers befriended each other. In response, Boileau edited the text of his satire to instead target Jacques Pradon. This altered version survived in subsequent editions of his work.Shelley (1840), p. 272-273 The incident sheds some light on the legal limitations of theatrical satire at the time. The decision of parlement (dated to 22 October 1668) objected to the use of the proper name of Boileau, proclaiming that the practice was "defamatory of the honor" of the suppliant and therefore illegal. Larry Norman also points that direct satire was a controversial literary topic at the time. François Hédelin, abbé d'Aubignac criticized Old Comedy, mainly represented by Aristophanes, for mixing his narrative with public affairs. Boileau himself would later comment on the vices of Old Comedy which turned Socrates to a laughingstock for the "vile masses" of Athens. This sympathy for Socrates might have been connected to his own treatment at the pen of Boursault.