thumb|alt= Photograph of middle aged white man in 19th century clothes; he is clean shaven apart from short side whiskers; his hair is short and white|Scribe by [[Nadar]]
Augustin Eugène Scribe (; 24 December 179120 February 1861) was a French dramatist and librettist. He is known for writing "well-made plays" ("pièces bien faites"), a mainstay of popular theatre for over 100 years, and as the librettist of many of the most successful grand operas and opéras-comiques.
Born to a middle-class Parisian family, Scribe was intended for a legal career, but was drawn to the theatre, and began writing plays while still in his teens. His early years as a playwright were unsuccessful, but from 1815 onwards he prospered. Writing, usually with one or more collaborators, he produced several hundred stage works. He wrote to entertain the public rather than educate it. Many of his plays were written in a formulaic manner which aimed at neatness of plot and focus on dramatic incident rather than naturalism, depth of characterisation or intellectual substance. For this he was much criticised by intellectuals, but the "well-made play" remained established in the theatre in France and elsewhere long after his death.
In 1813 Scribe wrote his first opera libretto. From 1822 until his death he was closely associated with the composer Daniel Auber for whom he wrote or co-wrote 39 librettos, among them that for the first French grand opera, La Muette de Portici (1828). His second most frequent musical partner was Giacomo Meyerbeer, who took grand opera further and made it a dominant feature of French musical life. Among the other composers with whom Scribe worked were Adolphe Adam, Adrien Boieldieu, Gaetano Donizetti, Fromental Halévy, Jacques Offenbach and Giuseppe Verdi.
Scribe's librettos are still performed in opera houses around the world, and although few of his non-musical plays have been revived frequently in the 20th or 21st centuries, his influence on subsequent generations of playwrights in France and elsewhere was profound and lasting.
Life and career
Early years
Scribe was born in Paris on 24 December 1791, at the family house in the Rue Saint-Denis near Les Halles. His father, a silk merchant, died while the boy was an infant, but left his widow comfortably off. Scribe was educated at the prestigious Collège Sainte-Barbe, where he was an outstanding pupil, winning the college's top prize in his final year and being ceremonially crowned with a laurel wreath at the Académie Française. His mother intended him to pursue a career in the legal profession, and sent him to study with Louis-Ferdinand Bonnet, a leading Parisian lawyer.
thumb|left|upright|Scribe as a young man|alt=dark-haired, clean-shaven young white man in early 19th-century costume
Although he was conscientious in his studies, Scribe's ambition was to write for the theatre, and when his mother died in 1807 he turned from the law, and together with his former classmate Germain Delavigne he set his sights on a theatrical career. His first piece, a one-act vaudeville , was produced anonymously at the Théâtre des Variétés in January 1810 and was a failure. Numerous other plays, written in collaboration with Delavigne and others, followed; but for the next five years Scribe earned little from the theatre and was reliant on his inheritance. He had modest successes with Les Derviches (1811) and L'Auberge, (1812), both written with Delavigne for the Théâtre du Vaudeville. In 1813 he wrote the first of three melodramas, of which the third, , did reasonably well at the Théâtre de la Porte Saint-Martin. In the same year he wrote his first opera libretto, for Luc Guénée's opéra comique .
Scribe's first substantial success came in 1815, with the comedy Une Nuit de la garde nationale (A Night at the National Guard), a collaboration with his friend Charles Delestre-Poirson. Over the next five years Scribe built a position as a dramatist, writing under his own name or pseudonyms, usually in collaboration with others.
1820s
Between 1820 and 1830 Scribe wrote more than a hundred plays for the Gymnase, and librettos and plays for the Comédie-Française, the Opéra, the Opéra-Comique and seven other theatres. In 1822 he began a collaboration with the composer Daniel Auber that lasted for 41 years and produced 39 operas. Auber's biographer Robert Letellier writes that the names of Scribe and Auber became as linked in French minds as those of Gilbert and Sullivan later were in British ones. The partners' first collaboration was , a three-act opéra comique, with a plot that Scribe, in collaboration with Mélesville, derived from Walter Scott's historical romance Kenilworth. As with his plays, Scribe customarily wrote his librettos in collaboration with other writers. For Auber he worked with, among others, X. B. Saintine, E.-J.-E. Mazères and Jules-Henri Vernoy de Saint-Georges as well as Mélesville and Delavigne. Letellier writes that "part of Scribe's genius lay in his careful selection of his collaborators". A story grew that Scribe would hire one man to write the narrative, a different one for the dialogue, a third for the jokes, a fourth for the lyrics, and so on. The story was apocryphal, His wife, whom he had known for several years, was the widow of a wine merchant. She worried about his tendency to overwork, and attempted, with only limited success, to get him to slow down. His working habits varied little throughout his life. He began work at five in the morning during the summer and at six in the winter, writing until noon. He spent the rest of the day planning new work, attending rehearsals of his plays or operas, and in the evening visiting friends or going to the theatre.
