DOCSLIB.ORG

Maurizio Busca Ovide Et Le Théâtre Tragique Français Des Xvie Et Xviie

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Maurizio Busca Ovide Et Le Théâtre Tragique Français Des Xvie Et Xviie Maurizio Busca Ovide et le théâtre tragique français des XVIe et XVIIe siècles (Métamorphoses et Héroïdes) ---------------------------------------------------------------------------------------------------------------------------------------------- BUSCA Maurizio. Ovide et le théâtre tragique français des XVIe et XVIIe siècles (Métamorphoses et Héroïdes), en cotutelle sous la direction de Sabine Lardon, Université Jean Moulin (Lyon 3) et Michele Mastroianni, Université du Piémont Oriental (Italie). Thèse soutenue le 15/05/2017. Disponible sur : http://www.theses.fr/2017LYSE3023 ---------------------------------------------------------------------------------------------------------------------------------------------- Document diffusé sous le contrat Creative Commons « Paternité – pas d’utilisation commerciale - pas de modification » : vous êtes libre de le reproduire, de le distribuer et de le communiquer au public à condition d’en mentionner le nom de l’auteur et de ne pas le modifier, le transformer, l’adapter ni l’utiliser à des fins commerciales. N°d’ordre NNT : 2017LYSE3023 THESE de DOCTORAT DE L’UNIVERSITE DE LYON opérée au sein de L'Université Lyon III – Jean Moulin En cotutelle avec l’Università degli Studi di Torino Ecole Doctorale ED 484 (Ecole Doctorale Lettres, Langues, Linguistique et Arts) Spécialité de doctorat : Langue et littérature françaises Soutenue publiquement le 15/05/2017, par : Maurizio Busca Ovide et le théâtre tragique français des XVIe et XVIIe siècles (Métamorphoses et Héroïdes) Devant le jury composé de : Biet, Christian, Professeur des Universités (Université Paris X) : Président Mauri, Daniela, Professore Associato (Università di Milano) : Rapporteure Preda, Alessandra, Professore Associato (Università di Milano) : Rapporteure Génetiot, Alain, Professeur des Universités (Université de Lorraine) : Examinateur Mastroianni, Michele, Professore Associato (Università del Piemonte Orientale) : Directeur de thèse Lardon, Sabine, Professeur des Universités (Université Lyon3) : Co-directrice de thèse 2 Remerciements Je tiens à remercier tout d’abord M. le prof. Michele Mastroianni et Mme la prof. Sabine Lardon pour leur confiance, leur générosité et leur rigueur scientifique. Ils m’ont accompagné dans les moments les plus passionnants de mon parcours comme dans les plus difficiles, et ils m’ont surtout permis de mûrir en tant que chercheur et qu’enseignant. Je leur en serai toujours redevable. Je remercie ma famille, qui depuis longtemps m’encourage dans mes projets et dans mes pérégrinations universitaires, ainsi que les amis et les collègues turinois, lyonnais et chambériens pour leur précieuse compagnie. Un remerciement chaleureux va en particulier à Mme la prof. Paola Cifarelli pour sa disponibilité et sa bienveillance constantes. Plusieurs amis m’ont soutenu pendant les dures (dirae !) phases finales de la rédaction, et je leur en suis infiniment reconnaissant : David Farjon, Paule Schwoerer, Samuel Cahu, Romain Chenais, Camila Perez Lagos, Piero Andrea Martina, Javier Zorrilla de San Martin, Damiano de Pieri, les assidus de la salle V de la BnF, et surtout Léonard Dadin, Ariane B. Bo et Milena Mogica qui ont eu le courage de relire ces pages. Sans leur aide, ce travail n’aurait pas pu être mené à bout. Mais ma gratitude la plus profonde va à la personne sans laquelle les premières lignes de cette thèse n’auraient pas même été posées : mon ami et mon maître Dario Cecchetti. C’est à lui que je tiens à dédier ce travail, en signe de reconnaissance pour sa confiance, sa patience, son sérieux et son humour. Table des matières Remerciements..................................................................................................3 Introduction.....................................................................................................10 Première partie : La réception d’Ovide en France : quelques jalons fondamentaux....................................................................................................20 XIIe et XIIIe siècles............................................................................................23 Ovide sur les bancs d’école.........................................................................................24 Ovide dans la poésie lyrique et dans le roman............................................................27 Traductions et réécritures : le poète et le scientifique.................................................29 XIVe-XVe siècles................................................................................................35 Un poète honnête........................................................................................................35 ...ou immoral ?............................................................................................................40 Un poète éloquent : la douceur des Héroïdes..............................................................42 XVIe siècle.........................................................................................................45 Les Métamorphoses entre rigueur philologique et « tentation de l’allégorie »...........46 Traductions et réécritures des Métamorphoses...........................................................49 Les œuvres d’argument amoureux et les Héroïdes.....................................................52 Ovide et la maladie d’amour.......................................................................................56 XVIIe siècle........................................................................................................60 Un marché éditorial en