Extract
[...] The manipulation of Ruy Blas, who has become, despite himself, an imposter, is facilitated by the resemblance of the young man to Don César. This substitution and the game of masks mark the intrusion of the theatre into the theatre: the scene of false recognition of Ruy Blas-Don César by the court echoes the scenes of mistaken identity and the plot twists of Act IV, where the return of the true Don César brings the confusion of identities to its climax. [...]
[...] It is Ruy Blas, who has become Don César. More and more troubled, the queen, by several signs, recognizes in him the author of the letter. She manages to save him from a duel, revealing in part her feelings. The play also has a very interesting political dimension when Ruy Blas, having become the queen's favorite, attracts the hatred of the courtiers, these great nobles who, confusing their private interests with public affairs, plunder the riches of Spain. Surprising their secret meeting, he throws them an ironic 'Bon appétit, messieurs ' and, in a eloquent tirade, reproaches them for feasting at the expense of the people before sending them away one by one. [...]
[...] At this moment, Ruy Blas savors a brief moment of happiness that is interrupted by Don Salluste. In fact, these two characters are linked by a diabolical pact. This diabolical pact is not without recalling the Faustian pact. The character is torn between two aspirations. As Victor Hugo said, 'The small details of history and domestic life must be scrupulously studied and reproduced by the poet, but only as a means of making this general and powerful life penetrate even into the darkest corners of the work, making the characters more true and the catastrophes, consequently, more poignant.' The story, as proven by this note written after the performance of Ruy Blas, allows playwrights to portray characters of exaggerated proportions with a disastrous fate. [...]
[...] Ruy Blas is "This miserable madman who fearfully bears / Under the garb of a valet the passions of a king". It is because of this love that Ruy Blas accepts the role of Don César. Doesn't he say, comparing himself to the young lords of the court who rub shoulders with the woman he loves: « Yes, I would damn myself to strip off my chain, And to be able to approach the queen like them, With a garment that is not shameful (v. [...]
[...] From then on, the disguise imposed by Don Salluste on his valet in the first act of Ruy Blas could not totally surprise. At first glance, it fits into a traditional scheme: that of complicity between a master who wants to achieve a project and a servant who helps him by passing himself off as another. However, from the first act, Ruy Blas reveals himself to be much more consistent than a simple accomplice: the passion he harbors for the queen elevates him above his condition as a valet. Subsequently, his double identity of Ruy Blas-Don César adds complexity to his character. [...]
