
L'ILLUSTRE CORSAIRE, TRAGICOMEDIE DE MAIRET.
A MADAME, MADAME LA DUCHESSE D'ESGUILLON.
ADVERTISSEMENT.
A MADAME LA DUCHESSE D'ESGUILLON - Sonnet.
Privilege du Roy.
LES ACTEURS.
ACTE I - SCENE PREMIERE.
ACTE II. - SCENE PREMIERE.
ACTE III. - SCENE PREMIERE.
ACTE IV. - SCENE PREMIERE.
The work opens with a florid, almost theatrical letter addressed to the Duchess of Escguilon, in which the modest author proclaims his boundless gratitude while deliberately tempering praise with humility. This elaborate prelude sets the stage for a story that follows a celebrated corsair—part swash‑buckling adventurer, part courtly favorite—who finds himself entangled in the intrigues of Parisian aristocracy. From the first scenes the audience is drawn into a world where the clash of swords is mirrored by the clash of egos, and where comic misunderstanding rubs shoulders with genuine danger.
Mairet’s language is richly Baroque, peppered with grandiloquent compliments and witty wordplay that capture both the seriousness of the hero’s reputation and the absurdity of his circumstances. The playwright openly declares his willingness to reshape historical facts for dramatic effect, inserting fictional episodes that heighten the spectacle while preserving an underlying sense of verisimilitude. Listeners will enjoy the lively rhythm of the verses, the sharp contrast between lofty declarations and earthy humor, and a glimpse of 17th‑century theatrical conventions that still feel fresh and entertaining.
Language
fr
Duration
~1 hours (100K characters)
Publisher of text edition
Project Gutenberg
Credits
Produced by Laurent Vogel and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by the Bibliothèque nationale de France (BnF/Gallica) at http://gallica.bnf.fr)
Release date
2008-11-16
Rights
Public domain in the USA.
Subjects

1604–1686
A major early voice in French classical theater, this seventeenth-century playwright helped shape the rules and style of tragic drama before Corneille and Racine fully defined the age. His plays moved between pastorals, tragicomedies, and tragedies, and his best-known work helped bring stricter dramatic form to the French stage.
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