évolution : éditions, traductions et réécritures.......................60 Les bonnes fortunes des imitations : nouveaux genres, nouveaux jeux......................64 Familiariser avec Ovide..............................................................................................69 Deuxième partie : Ovide et le théâtre tragique français des XVIe et XVIIe siècles..................................................................................................................75 Tragédie humaniste, tragédie baroque : Ovide et la tragédie française entre 1550 et 1620....................................................................................................77 Ovide et les premières épreuves d’un genre naissant..........................................77 La Médée de La Péruse : une mosaïque de sources sur un châssis sénéquien............79 La Didon se sacrifiant de Jodelle : la démystification du héros par l’intégration de l’Héroïde VII............................................................................................................93 Deux sœurs, un destin et demi : l’écho d’Ariane dans l’Hippolyte de Garnier........101 Méléagre : une longue série de métamorphoses................................................106 Un Méléagre sans Méléagre : la tragédie de Pierre de Bousy...................................111 Les années 1610-1620 et le retour d’Ovide..............................................................119 Le Méléager galant de Boissin, ou « Les chastes et infortunées amours d’Atalante et Méléager »..............................................................................................................123 Un monarque magnanime : le Méléagre d’Alexandre Hardy...................................132 Ovide et la tragédie des années 1630............................................................143 Galanterie, bienséance et pathétique dans le Méléagre de Benserade......................144 La fin d’une période d’or et le commencement d’une autre.....................................161 Ovide sur la scène théâtrale..........................................................................163 Les Amours d’un Ovide de cour : les œuvres ovidiennes de Gabriel Gilbert....164 De l’art d’aimer à l’art de plaire................................................................................166 Les Amours d’Ovide, pastorale héroïque (1663)......................................................169 La saison du théâtre en musique.......................................................................178 La tragédie lyrique : un laisser-passer pour Méléagre ?...........................................179 Une tragédie pour les Dames : Méléagre en 1699....................................................183 Troisième partie : Les adaptations des Héroïdesdans le théâtre tragique français du XVIIe siècle.................................................................................189 Les Héroïdes, à la croisée de l'élégie et de la tragédie..................................191 I : Pénélope à Ulysse.........................................................................................196 Charles-Claude Genest, Pénélope (tragédie, 1703 [1684]).......................................198 IV : Phèdre à Hippolyte....................................................................................212 Gabriel Gilbert, Hypolite, ou le garçon insensible (tragédie, 1646).........................219 Bidar, Pradon et Racine : éclipses de l’Héroïde IV...................................................226 VII : Didon à Énée............................................................................................236 La prééminence du modèle virgilien.........................................................................239 Variations autour de Virgile.......................................................................................244 X : Ariane à Thésée...........................................................................................251
Load more

Recommended publications
  • (Eds.) Lucretius and the Early Modern. Pp. Xvi + 313, Ills. Oxford: Oxford University Press, 2016
    Norbrook (D.), Harrison (S.), Hardie (P.) (eds.) Lucretius and the Early Modern. pp. xvi + 313, ills. Oxford: Oxford University Press, 2016. Cased, £65, US$100. ISBN: 978-0-19-871384-5. Longer unpublished version of review forthcoming in Classics Review ‘Lucretius and (early) modernity’ is not an entirely novel combination or juxtaposition. This reviewer participated in a conference in Milan almost ten years ago that bore the name … Lucrezio e la modernità; Catherine Wilson, a contributor to the volume under review, published a book around the same time entitled Epicureanism at the origins of modernity.1 Several important edited volumes on the reception of Epicureanism have appeared since then, some with a more exclusively scholarly focus,2 some more receptive to the inflections of ‘Theory’. The latter trend is not monolithic either, since some projects bear the mark of the late Althusser’s idiosyncratic re- imagining of a Lucretian ‘aleatory materialism’,3 while others locate themselves in the territory of Deleuze’s or Michel Serres’s revival of Lucretius,4 the latter being perhaps the first of a series of studies fixated on the clinamen, culminating with S. Greenblatt’s The Swerve.5 These interpretive trends are touched on in David Norbrook’s elegant introduction to this volume. The present volume is less concerned with subterranean, counter-histories of philosophy (or politics, or literature); it focuses on De rerum natura (hereafter DRN)’s ‘language and material circulation, as a means of refining generalizations about Epicurean philosophy’ (2), on ‘the specific material and cultural contexts in which the DRN was interpreted’ in early modern culture (12).
