Study on the peculiar response to popular drama and its influence on the audience in the first half of the 19th Century.

本研究分为三部分，第一部分是对罗伯特·马凯尔（1834）和《巴黎的齐福尼耶》（1847）的分析，以说明通俗剧的体裁及其对观众的影响。《罗伯特·马凯尔》是一部伟大的讽刺滑稽剧，表现了对帝国的愤世嫉俗。而Pyat的社会主义情节剧Le Chiffonnier则与2月的事件有关。在第二部分中，我们将考察《一个人的生活》（1831）和大仲马的《理查德·达林顿》（1831）。我们看到了被压迫的女主人公爱美丽和珍妮，以及背信弃义的F。勒梅特Ducange处理了对习俗的批评，然后是对法律的批评。首先，法律将妻子的所有权利赋予丈夫。第二，法律禁止离婚。我们可以说珍妮和爱美丽的处境是一样的。勒梅特，或奥诺雷·杜米埃所描述的人物，对当时的作家和剧作家产生了有价值的影响。在第三部分，我们将进入巴尔扎克的工作。魏特琳在这部史诗般的悲剧中所扮演的角色，使人想起罗伯特·马凯尔在一系列漫画中所描绘的形象。《法瑟》（Le Faiseur，1851年）中有一些关于金钱利益婚姻的对话，类似于罗伯特·马凯尔和虫塔领主之间的对话，这位被归为通俗戏剧类型的情节剧作家，想通过他的男女主人公被背信弃义的人压迫来传达什么样的信息？它攻击社会秩序，批评有关婚姻生活的习俗和法律。流行戏剧对林荫大道的观众产生了重大影响，因此更加受到他们的欣赏。作者和审查制度之间的永久冲突来自于世纪上半叶的法国。

The study divides in three parts, the first deals with Robert Macaire (1834), and also with Le Chiffonnier de Paris (1847) to illustrate the melodrama genre and its influence on the audience. Robert Macaire, a great satirical drollery play, shows cynical performance towards the imperium. While Pyat's socialistic melodrama Le Chiffonnier, is linked with the events of February. What characterizes Macaire and Jean is their audacious attack on social order and the power of money.In the second part, we will look at Trente ans, ou la vie d'un joueur (1831) and at Alexandre Dumas' Richard Darlington (1831). We find the oppressed heroines Amelie and Jenny, and the treacherous personified by F. Lemaitre. V. Ducange tackles the criticism of the customs and then criticism of the laws. Firstly, the law granting all the rights on the wife to the husband. Secondly, the law banning divorce. We would say that Jenny and Amelie are in the same situation.The deeds of Robert Macaire personified by F. Lemaitre, or the character described by Honore Daumier, exert a worthy influence on the then authors and playwrights. In the third part, we will go into Balzac's work. The role of Vautrin, in the eponimous tragedy, reminds Robert Macaire as depicted in a series of caricatures. Le Faiseur (1851) includes dialogues on marriage of money convenience similar to the ones exchanged between Robert Macaire and the lord of Wormspire.What sort of message the melodrama author, classified in the popular drama genre, wants to convey through his hero and heroine oppressed by the treacherous? It is attacking social order and criticizing customs and laws on conjugal life. Popular drama had been all the more appreciated by the Boulevard spectators that it had influenced them significantly. Where permanent conflict between the author and censorship comes from during the first half of the 19th Century in France.