Alain-René Lesage

Alain-René Lesage (May 8, 1668, Sarzeau – November 17, 1747, Boulogne), also spelled Le Sage was a French novelist and playwright born at Sarzeau, in the peninsula of Rhuys, between the Morbihan and the sea, Brittany.

Works for the stage

Of Lesage's miscellaneous work, including his numerous farce-operettas, there is not much to be said except that they are the very best kind of literary hack-work. The pure and original style of the author, his abundant wit, his cool, humoristic attitude towards human life, which wanted only greater earnestness and a wider conception of that life to turn it into true humour, are discernible throughout. But this portion of his work is practically forgotten, and its examination is incumbent only on the critic. Crispin and Turcaret show a stronger and more deeply marked genius, which, but for the ill-will of the actors, might have gone far in this direction. But Lesage's peculiar unwillingness to attempt anything absolutely new discovered itself here. Even when he had devoted himself to the Foire theatre, it seems that he was unwilling to attempt, when occasion called for it, the absolute innovation of a piece with only one actor, a crux which Alexis Piron, a lesser but a bolder genius, accepted and carried through. Crispin and Turcaret are unquestionably Molieresque, though they are perhaps more original in their following of Moliere than any other plays that can be named. For this also was part of Lesage's idiosyncrasy that, while he was apparently unable or unwilling to strike out an entirely novel line for himself, he had no sooner entered upon the beaten path than he left it to follow his own devices.

Related Topics:
Operetta - Alexis Piron - Moliere

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Crispin

Crispin rival de son maitre is a farce in one act and many scenes, after the earlier manner of motion. Its plot is somewhat extravagant inasmuch as it lies in the effort of a knavish valet, not as usual to further his masters interests, but to supplant that master in love and gain. But the charm of the piece consists first in the lively bustling action of the short scenes which take each other up so promptly and smartly that the spectator has not time to cavil at the improbability of the action, and secondly in the abundant wit of the dialogue.

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Turcaret

Turcaret is a far more important piece of work and ranks high among comedies dealing with the actual society of their time. The only thing which prevents it from holding the very highest place is a certain want of unity in the plot. This want, however, is compensated in Turcaret by the most masterly profusion of character-drawing in the separate parts. Turcaret, the ruthless, dishonest and dissolute financier, his vulgar wife as dissolute as himself, the harebrained marquis, the knavish chevalier, the baroness (a coquette with the finer edge taken off her fineladyhood, yet by no means unlovable), are each and all finished portraits of the best comic type, while almost as much may be said of the minor characters. The style and dialogue are also worthy of the highest praise; the wit never degenerates into mere wit-combats.

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