The 'oriental' ambassador in 17th century French comedy

This thesis is concerned with the literary and historical links observable between diplomatic practice and the comic theatre in 1 t h century France. The functions and 'persona' ofthe ambassadeur extraordinaire (as defined in contemporary treatises) are consequently analysed in some detail. The significance of the comic theatre in royal propaganda is considered within the context of the accepted format for the reception and entertainment of a visiting ambassador. Some eleven comedies are shown to be directly connected with the arrival of diplomatic missions from Asia or Africa. There is an examination of the important literary theme of the 'Oriental' ambassador and women, notably with regard to public interest in events concerning the Ottoman and Persian ambassadors. The treatment of this topic by the comic theatre is compared with that appearing in prose fiction. The Muscovite embassy of 1668 is shown to be the first to have firm links with the comic theatre through the personal satire of the Russian ambassador, Pierre Potemkin, in Poisson's Faux Moscovites. The literary and historical contexts of the 'turquerie' in Moliere's Bourgeois gentilhomme are a major concern. A possible new target for Moliere's wit is suggested in the person of Hugues de Lionne. An examination of the use of jargon as a comic device by Moliere and others follows, emphasis being laid on the exploitation of lingua franca and the role of the valet as comic interpreter. Three minor comedies dealing with African themes are examined next, against the historical background of the Ardra embassy of 1670: Boursault's Mort vivant, Du Perche's Ambassadeur d'AjJrique and Bel-Isle's Mariage de la reine de Monomotapa. The Siamese embassies of the 1680s are shown to be linked with productions by the Comedie-Italienne; comedies by Fatouville, Regnard and Dufresny contain an 'Oriental' embassy of some description. I conclude with the Persian embassy of 1715 and the comic theatre of the Foires.