Louvrage analysis the bedrooms, moon after another, in separate chapters. To enjoy reading, it is good to read before any development, one that will take the book topic. For laughter of Molière belongs to the essence of art in that lHomme is magnified: weaknesses, strengths, in its double meaning BE lonely and socially.
Molière is serious. His laughter is not that of light fantasy. Laughter is cheerful. Sil rises in situations that can be dramatic, he dismantles the mechanism, exposing the den freedom out by lennoblissement the heart. Laughter is the expression of freedom of thought, to live. When Harpagon, lavare holds sordid to marry his daughter to a man which refuses, the situation does not lend to laugh. Molière is attached to defend love both serious and joyful in its bottom, overcoming all villainies even malignant (see "Amphitryon"). However the game by stuffing his well articulated plot twists, characters and liberates humanity leads through laughter at dheureux endings built, and fortuitous that they can sometimes seem, never mechanistic (different from the analysis of the laughter of Bergson). Similarly Scapin, interpreted as Molière (writer and actor) borrows from the Comedia dellArte the liveliness of its towers, bringing once again a dark location (deliberately blackened the excess from the first words "Hard ends where I see myself reduced") to léclaircie not by ridicule, but the sunny disappearance of death. Sentence construction combining prose and verse, Alexandrian and hemistiches brings the text that joyful tone that often, alas, sorry author, the French Comedy, is not included.
The Misanthrope, the author writes: "This is a sincere clown in him who ventures outside lhabituel, while accumulating comical errors and by being drawn by a stranger to his temperament ideally quAlceste touches the depth of liberating laughter" .
Edwards happily rediscovering the theater of Molière. There are many surprises. His insistence to include the construction of laughter in the intimate link created between comedy and ballet makes us regret the absence of regular music in the representations of plays by Molière. How to understand "Le Bourgeois Gentilhomme" and "The Imaginary Invalid" by erasing the interaction of music comedy?
Molière is amazing dune sagacity and modernity. His laughter is healthy, wealthy, so human: liberating.
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(Article for the fortnightly "Royalist" (political director Bertrand Renouvin), published in the 1039 issue "special issue July-August 2013")
