Note 165 — V MADEMOISELLE CONTAT

Ducis’s adaptation—or distortion—of Othello, first produced on November 26, 1772, differed materially from the original play. “Iago’s villainy,” says Mr. Hawkins, in his “French Stage in the Eighteenth Century,” “was thought too deep and patent, especially for a Parisian audience. Pesare, as the ancient is called here, is accordingly transformed into something like an ordinary confidant, to all appearance full of sincere bonhomie, and with his devilish purpose hidden until he has been seen for the last time. Ducis, it has been well remarked, was extremely afraid of arousing too much emotion among his auditors. Another essential difference lay in Cassio being really in love with Desdemona (re-named Hédelmone).” Changes of minor importance were the substitution of a letter for the handkerchief, and a poniard for the pillow. Ducis also adapted—or distorted—Hamlet, Romeo and Juliet, Macbeth, and Lear.