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Essay / Research Paper Abstract
10 pages in length. The seventeenth century experienced a number of significant changes in the arts. Moliere was responsible for revolutionizing the theater and making the King (Louis XIV) and his family appreciate comedy. Up until that time the tragedy had been the only form of theater, however, with Moliere came a new aspect with regard to live
performance. Particularly evident of this drastic change is that of Moliere's comedy-ballet entitled "Le Bourgeois Gentilhomme," which utilizes rhyme with unique structure and function as it is mixed with the play's prose. Using the relatively new concept of farcical comedy, Moliere was able to encourage the King and his people to laugh at the ridiculous aspects of life, as well as view the arts in a way that had never before been seen in such a manner. As well, the very nature of the prose and movement became based more in reality in relation to the natural way they talked and walked. While Corneille had previously addressed all of these aspects, his definition of comedy significantly differed from Moliere's, whose collaboration with composer Lully served as the very beginning of what ultimately came to be developed as the comedy-ballet. Bibliography lists 6 sources.
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10 pages (~225 words per page)
File: LM1_TLCcomdy.doc
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XIV) and his family appreciate comedy. Up until that time the tragedy had been the only form of theater, however, with Moliere came a new aspect with regard to
live performance. Particularly evident of this drastic change is that of Molieres comedy-ballet entitled Le Bourgeois Gentilhomme, which utilizes rhyme with unique structure and function as it is mixed
with the plays prose. Using the relatively new concept of farcical comedy, Moliere was able to encourage the King and his people to laugh at the ridiculous aspects of
life, as well as view the arts in a way that had never before been seen in such a manner, making it more than an "unimportant luxury for the high
brows who have plenty of time to waste" (Anonymous astudyof.htm). As well, the very nature of the prose and movement became based more in reality in relation to the
natural way they talked and walked. While Corneille had previously addressed all of these aspects, his definition of comedy significantly differed from Molieres, whose collaboration with composer Lully served
as the very beginning of what ultimately came to be developed as the comedy-ballet. "The seventeenth century was the period of a very remarkable literary outburst in France, an
outburst which has done much to mould French genius of more recent times. The latter part of the century, which has been called the Augustan age of France, the
age of Louis XIV, has certainly been but seldom equalled in the number and variety of the writers who adorned it" (Laun PG). I. THE CONTRAST OF COMEDY AND
TRAGEDY In the comedies, appearances and reality are manipulated for comic effect. One of philosopher Aristotles most pronounced contentions was that art
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