    [Show full text]
  • From the Library of Cosmo Alexander Gordon
    FROM THE LIBRARY OF COSMO ALEXANDER GORDON Lucretius De Rerum Natura 1-27 Sixteenth century 28-33 Seventeenth century 34-53 Eighteenth century 54-79 Nineteenth century 80-90 Twentieth century 91-92 BERNARD QUARITCH LTD List 2015/3 [email protected] +44 (0)20 7297 4888 Introduction by Nicolas Barker ‘Cosmo and I found our tastes and interests were always in harmony and I came to love his particular sense of humour and gentle goodness, as well as to respect his unusual style of scholarship and general culture.’ So wrote his life-long friend, Geoffrey Keynes in The Gates of Memory. All those who knew him shared the same feeling of calm and contentment, leavened by humour, in his company. Something of this radiates from this residue of a collection of books, never large but put together with a discrimination, a sense of the sum of all the properties of any book, that give it a special quality. Cosmo Alexander Gordon was born on 23 June 1886, the son of Arthur and Caroline Gordon of Ellon, Aberdeen. Ellon Castle was a modest late medieval building, with eighteenth-century additions and yew avenue, the river Ythan running by, where Cosmo fished for salmon and sea-trout. Dr Johnson stayed there in 1773 and admired the local antiquities. So did Cosmo; his taste had extended to medieval manuscripts before he left Rugby for King’s in 1904, where it was nurtured by M. R. James. Although Keynes had also been at Rugby, they did not meet until both were at Cambridge, where Gordon introduced his new friend to David’s book-stall and seventeenth-century literature; they shared a passion for Browne and Fuller.
    [Show full text]
  • Lucretius Carus, Titus
    Lucretius Carus, Titus. Addenda et Corrigenda* ADA PALMER (University of Chicago) The Addenda follow the order of the original article (CTC 2.349–65) and consist of a) additional material for the Fortuna, Bibliography and commen- taries, b) vernacular translations of the seventeenth century. New information on copyists, owners and annotators is included within the Fortuna, following the original structure. Fortuna p. 349a4. Add: A theory, now discredited, was much discussed in the fifteenth century that the surviving six-book poem was actually the middle or end of a twenty-one- book work. This confusion arose from a passage in M.T. Varro De( Lingua Latina * The author is grateful for the support and assistance of David Butterfield, Alison Brown, James Hankins and Michael Reeve. She owes much to the support given to her by the Villa I Tatti Harvard University Center for Italian Renaissance Studies, and the Mel- bern G. Glasscock Humanities Center at Texas A&M University. Gracious help was also provided by librarians at many institutions, including the Biblioteca Medicea Lauren- ziana, Biblioteca Nazionale and Biblioteca Berenson, Florence; Biblioteca Nazionale, Rome; Biblioteca Apostolica Vaticana, Vatican City; Biblioteca Marciana, Venice; Biblioteca Ambrosiana, Milan; Biblioteca Comunale A. Mai, Bergamo; Biblioteca Estense, Modena; Biblioteca Malatestiana, Cesena; Biblioteca Comunale Passerini- Landi, Piacenza; Biblioteca Capitolare, Padua; Biblioteca dell’Accademia Rubiconia dei Filopatridi, Savignano sul Rubicone; Biblioteca Nazionale, Naples; Bibliothèque Sainte-Geneviève and Bibliothèque Nationale, Paris; Öffentliche Bibliothek der Uni- versität, Basel; Österreichische Nationalbibliothek, Vienna; Cambridge University Library; Bodleian Library, Oxford; Harvard University’s Widener and Houghton Libraries, Cambridge, Mass.; Cushing Memorial Library & Archives, College Station, Tex.; and especially the British Library, London.