Scribe's country house at [[Séricourt|thumb|upright=1.5|alt=Exterior of large country house in extensive grounds]]
During the 1830s Scribe introduced social questions into his plays, although never losing sight of his principal purpose, which was to entertain. By this point in his career he had honed his skills as a dramatist and developed what became known as the "well-made play" – la pièce bien faite – characterised by concise plotting, compelling narrative and a largely standardised structure, with little emphasis on characterisation and intellectual ideas. In the words of one literary critic:
One of Scribe's key devices was the quiproquo, in which two or more characters interpret a word, a situation or a person's identity in different ways, all the time assuming that their interpretations are the same. This important feature of Scribe's "well-made plays" was raised to its greatest heights by Georges Feydeau later in the 19th century.
Scribe's earnings from his plays and librettos were considerable and he amassed a large fortune. He was a good businessman: commenting on a dispute over payment with Léon Pillet, the director of the Opéra, in 1841, he said he wanted to be paid for his librettos "according to what they bring in, that is to say, a great deal. The present director only wants to pay for them according to what they are worth, that is to say, very little". He bought a mansion in the fashionable Rue Olivier-Saint-Georges and two country houses. He was unobtrusively generous to deserving causes; among his benefactions was a fund for impoverished musicians and theatre people, into which he paid 13,000 francs (roughly €125,000 in 2015 values) a year. It combines a story of a young man's successful attempts to escape official attempts to arrest him on a political charge with the depiction of the love two women have for him. It combines action, romance and a happy, albeit bitter-sweet, ending. Henrik Ibsen thought highly of the work, and drew on it in his own early writing; Bernard Shaw also drew on it, in his Arms and the Man. Scribe and Charles Duveyrier provided Verdi with the libretto for Les Vêpres siciliennes, premiered at the Opéra in June. It was well received; Hector Berlioz judged it a perfect mixture of French and Italian sensibilities, but it did not become a core part of the Verdian operatic repertoire.
Scribe was the subject of continual criticism from highbrow writers. Théophile Gautier and Théodore de Banville accused him of being "the ultimate in bourgeois art and philistinism, pleasing the masses and writing théâtre vide" – empty plays.|
Scribe elaborated on his views in a speech to the Académie Française: "I do not think the comic author should be a historian: that is not his mission. I do not believe that even in Molière himself you can recover the history of our country".|
At the Académie, Scribe went on to give his views on the purpose of the theatre of his own time, maintaining that the public no longer went to the theatre to be instructed – as had been the theory in the 18th century – but to be diverted and entertained.
Scribe never retired. He was working on the libretto for Meyerbeer's last opera, L'Africaine, when he died suddenly of a stroke on 20 February 1861, in his carriage on the way home from a meeting of the Société des auteurs et compositeurs dramatiques. He was buried in the Père Lachaise Cemetery.
Works
:See also Well-made play, :Category: Libretti by Eugène Scribe and :Category: Plays by Eugène Scribe
Estimates differ considerably of the number of stage works Scribe wrote or co-wrote. The published edition of his known works ran to 76 volumes, but it is inevitably incomplete, as he is known to have written pseudonymously and even anonymously. His total output of stage works is variously reckoned as between 300 and nearly 500. The known works include more than 120 librettos for 48 composers, collaborations in musical and non-musical theatre with more than 60 co-authors, and over 130 stage works written solo.
Among the many later playwrights drawing on Scribe's precepts for the well-made play were Alexandre Dumas fils, Victorien Sardou and Georges Feydeau in France, W. S. Gilbert, Oscar Wilde, Noël Coward and Alan Ayckbourn in Britain, and Lillian Hellman and Arthur Miller in the US.