Alexandre Le Grand, Tragédie
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Jean Racine (1639-1699)
Jean Racine (1639-1699) Biographie ean Racine (22 décembre 1639 à 21 avril 1699) naquit à la Ferté Milon, dans l'Aisne. Issu d'un milieu bourgeois plutôt, il fut orphelin de mère à 2 ans et de père à 4 ans. Il fut alors J (1643) recueilli par ses grands-parents maternels. Les relations avec l'abbaye janséniste de Port-Royal imprégnèrent toute la vie de Racine. Il y subit l'influence profonde des «solitaires» et de leur doctrine exigeante. L'une de ses tantes y fut religieuse ; sa grand-mère s'y retint à la mort de son mari (1649). L'enfant fut alors admis aux Petites Écoles à titre gracieux. Deux séjours dans des collèges complétèrent sa formation : le collège de Beauvais (1653-1654) et le collège d'Harcourt, à Paris, où il fit sa philosophie (1658). À 20 ans, nantis d'une formation solide mais démuni de biens, Racine fut introduit dans le monde par son cousin Nicolas Vitart (1624-1683), intendant du duc de Luynes. Il noua ses premières relations littéraires (La Fontaine) et donna ses premiers essais poétiques. En 1660, son ode la Nymphe de la Seine à la Reine, composée à l'occasion du mariage de Louis XIV, retint l'attention de Charles Perrault. Mais, pour assurer sa subsistance, il entreprit de rechercher un bénéfice ecclésiastique et séjourna à Uzès (1661-1663) auprès de son oncle, le vicaire général Antoine Sconin. Rentré à Paris en 1663, il se lança dans la carrière des lettres. 140101 Bibliotheca Alexandrina Établi par Alaa Mahmoud, Mahi Rabie et Salma Hamza Rejetant la morale austère de Port-Royal et soucieux de considération mondaine et de gloire officielle, Racine s'orienta d'abord vers la poésie de cour : une maladie que contracta Louis XIV lui inspira une Ode sur la convalescence du Roi (1663). -
Athalie Mise Au Secret
Athalie mise au secret Pedro Gonçalves Rodrigues Univ. do Porto Athalie, la dernière pièce de Jean Racine, a été publiée en mars 16911 (Fo- restier, 2006: 727) mais elle ne serait professionnellement mise en scène qu’en mars 1716, à la Comédie-Française (Mongrédien, 1946: 85-86). Ce dé- calage de vingt-cinq ans est inusité dans le cadre de l’histoire des premières représentations publiques des tragédies de Racine2, ce qui fait d’Athalie un 1 Dans son édition critique d’Athalie, Georges Forestier indique les différences tex- tuelles entre la première publication de la pièce, en 1691, et celles de 1692 et de 1697, les trois éditions ayant été contrôlées par Jean Racine (2001a : 169-170). 2 Georges Forestier, dans son ouvrage biographique Jean Racine – véritable contribu- tion majeure à la recherche sur la vie et l’œuvre de cet écrivain du Classicisme français –, démontre systématiquement que toutes les tragédies antérieures ont été mises en scène avant leur publication, celle-ci lancée normalement peu de temps après. Pour plus de détails à propos de la première représentation et de la publication de chaque tragédie voir les pages indiquées : La Thébaïde (Forestier, 2006 : 212-214) ; Alexandre le Grand (idem : 237, 252) ; Andromaque (idem : 293-294, 309-310) ; Britannicus (idem : 361) ; Bérénice (idem : 383, 400) ; Bajazet (idem : 434, 436) ; Mithridate (idem : 460-462, 467-468) ; Iphi- génie (idem : 499, 522-523) ; Phèdre (idem : 549, 565). En ce qui concerne la comédie Les Plaideurs, les dates sont incertaines faute de données historiques concrètes (idem : 324- 327). Pour ce qui est d’Esther, jouée pour la première fois par les demoiselles de Saint-Cyr le 26 janvier 1689 (idem : 701), cette pièce a été publiée à la fin du mois de février de la même année (idem : 708). -
Introduction to Friz's Analyses of Racine's Plays