    [Show full text]
  • (2004)Cahiers Du Dix-Septième IX, 1
    TABLE OF CONTENTS Priscilla Ferguson. “Les Quinze Livres d’Athénée: French Culi- nary Culture in the Making”…………………………………….1 Susan Read Baker. “Natutical Fare in Robert Challe’s Journal d’un voyage fait aux Indes orientales (1690-1691)..………….21 Jean Emelina. « Le regard d’un savant sur les curiosités de la na- ture : plantes, jardins et eaux chez Peiresc. »…………………..33 William Roberts. “Perelle's Veües des plus beaux endroits de Ver- sailles: How the Engravings contribute”……………………....49 Elizabeth Woodrough. « Molière et la mise en scène des jardins de Versailles »…………………………………………………….61 Dana Marie Chase. “Deflowering the Garden: Le droit du sei- gneur and La Fontaine”………………………………….….....75 Perry Gethner. “Ransom and Piracy in Classical French Comedy”……………………………………………………….83 David Eick. “Redefining the Culture Wars: Furetière and the Académie française”………………………………………..….91 Marcelle Maistre Welch. «Poullain de la Barre et les Modernes »……………………………………………………105 Adrienne Zuerner. “Narrating the Life of a Scandalous Woman: Madame de Saint-Balmon”…………………………………...119 Deborah Steinberger. “Profiting from Scandal: the Case of La Devineresse”……………...………………………….…….…135 Ralph Albanese. « Les Fables de La Fontaine et la pédagogie ré- publicaine de la ‘francité’ »……………………………..….143 i BOOK REVIEWS Edited by John Boitano Paige, Nicholas D. Being Interior: Autobiography and the Con- tradictions of Modernity in Seventeenth-Century France. Univer- sity of Pennsylvania Press, 2001. 297 pp. (Charles M. Natoli)…………………………………………...159 Norman, Buford. Touched by the Graces: The Libretti of Philippe Quinault in the Context of French Classicism. Birmingham, AL: Summa Publications, 2001. Pp. ix + 402. Paper. (Perry Gethner)……………………………………………….165 Corum, Robert T., Jr. Reading Boileau: An Integrative Study of the Early Satires. West Lafayette: Purdue UP, 1998, 170 pp.
    [Show full text]
  • Les Quinze Livres D'athénée: French Culinary Culture in the Making By
    Les Quinze Livres d’Athénée: French Culinary Culture in the Making by Priscilla Ferguson « DANS LES LIVRES D’ATHENEE, IL PAROIST QUE LES HOMMES DE SON TEMPS, N’ESTOIENT GUERES DIFFERENTS DE CEUX DU NOSTRE » MICHEL DE MAROLLES, « DISCOURS », LES QUINZE LIVRES DES DEIPNOSOPHISTES D’ATHENEE. As someone who inhabits 19th-century France, I venture forth in the land of 17th-century studies as a tourist, appreciative of the welcome in foreign lands and marveling at things that you natives have known forever. Like many tourists, I have organized my trip around food as a means of cultural participation as well as nutri- tional survival. We culinary tourists undoubtedly eat to live, but mostly, we eat to understand. The past is not only a foreign country, it is a very different kind of country (Lowenthal 1985). Most obviously, its dependence on vestiges severely constrainsour access to this country. We can never see Molière perform, so we must make do with reading his plays and recreating them on our stages. Performance raises a vast number of vexatious questions concerning authenticity, originality, and cultural transmission. What is the status of the texts we read and on which we base our understandings? How legitimate is it to assert that these plays of ours are also plays of Molière? Cuisine too is a performative art, absolutely as ephemeral as drama or mu- sic and just as dependent upon re-production and re-creation. We cannot partake of la grande cuisine at the royal banquet table or in lesser venues so we read about those fêtes and festins (see Wheaton 1983, chs 6-7), including the most famous one of all, the banquet manqué at the Prince de Condé’s where, in Mme de Sévigné’s much cited account, his maître d’hôtel Vatel did himself in pre- cisely because of the manque.
