Pierre-Claude Nivelle de La Chaussée, French author and playwright (d. 1754)

Pierre-Claude Nivelle de La Chaussée: Architect of the Comédie Larmoyante

Pierre-Claude Nivelle de La Chaussée (14 February 1692, Paris – 14 May 1754, Paris) was an influential French dramatist renowned for pioneering the comédie larmoyante, a revolutionary theatrical genre that deliberately blurred the traditional, rigid distinctions between comedy and tragedy in 18th-century French theatre. This innovative "tearful comedy" departed from the classical mandates of pure laughter or profound sorrow, instead aiming to evoke sentimental emotion and sympathetic tears from its audience, focusing on moral dilemmas and domestic situations.

Early Career and Literary Debates

Before his theatrical breakthrough, La Chaussée engaged in significant literary discourse. In 1731, he published Epître de Clio, a didactic poem. This work served as a defense of Leriget de la Faye in his literary dispute with Antoine Houdar de la Motte, a prominent figure known for his advocacy for modern forms in literature. La Motte had provocatively argued that verse, a foundational element of classical tragedy, was ultimately useless in such dramatic forms. La Chaussée's contribution to this debate underscored his intellectual engagement with the evolving aesthetics of French drama, siding with the traditionalists who valued verse while simultaneously, and somewhat ironically, paving the way for a more prosaic and realistic style in his own plays.

Remarkably, La Chaussée was forty years old before his first play, La Fausse Antipathie (1734), premiered on the Parisian stage. This relatively late start did not deter his prolific output or impact. His second play, Le Préjugé à la mode (1735), further solidified his unique approach. The play deftly explores the societal pressure and fear of ridicule experienced by a man deeply in love with his own wife – a sentiment often deemed unfashionable or 'bourgeois' in the aristocratic circles of the time. According to the esteemed literary critic Jean-François de La Harpe, La Chaussée's insightful comedy played a significant role in dispelling this peculiar social prejudice in France, demonstrating the genre's capacity for social commentary and moral instruction.

The Rise of Sentimental Drama: Mélanide and its Impact

Following L'École des amis (1737) and an unsuccessful foray into traditional tragedy with Maximinien, La Chaussée returned to his emerging comedic form with Mélanide (1741). This play is widely regarded as the definitive work that fully developed the characteristics of the comédie larmoyante. In Mélanide and subsequent works, comedy was no longer primarily designed to provoke laughter, but rather to elicit tears, empathy, and moral reflection. This innovation systematically dismantled the sharp, often artificial, distinction between tragedy (featuring noble characters and grand, often fatal, conflicts) and comedy (depicting lower-class characters and lighthearted, humorous situations) that had long governed French classical theatre.

The comédie larmoyante typically featured:

• Middle-class protagonists: Unlike tragedy's kings and heroes or comedy's stock characters, La Chaussée's characters were relatable members of the burgeoning middle class.
• Domestic settings: The conflicts often unfolded within family units or social circles, reflecting everyday concerns rather than epic battles.
• Moral dilemmas: Plays frequently explored themes of virtue, parental duty, social injustice, and the triumph of good over misunderstanding.
• Sentimental emotion: The aim was to move the audience to tears of sympathy and moral upliftment, fostering a sense of shared humanity.

Precursors, Successors, and Critical Reception

While La Chaussée perfected the comédie larmoyante, indications of this shift towards sentiment and domestic themes were already present in the works of his contemporary, Pierre de Marivaux, whose plays often explored the delicate nuances of love and emotion, albeit with a more refined wit. La Chaussée's successful fusion of serious themes with a comedic framework naturally paved the way for the later development of the drame bourgeois by Denis Diderot and the more realistic dramatic works of Michel-Jean Sedaine, both of whom further embraced middle-class realism and moral instruction in their plays.

Despite its popular success, La Chaussée's novel approach faced bitter opposition from conservative literary critics. The satirical playwright Alexis Piron famously nicknamed him "le Révérend Père Chaussée," an ironic jab implying that his plays were more akin to moralizing sermons than genuine theatrical entertainment. Piron further ridiculed the genre in one of his most celebrated epigrams, capturing the critical disdain for its perceived lack of true dramatic form.

