A recurring trait among comparatists may be their tendency – if not their instinct – for erudition. This is particularly true of those engaged in what French comparative literature scholar Florence Schnebelen calls comparatisme au carré (‘squared comparatism’): not only do they compare different geographical and cultural contexts, but also different disciplinary fields – simultaneously. Combining the methodologies of both comparative literature and comparative legal history requires a level of intellectual dexterity that Gabrielle Vickermann-Ribémont clearly demonstrates.Structured in two parts, containing respectively two and three substantial chapters, this ambitious volume offers a history of theatrical comedy in France, England, and the German-speaking world during the seventeenth and eighteenth centuries. It demonstrates how the history of literature and performance in these regions is deeply intertwined with the development of their respective marriage laws. The author’s central argument is that these three cultural spheres share a common cultural foundation – fuelled by transnational influences and cultural transfers – yet differ significantly in their legal traditions. To highlight this tension between shared cultural references and divergent legal systems, the author offers a detailed examination of matrimonial law across these periods and regions.
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