    [Show full text]
  • Les Epistres D'ovide – Drei Heroides-Übersetzungen Im Kontext
    DIPLOMARBEIT Titel der Diplomarbeit „Les epistres d’Ovide – Drei Heroides-Übersetzungen im Kontext der Übersetzungsgeschichte in Frankreich“ Verfasserin Kristina Dangl Angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, 2009 Studienkennzahl lt. Studienblatt: A 190 347 338 Studienrichtung lt. Studienblatt: Unterrichtsfach Französisch Betreuer: Ao. Univ.-Prof. Mag. Dr. Alfred Noe Mein Dank gilt…. Meiner Familie (meinen Eltern, Großeltern und Schwestern), die mir während meines Studiums zur Seite gestanden sind, insbesondere meinen Eltern, die mir mein Studium erst ermöglicht haben. Allen, die mich während meines Studiums begleitet und - auf unterschiedlichste Art und Weise - unterstützt haben. Ao. Univ.-Prof. Mag. Dr. Alfred Noe für die hervorragende Betreuung dieser Arbeit. - 2 - INHALTSVERZEICHNIS VORWORT ………………………………………………………………………………...……6 1. OVID UND DIE HEROIDES ……………………………………………………………..…...8 1.1. Ovids Leben und Werk………………………………………………….…………8 1.1.1. Biographie………………………………………………………………..…….8 1.1.2. Überblick über Ovids Werke…………………………………………………10 1.1.2.1. Amores ……………………………………………………………………10 1.1.2.2. Medea …………………………………………………………………….11 1.1.2.3. Ars Amatoria ……………………………………………………………...11 1.1.2.4. Remedia amoris …………………………………………………………..12 1.1.2.5. De medicamine faciei / Medicamina faciei femineae …………………….12 1.1.2.6. Metamorphosen …………………………………………………………..12 1.1.2.7. Fasti ………………………………………………………………………13 1.1.2.8. Tristia ……………………………………………………………………..13 1.1.2.9. Epistulae ex Ponto ………………………………………………………..14 1.1.2.10. Kleinere Gedichte aus dem Exil ………………………………………14 1.1.3. Nachleben Ovids………………………………………………………….......14 1.2. Die Heroides ……………………………………………………………………...16 1.2.1. Inhalt………………………………………………………………………….16 1.2.2. Datierung, Echtheit, Überlieferung und Titel………………………………...22 1.3. Überblick über Editionen, Übersetzungen und Imitation der Heroides in Frankreich vom Ende des Mittelalters bis zum 17. Jahrhundert………………………………..23 1.3.1. Heroides -Editionen…………………………………………………………...23 1.3.2.
    [Show full text]
  • Le Modèle Ovidien De L'élégie Au Xviie Siècle
    Document generated on 09/26/2021 6:37 a.m. Tangence e Le modèle ovidien de l’élégie au xvii siècle The Ovidian model of the seventeenth century elegy Marie-Claire Chatelain Plaintes, pleurs et plaisirs : la poésie élégiaque aux siècles classiques Article abstract Number 109, 2015 The seventeenth century, when dealing with the elegy genre, naturally referred to the Ancient model of the Latin Elegiacs, and more particularly, to URI: https://id.erudit.org/iderudit/1037383ar the Ovidian model, preeminent in translation as in criticism. Indeed, Ovid, in DOI: https://doi.org/10.7202/1037383ar expressing his passions, is superior to Catullus and Propertius for both the naturalness and facility of his style, as is Tibullus. If he is sometimes preferred See table of contents to the latter, it is because of the variety he introduces into the genre. Ovid’s elegies influenced the epistle in a rather traditional manner, contributing for a long time to the likeness between the two genres, which were differentiated by the epistle’s greater freedom of subject and register. It is precisely by means of Publisher(s) this epistolary variety that Theophilus, in a truly Ovidian spirit, renewed the Tangence elegy. Here, the mid-century galant aesthetic privileges the playful and mocking elegy, fed by erotic works now resembling small verse forms such as madrigals and stanzas. The late seventeenth century then reinterpreted this ISSN same galant form as the passionate elegy which, combining the playful and 1189-4563 (print) mournful veins of Ovidian poems and cultivating the illusion effect of possible 1710-0305 (digital) authenticity of feeling, offers itself as the natural expression of the amorous heart.