Introduction to Friz’s Analyses of Racine’s Plays The famous French playwright Jean Racine (1639–1700) was an important mod- el for Andreas Friz. His role in Friz’s letter on tragedies has already been dis- cussed in the general introduction to this book. The current appendix will elucidate Friz’s analysis of the dramatic works of the French-Classicist play- wright. Friz’s Analysis tragaediarum Racini takes up the first part (f. 1r–74v) of manuscript ms 938, in which also the letter on tragedies is included. It analyses most of Racine’s plays: La Thébaïde ou Les Frères Ennemis (1664), Alexandre Le Grand (1665), Andromaque (1667), Britannicus (1669), Bérénice (1670), Bajazet (1672), Mithridate (1673), Iphigénie (1674), Phèdre (1677), Esther (1689) and Athalie (1691). Only the comedy Les Plaideurs (The Litigants, 1668) is missing, which can be explained by the fact that it was a farce, while the others are all tragedies. From Friz’s letter on tragedies, his aversion of the genre of the farce is clear. Esther is discussed in the original 5-act version that Racine wrote for the girls’ school of Saint Cyr, and not the now more famous 3-act version. This 5-act version was also included in contemporary editions of Racine’s collection of works, which were Friz’s source for these plays. In the following introduction, the structure, contents and sources of these analyses will be discussed, taking a closer look at the example of one of Racine’s most famous plays, Phèdre, and comparing this to the other anal- yses. -
Neoclassical Theatre
Theatre History Lecture Notes Neoclassical Theatre Unit Lecture compiled by Justin Eick - Theatrical Education Group Objectives: • Students will Overview – Neoclassical Theatre expand their Neoclassicism was the dominant form Neoclassical theatre as well as the time vocabulary of of theatre in the eighteenth century. It period is characterized by its grandiosity. Neoclassical demanded decorum and rigorous The costumes and scenery were intricate theatre. adherence to the classical unities. and elaborate. The acting is • Students will characterized by large gestures and understand the Classicism is a philosophy of art and life melodrama. impact of that emphasizes order, balance and Neoclassical simplicity. Ancient Greeks were the first Dramatic unities of time, place, and theatre on great classicists - later, the Romans, action; division of plays into five acts; modern society French, English and others produced purity of genre; and the concepts of through analysis classical movements. The Restoration decorum and verisimilitude were taken of historical period marked a Neo-Classical as rules of playwriting, particularly by trends from the movement, modeled on the classics of French dramatists. period. Greece and Rome. • Students will acquire the appropriate Origins skills to The development of the French theatre principles make up what came to be accurately and had been interrupted by civil wars in the called the neoclassical ideal. consistently sixteenth and seventeenth century. perform Stability did not return until around 1625, The transition to the new ideal also Neoclassical when Cardinal Richelieu, Louis XIII’s required that the theatre structure be theatre within prime minister, set out to make France altered. To set an example, Richelieu in the specific the cultural center of Europe. -
Racine and Barthes: the Power of Love
Racine and Barthes: The Power of Love Delphine Calle hat does a seventeenth-century playwright share with a modern W literary critic? Not much, one would think. Yet Jean Racine and Roland Barthes owe a debt to each other. When in 1963 Barthes writes Sur Racine, the essay contributes to the notoriety of its author, who, in return, dusts off the work and image of Racine. Central for both writers’ success is their account of the love theme in tragedy. The passions assure Racine’s triumph during his life and his poetic legacy in the centuries to come, until Barthes daringly shakes their foundations. In this essay, I want to show the importance of the love theme both for the plays of Racine and for Barthes’ essay on them, for it divides critics and public, from the seventeenth century to the twentieth century. To Love or Not to Love The seventeenth century bore witness to a growing interest in passion and love.1 Philosophers (Malebranche, Descartes)2, theologians (François de Sales, Fénelon)3, and moralists (Pascal, La Rochefoucauld, La Bruyère)4 engaged in fierce debates on the theme of love and passions. The numerous publications of love stories, in chronicles and novels, reflect the new taste and demands of the educated part of society: the idyllic novel of the pastoral, the gallant discussions on questions d’amour, the libertine genre and Madame de Lafayette’s masterpiece, La Princesse de Clèves, all represent heroes exploring the delights and the torments of (erotic) passion.5 The genre of tragedy is a bit more reluctant to embrace this love theme.6 Until the mid-century Pierre Corneille decides on the tragic genre. -
Mithridate Ou Beaucoup De Bruit Pour Rien. Racine, Le Politique Et Le Tragique ” Arnaud Rykner
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Scientific Publications of the University of Toulouse II Le Mirail " Mithridate ou beaucoup de bruit pour rien. Racine, le politique et le tragique " Arnaud Rykner To cite this version: Arnaud Rykner. " Mithridate ou beaucoup de bruit pour rien. Racine, le politique et le tragique ". Suzanne Guellouz. Racine et Rome, Paradigme, pp.199-205, 1995. <halshs-00630082> HAL Id: halshs-00630082 https://halshs.archives-ouvertes.fr/halshs-00630082 Submitted on 7 Oct 2011 HAL is a multi-disciplinary open access L'archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destin´eeau d´ep^otet `ala diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publi´esou non, lished or not. The documents may come from ´emanant des ´etablissements d'enseignement et de teaching and research institutions in France or recherche fran¸caisou ´etrangers,des laboratoires abroad, or from public or private research centers. publics ou priv´es. In Racine et Rome, sous la direction de Suzanne Guellouz, Orléans, Paradigme, 1995, p. 199-205. Mithridate ou beaucoup de bruit pour rien (Racine, le politique et le tragique) Paradoxal en plus d’un point, Mithridate l’est notamment par l’accueil qui lui a été fait au fil des siècles. Assez largement sacrifié par la critique moderne, qui ne s’y intéresse le plus souvent qu’au sein d’études générales sur Racine, la pièce est apparemment la moins appréciée des oeuvres de la “maturité” (d’Andromaque à Phèdre). -
Self-Knowledge : a True Tragedy? Mary Louise O
University of Richmond UR Scholarship Repository Master's Theses Student Research 5-1978 Self-knowledge : a true tragedy? Mary Louise O. Cariens Follow this and additional works at: http://scholarship.richmond.edu/masters-theses Recommended Citation Cariens, Mary Louise O., "Self-knowledge : a true tragedy?" (1978). Master's Theses. Paper 418. This Thesis is brought to you for free and open access by the Student Research at UR Scholarship Repository. It has been accepted for inclusion in Master's Theses by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. SELF-KNOWLEDGE!A TRUE TRAGEDY? BY MARY LOUISE 0. CARIENS A THESIS SUBMITTED TO THE GRADUATE FACULTY OF THE UNIVERSITY OF RICHMOND IN CANDIDACY FOR THE DEGREE OF MASTER OF ARTS IN FRENCH t~AY 1978 LIBRARY UNIVERSITY OF RICHMON[' - YIRGINIA SELF-KNOWLEDGE:A TRUE TRAGEDY? BY MARY LOUISE 0. CARIENS has been approved by Doctor Neil M. Larkin as first reader Nell M. Larkin, Ph. D., Associate Professor of F'rench and Doctor Marsha L. Reisler, as second reader. ro essor o renc Date: i ?- TABLE OF CONTENT /'"""" Chapter Page I. PREFACE 1 I I. LIFE OF RACIME 3 I I I. RACINE Is DEBUT 9 La Theb3.i'de 9 Alexandre Le Grand 13 IV. BREAK WITH PORT-ROYAL 18 Andromaque 18 v. ASSAULT ON LOVE 24 Britanni cus 24 VI. DEFEAT OF LOVE 30 Berenice 30 VII. CONCLUSION 35 BIBLIOGRAPHY 38 VITA 39 PREFACE What is self-knowledge? Self-knowledge is knowing one's own real character, abilities, or worth and even more, as far as Racine is concerned, being able to live one's life according to this knowledge. -
Chance in the Tragedies of Racine
