Description
Annette et Lubin (1762), an opéra-comique adapted by Justine Favart from Jean-François Marmontel’s moral tale, examines the interplay between religious and secular authority through marriage law and social ethics. At its core is the conflict arising from the protagonists’ consanguineous relationship, challenging moral norms and legal frameworks. The work highlights systemic inconsistencies in Ancien Régime law, such as flawed dispensations and secular power abuses, revealing contradictions and inequities. Compared to Marmontel’s tale, Favart’s libretto omits sensitive elements, particularly regarding ecclesiastical institutions and morally contentious actions. Yet, the opera retains its focus on tensions between natural law, religious prescriptions, and emerging secular legislation, reflecting Enlightenment legal thought.
The principal reason for these omissions, in my view, lies in the need to accommodate audience sensibilities and elicit their sympathy more effectively. Annette et Lubin cultivates a form of “worldly-sensuous sympathy,” heightening the emotional weight of the protagonists’ ethical dilemma. This effect is further reinforced by its musical components, which include vaudeville melodies, original ariettes, and songs drawn from various composers. Despite their diverse origins, these musical elements collectively serve to engage spectators in reflecting on the legal and moral issues embedded in the work.
By scrutinizing marriage law’s dynamics, Annette et Lubin critiques 18th-century legal and social structures while advancing Enlightenment ideals. It underscores the waning influence of religious authority in favor of secular governance and raises enduring questions about law, morality, and justice. This study contextualizes the work as both a cultural and legal mirror while incorporating its literary source (Marmontel’s tale) and another derivative work (La Borde’s pastoral), offering insights into its role in institutional transformations in 18th-century France.
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