    [Show full text]
  • The Making of the Humanities Focuses on the Early Modern Period
    WESTSTEIJN ( BOD, MAAT & This book launches the first comparative his- tory of the humanities. Specialists in philology, eds musicology, art history, linguistics, literary .) RENS BOD, theory, and other disciplines highlight the JAAP MAAT & intertwining of the various fields and their The THIJS WESTSTEIJN impact on the sciences. MAKING (eds.) This first volume in the seriesThe Making of the Humanities focuses on the early modern period. Different perspectives reveal how the humanities developed from the ‘liberal arts’, via the curriculum of humanistic schools, to modern disciplines. The authors show in particular how ofthe discoveries in the humanities contributed to a The MAKING secular world view, pointing up connections HUMANITIES with the ScientificR evolution. of the Contributions come from a selection of inter- nationally renowned European and American scholars, including Floris Cohen, David Cram, HUMANITIES and Ingrid Rowland. The book offers a wealth of insights for specialists, students, and those interested in the humanities in a broad sense. volume i rens bod is professor in Cognitive Systems at i volume Early Modern Europe the University of St Andrews, and Vici-laureate of the Netherlands Organization for Scientific Research at the University of Amsterdam. ModernEarly Europe jaap maat is a lecturer at the Department of Philosophy, University of Amsterdam, and a researcher at the Centre for Linguistics, University of Oxford. thijs weststeijn is a postdoctoral fellow of the Netherlands Organization for Scientific Research, based at the Department of Art History at the University of Amsterdam. 978 90 8964 269 1 · .. amsterdam university press the making of the humanities – vol. i Th e Making of the Humanities Volume 1: Early Modern Europe Edited by Rens Bod, Jaap Maat and Th ijs Weststeijn This book was made possible by the generous support of the J.E.
    [Show full text]
  • L'art D'aimer Ovide (0043 Av
    1/13 Data L'art d'aimer Ovide (0043 av. J.-C.-0017) Titre principal : Ars amatoria (latin) Langue : Latin Genre ou forme de l’œuvre : Œuvres textuelles Date : 1 Note : Poème en 3 chants enseignant la galanterie aux jeunes Romains, écrit entre 1 av. J.-C. et 2 ap. J.-C. Domaines : Littératures Autres formes du titre : (De l')art d'aimer (français) L'art d'amours (français) (De l')art d'aymer (français moyen (1400-1600)) L'art de plaire (français) L'art de se faire aimer (français) De l'art d'aimer (français) De l'art d'aymer (français) Ovide amoureux ou l'École des amants (français) Traité de l'amour (français) De arte amandi (latin) (De) arte amandi (latin) Artis amatoriae libri III (latin) Artis amatoriae libri tres (latin) Die Kunst zu lieben (allemand) Liebe als Kunst (allemand) Die Liebeskunst (allemand) The art of love (anglais) El arte de amar (espagnol; castillan) Hī 'Erotikī ̀ ̄ téchnī (grec moderne (après 1453)) Ī Erotikī ́ ̄ téchnī (grec moderne (après 1453)) Η Ερωτικη τέχνη (grec moderne (après 1453)) L'arte di amare (italien) Dell'arte amatoria (italien) Umění milovati (tchèque) Détails du contenu (2 ressources dans data.bnf.fr) Voir aussi (1) Ars amandi , Walerian Borowczyk (1983) (1923-2006) data.bnf.fr 2/13 Data Table des matières (1) Paris : C.-L.-F. Panckoucke , 1834-1836 (1834) Éditions de L'art d'aimer (125 ressources dans data.bnf.fr) Livres (124) Ovide. L'Art d'aimer , Ovide (0043 av. J.- Ovide. L'Art d'aimer , Ovide (0043 av.