Campbell, J. (2009) Chance in the tragedies of Racine. In: Lyons, J. and Wine, K. (eds.) Chance, Literature, and Culture in Early Modern France. Ashgate, pp. 111-122. ISBN 9780754664352 http://eprints.gla.ac.uk/24349/ Deposited on: 11 February 2010 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk John Campbell, ‘Chance in the Tragedies of Racine’, in Chance, Literature, and Culture in Early Modern France , ed. by John Lyons and Kathleen Wine (Burlington, VT: Ashgate, 2009), pp. 111-22. Chance in the tragedies of Racine Is the outcome of Racine’s tragedies decided by a throw of the dice? Put like this, the question invites skepticism, if not derision. Racine? Chance would be a fine thing! The reaction is understandable. Of all the great tragedies in world literature that are still performed and read, those of Racine are commonly presented as deliberately logical structures, pieces of intricate dramatic clockwork in which chance has no place. Georges Forestier has argued persuasively that these plays are carefully constructed in order to arrive at a preordained conclusion, seen as the starting-point of the playwright’s whole creative endeavor.1 Other critics have tried to demonstrate how Racine arouses interest and emotion through a carefully worked plot, and without any reliance on the gratuitous. 2 After all, are chance and coincidence not defining characteristics of melodrama? 3 And melodrama might seem, on the face of it, at an uttermost remove from Racine’s tragedies, with their Aristotelian hinterland, severely 1 See Racine, Théâtre, Poésie , ed. -
Alexandre Le Grand, Tragédie
ALEXANDRE LE GRAND TRAGÉDIE RACINE, Jean 1666 Publié par Gwénola, Ernest et Paul Fièvre, Septembre 2015 - 1 - - 2 - ALEXANDRE LE GRAND TRAGÉDIE À PARIS chez THÉODORE GIRARD, dans la Grand salle du côté de la Cour des Aides, à l'Envie. M. DC. LXVI. AVEC PRIVILÈGE DU ROI. - 3 - AU ROI. SIRE, Voici une seconde entreprise qui n'est pas moins hardie que la première. Je ne me contente pas d'avoir mis à la tête de mon ouvrage le nom d'Alexandre, j'y ajoute encore celui de VOTRE MAJESTÉ, c'est-à-dire que j'assemble tout ce que le siècle présent et les siècles passés nous peuvent fournir de plus grand. Mais, SIRE, j'espère que VOTRE MAJESTÉ ne condamnera pas cette seconde hardiesse, comme elle n'a pas désapprouvé la première. Quelques efforts que l'on eût faits pour lui défigurer mon héros, il n'a pas plutôt paru devant elle, qu'elle l'a reconnu pour Alexandre. Et à qui s'en rapportera-t-on, qu'à un roi dont la gloire est répandue aussi loin que celle de ce conquérant, et devant qui l'on peut dire que tous les peuples du monde se taisent comme l'Écriture l'a dit d'Alexandre ? Je sais bien que ce silence est un silence d'étonnement et d'admiration, que jusques ici la force de vos armes ne leur a pas tant imposé que celle de vos vertus. Mais, SIRE, votre réputation n'en est pas moins éclatante, pour n'être point établie sur les embrasements et sur les ruines ; et déjà VOTRE MAJESTÉ est arrivée au comble de la gloire par un chemin plus nouveau et plus difficile que celui par où Alexandre y est monté. -
Seventeenth-Century News
68 seventeenth-century news Ronald W. Tobin. L’aventure racinienne. Un parcours franco-américain. Paris: L’Harmattan, 2020. 243. $27.75/25€. Review by Suzanne C. Toczyski, Sonoma State University. One of the most recent publications in L’Harmattan’s nearly twenty-year-old Approches littéraires series, L’aventure racinienne: Un parcours franco-américain, by noted American dix-septiémiste Ronald Tobin, presents fourteen of Tobin’s many articles, thirteen of which have been published previously (between 1974 and 2017); five have been translated from English. Taken together, they offer a taste of Ron Tobin’s important contributions to Racine criticism over a long and productive career, and confirming for anyone who may have doubted it, Tobin’s longstanding love for the playwright Jean Racine, and his fine critical eye on Racine’s theatrical production. Tobin’s occasional refrain—for example, “Act IV is always intense”—makes one suspect that the scholar’s gifts have been appreciated