The Comic Genre in 18th Century Enlightenment Literature: A Study of Comedy and the Comical in Theatrical Works

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[...] Because it would like, with a very applied bad faith, to amuse itself without remorse, to mock without unease, while never ceasing to regret 'the old frank gaiety'." How can we explain the specific relationship of the writers and philosophers of the Enlightenment to the comic and in what way does Goldzink's apprehension seem to clarify the relationship between the comic and the comedy in the three plays to be, namely The False Servant Nanine or the Man Without Prejudice de Voltaire and " The Marriage of Figaro de Beaumarchais ? To better clarify this, we will first explain how the comic genre and comedy are conceived and constructed in the 18th century. In a second time, we will demonstrate in what way Goldzink's judgment probably illuminates the existing link between the comic and the comedy in the three mentioned works. [...]

[...] In addition, the Enlightenment also aims to share a complete and indispensable education for everyone. The works of Beaumarchais, among others The Marriage of Figaro, illustrate the aspirations of the Enlightenment to oppose social injustice by denouncing the privileges of the aristocratic class. Noting that the population has not received enough education to be aware of what is really happening, that is, its situation of subjection and submission, the Enlightenment has focused on this affirmation:The homeland cannot survive without liberty, nor liberty without virtue, nor virtue without citizens: you will have everything if you form citizens ( . [...]

[...] Next, we also have the comedy of situations, such as misunderstandings, errors of understanding, and disguises (Act V). Finally, there are also passages where we find the comedy of characters. This last one comes from the difference in social status. In fact, if we go back to the quote, we can see the use of expressions such as 'to enjoy oneself without remorse' and 'old frank gaiety'. In Beaumarchais' play, the characters of Suzanne and Figaro both show gaiety even though they live in misery. It is precisely this gaiety that allows Figaro to succeed in society. [...]

[...] The common purpose of the Enlightenment in the use of the comic genre in literature and towards the society of the 18th century in particular. In this part of our work, we will attempt to explain the common objective of Enlightenment writers and playwrights in the use of the comic genre. In reality, it is for these writers to 'fight against all forms of obscurantism and ignorance' through a desire to help 'their contemporaries to think for themselves by developing their critical sense'. [...]

[...] In reality, like tearful comedy, bourgeois drama also sets as objectives the creation of emotion in spectators and the satisfaction of moral requirements. Bourgeois drama values empathy to arouse education through emotion. It also gives value to pathos and exaggeration as well as to pantomime. The latter favors actions more than words spoken by actors. Then, we can also mention pastoral comedy, ballet comedy and commedia dell'arte. The latter has greatly influenced the conception of the comic and theatrical genre of the century through the change of scenery. It highlights theatrical improvisation from a scenario. [...]