    [Show full text]
  • On First Looking Into Brébeuf's Lucan
    On First Looking into Brébeuf’s Lucan Yanick Maes (Gent) “Poets have learned us their myths, but just how did They take them? That’s a stumper.” W.H. Auden, Archaeology (1973) “It is I, LeClerc! I am disguised as an onion seller” Allo’, Allo’ (1982 ss.) 1. Someone Looking at Something When Bertie Wooster makes the acquaintance of Pauline Stoker, a girl of exquisite beauty, he is unable to express his feelings. Returning to his apartment he consults with Jeeves, his gentleman’s personal gentleman, and asks: “Who was the fellow who on looking at something felt like somebody looking at something?” He used to read the passage at school, but now it escapes him. As always, Jeeves knows: “I fancy the indivi- dual you have in mind, sir, is the poet Keats, who compared his emoti- ons on first reading Chapman’s Homer to those of stout Cortez when with eagle eyes he stared at the Pacific” (Wodehouse 1999, 3). In this exchange Keats’ attempt to express the sublimity of his encounter with George Chapman’s translation, is mocked and somehow unmasked by its introduction in another literary universe. It is a deft example of Wodehousean comedy, using poetical clichés or stale quotes in inappro- priate settings. The humor of such scenes is generated by the incon- gruity. Through Bertie’s frequent lapses of memory when quoting the poets, Wodehouse also inverts the literature that is canonized as pillar of cultural memory through the dreary work of the schools. It triggers spe- 362 Yanick Maes cific emotional responses in the reader — maybe she remembers her own time at school (incarnated in Jeeves’ pedantry) and feels tempora- rily released as it were from her reverence for the canon.
    [Show full text]
  • Daniel Berkeley Updike History of Printing Ephemera Collection
    PROVIDENCE PUBLIC LIBRARY Special Collections Department Updike Ephemera Daniel Berkeley Updike History of Printing Ephemera Collection OVERVIEW OF THE COLLECTION Designation: Updike Ephemera Title: Daniel Berkeley Updike History of Printing Ephemera Collection Creator: Daniel Berkeley Updike Dates: 1720s to 1940s Media: printed and manuscript ephemera Quantity: 2 boxes and one flat file drawer Acquisition: The majority of the collection was likely acquired by the library as part of the Daniel Berkeley Updike History of Printing Collection in 1941. New additions of relevant material have been made periodically. N.B.: This collection has not been fully processed. HISTORICAL/BIOGRAPHICAL NOTES Daniel Berkeley Updike was a printer, typographical scholar and founder of the Merrymount Press in Boston. SCOPE AND CONTENTS OF THE COLLECTION This collection contains printed ephemera and manuscripts relating primarily to the printing trade. The materials described here constitute only a portion of the printing ephemera in the collection. The organization and description of the materials are ongoing, and researchers are advised to consult with the librarian. ORGANIZATION OF THE COLLECTION The collection is arranged into seven series: Series I: Small Box - Printers Series II: Small Box - Presses & Foundries Series III: Small Box - Miscellaneous Series IV: Large Box - Individuals Series V: Large Box - Presses & Organizations Series VI: Flat-File Case - Small Folders Series VII: Flat-File Case - Large Folders SEE ALSO The ephemera collection is one portion of the larger Daniel Berkeley Updike History of Printing Collection, which includes a collection of books related to the history of printing as well as the Daniel Updike Ephemera p.2 Berkeley Updike Correspondence, 1878-1941 Collection and the Updike Autograph Collection (a collection of miscellaneous manuscripts).
    [Show full text]
  • Anne Lister's Construction of Lesbian Identity Author(S): Anna Clark Source: Journal of the History of Sexuality, Vol
    Anne Lister's Construction of Lesbian Identity Author(s): Anna Clark Source: Journal of the History of Sexuality, Vol. 7, No. 1 (Jul., 1996), pp. 23-50 Published by: University of Texas Press Stable URL: http://www.jstor.org/stable/3840441 Accessed: 09/09/2008 12:08 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=texas. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org Anne Lister's Construction of Lesbian Identity ANNA CLARK Department of History University of North Carolina-Charlotte AN N E L I S T E R WAS a Yorkshire gentlewoman who resided in a manor house called Shibden Hall in the early nineteenth century.
    [Show full text]