not only by his peers, but also by the many students at the University of California, Santa Barbara to have sat in his classroom over the years. Well known for his books Racine and Seneca (1971), Tarte à la crème: Comedy and Gastronomy in Molière’s Theater (1990), and Jean Racine, Revisited (1999), Tobin has also edited or co-edited several volumes of essays, including Racine et/ou le classicisme, the acta from the 1999 Santa Barbara conference which Tobin organized in celebra- tion of the 300th anniversary of the playwright’s death. In L’aventure racinienne, Tobin now turns his editorial attention to his own scholarly production. -
A Marriage Made in Heaven? 'Racine' and 'Love'
Campbell, J. (2006) A marriage made in Heaven? 'Racine' and 'love'. Modern Language Review, 101 (3). pp. 682-690. ISSN 0026-7937 http://eprints.gla.ac.uk/5076/ Deposited on: 13 March 2009 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk A MARRIAGE MADE IN HEAVEN? ‘RACINE’ AND ‘LOVE’ If you attempted to identify the properties of that apparently homogeneous product marketed as ‘Racine’, it would be hard not to conclude, from much of the critical evidence available, that love was of the essence. For over three centuries, commentators have sought to explain what makes Racine di·erent from Corneille partly by stressing the importance accorded to love in Racine’s plays. The unfavourable judgements made by Saint-Evremond‹ and other con- temporaries, or the reservations expressed even by admirers of Racine such as Voltaire, were based on the premiss that the playwright impaired the dignity of the tragic genre by transforming figures of heroic stature such as Alexander and Pyrrhus into slaves to love: ‘c’est un spectacle indigne de voir le courage d’un Heros‹ amolli par des larmes et des soupirs’. As a corollary to this supposed takeover by passionate love, a traditional and still common critical position is to regard this ‘Racinian’ love as predicating some bleak if not ‘Jansenist’ vision. Human beings are rendered unable to control their destinies by an irrational power that subjugates reason and will: Phedre› is a child of original sin. For many, seemingly, all roads in the land of Racine lead to love, that vale of tears far from a paradise lost for ever but paradoxically sought through love. -
Queens in the Works of Jean Racine
Augustana College Augustana Digital Commons Celebration of Learning Queens in The orW ks of Jean Racine Rachel Kammerzelt Augustana College, Rock Island Illinois Follow this and additional works at: https://digitalcommons.augustana.edu/celebrationoflearning Part of the Education Commons Augustana Digital Commons Citation Kammerzelt, Rachel. "Queens in The orkW s of Jean Racine" (2018). Celebration of Learning. https://digitalcommons.augustana.edu/celebrationoflearning/2018/presentations/11 This Oral Presentation is brought to you for free and open access by Augustana Digital Commons. It has been accepted for inclusion in Celebration of Learning by an authorized administrator of Augustana Digital Commons. For more information, please contact [email protected]. 1 Jean Racine a gagné le titre de l'un des plus grands dramaturges tragiques de France pour sa diction poétique de la tragédie humaine, de la passion et de la nature. Influencé de son éducation classique, il combine l’idées grecques de sort et les pensées jansénisme à créer les drames que comprendre l’amour et la sort, notamment la sort de la royauté : les rois, reines, et princesses. Les personnages royaux jouent un grand rôle dans les pièces de Racine, et il est important et intéressant d'analyser les femmes au pouvoir. Cet article analysera diverses femmes au pouvoir dans le travail de Racine. Chaque personnage féminin sera classé en deux catégories : la reine et la non-reine et sera analysé avec divers traits qui créent la personnalité et l'influence de ce personnage dans l'histoire. Chaque histoire étant très différente, il est intéressant de comparer et de contraster les différents personnages féminins.