Even Voltaire, a towering figure of the Enlightenment, initially maintained that the comédie larmoyante was evidence of an author's inability to master either of the established dramatic genres. He viewed it as a diluted form, lacking the grandeur of tragedy or the wit of true comedy. However, this critique is laced with a degree of irony, as Voltaire himself later produced a play of similar sentimental character, L'Enfant prodigue, demonstrating the undeniable pull and popular appeal of the genre. Ultimately, the hostility of the critics did little to diminish the public's enthusiasm, as audiences continued to shed tears nightly over the poignant sorrows of La Chaussée's heroines, underscoring a significant shift in public taste towards more emotionally resonant and morally engaging narratives.

Later Works and Enduring Legacy

Among La Chaussée's most celebrated works, alongside those previously mentioned, are L'École des Mères (1744) and La Gouvernante (1747). These plays continued to explore themes of education, family dynamics, and social responsibility, cementing his reputation as a master of the sentimental genre.

Interestingly, the strict moral aims so evident in La Chaussée's plays seemed at odds with his private preferences. He was known to frequent the same high society circles as figures like the comte de Caylus, a renowned antiquarian, writer, and patron of the arts. La Chaussée also contributed to the Recueils de ces messieurs, collections of light verse, epigrams, and often witty or even risqué pieces that circulated within these aristocratic salons, suggesting a more worldly and less overtly moralistic personal persona.

His literary style also drew critical attention. The esteemed academician Abel-François Villemain observed that La Chaussée wrote "prosaic verses with purity," a testament to his clear, unadorned, and accessible language, perfectly suited for the realistic, emotionally direct nature of his plays. Voltaire, despite his earlier criticisms of the comédie larmoyante, eventually offered a backhanded but telling compliment, stating La Chaussée was "un des premiers après ceux qui ont du génie" (one of the first after those who have genius). This acknowledged his considerable talent and influence, positioning him just below the literary titans like Racine and Molière, yet still recognizing his significant contribution to French drama.

Frequently Asked Questions About Pierre-Claude Nivelle de La Chaussée and Comédie Larmoyante

What is the primary innovation of Pierre-Claude Nivelle de La Chaussée?

La Chaussée's primary innovation was the development of the comédie larmoyante, or "tearful comedy," which broke down the rigid distinction between comedy and tragedy in 18th-century French theatre. Instead of solely provoking laughter or profound sorrow, these plays aimed to evoke tears of sympathy and moral reflection.

How did comédie larmoyante differ from traditional comedy and tragedy?

Traditional comedy focused on humorous situations with lower-class characters and happy endings, while tragedy depicted noble characters facing grand, often fatal, conflicts. Comédie larmoyante blended elements of both, featuring middle-class characters in domestic settings, exploring serious moral dilemmas, and concluding with resolutions that, while often happy, were achieved through emotional struggle and tearful sentiment rather than outright humor or tragic loss.

Who were some of La Chaussée's notable critics and what were their criticisms?

Alexis Piron sarcastically called him "le Révérend Père Chaussée" for the perceived moralizing tone of his plays. Voltaire initially dismissed the genre as a sign of an author's inability to master either pure comedy or tragedy, though he later wrote a similar play himself. Critics often viewed the comédie larmoyante as a less sophisticated, diluted form of drama.

What was the impact of La Chaussée's work on later French drama?

La Chaussée's comédie larmoyante was a crucial precursor to the 18th-century drame bourgeois championed by Denis Diderot and the realistic dramas of Michel-Jean Sedaine. It introduced a focus on middle-class characters, domestic themes, and moral instruction, elements that became central to later sentimental and realist theatre.

What is an example of a play by La Chaussée that fully embodies the comédie larmoyante?

Mélanide (1741) is often cited as the play that definitively established and developed the characteristics of the comédie larmoyante, showcasing its focus on emotional depth, moral dilemmas, and sympathetic characters.

Where can I find further information about comédie larmoyante?

For an in-depth study of the genre, Gustave Lanson's work, particularly Ninette de la Chaussée et la comédie larmoyante (1887), is a seminal academic resource.