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a first and only love; she is ruthless in using Oreste as her instrument of vengeance; and she is so cruel in her brief moment of triumph that she refuses to intercede for
Astyanax's life. Agrippine, an ageing and forlorn woman, "fille, femme, sœur et mère de vos maîtres", who has stopped at nothing in order to put her own son on the throne, vainly tries to reassert her influence over Néron by espousing the cause of a prince whom she had excluded from the succession. Roxane, the fiercest and bravest in Racine's gallery of queens, has no compunction in ordering Bajazet's death and indeed banishes him from her presence even before he has finished justifying himself. Clytemnestre is gentle and kind, but quite ineffectual in rescuing her daughter Iphigénie from the threat of sacrifice. Phèdre, passive and irresolute, allows herself to be led by Œnone; deeply conscious of the impurity of her love, she sees it as an atavistic trait and a punishment of the gods; and she is so consumed by jealousy that she can do nothing to save her beloved from the curse.
925:, ll. 767-768), the final remission culminating in a quick death. His main characters are monsters, and stand out in glaring contrast to the regularity of the plays' structure and versification. The suffering lover Hermione, Roxane or Phèdre is aware of nothing except her suffering and the means whereby it can be relieved. Her love is not founded upon esteem of the beloved and a concern for his happiness and welfare, but is essentially selfish. In a torment of jealousy, she tries to relieve the "pangs of despised love" by having (or, in Phèdre's case, allowing) him to be put to death, and thus associating him with her own suffering. The depth of tragedy is reached when Hermione realizes that Pyrrhus's love for Andromaque continues beyond the grave, or when Phèdre contrasts the young lovers' purity with her unnaturalness which should be hidden from the light of day. Racine's most distinctive contribution to literature is his conception of the ambivalence of love: "ne puis-je savoir si j'aime, ou si je hais?"
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898:, to the end of the play, when the fulfilment of the prophecy is borne in upon Œdipus; Phèdre realizes from the very beginning the monstrousness of her passion, and preserves throughout the play a lucidity of mind that enables her to analyse and reflect upon this fatal and hereditary weakness. Hermione's situation is rather closer to that of Greek tragedy. Her love for Pyrrhus is perfectly natural and is not in itself a flaw of character. But despite her extraordinary lucidity (II 1; V 1) in analysing her violently fluctuating states of mind, she is blind to the fact that the King does not really love her (III 3), and this weakness on her part, which leads directly to the tragic
1115:; an antechamber in the temple at Jerusalem: by choosing such vague and remote settings Racine gives his plays a universal character, and the presentation of conflicting and hesitating states of mind is not hampered by an undue insistence on material surroundings. At times, of course, the unity of place leads to slightly far-fetched meetings: why, for instance, does Pyrrhus come to see Oreste (Act I Sc. 2), rather than the other way around, except to conform to this rule? Lastly, the unity of place necessitates the récit and this again is in complete harmony with Racine's fundamental aims: how would
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1216:) – of what by now is an unbearable discordance. Hermione entrusts the killing of Pyrrhus to Oreste; wavers for a moment when the King comes into her presence; then, condemns him with her own mouth. No sooner has Burrhus regained his old ascendancy over Néron, and reconciled him with his half-brother, than Narcisse most skilfully overcomes the emperor's scruples of conscience and sets him on a career of vice of which Britannicus's murder is merely the prelude. By the beginning of Act IV of
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573:, eventually gaining much power over this organisation. Two years later, he was given the title of "treasurer of France", and he was later distinguished as an "ordinary gentleman of the king" (1690), and then as a secretary of the king (1696). Because of Racine's flourishing career in the court, Louis XIV provided for his widow and children after his death. When at last he returned to the theatre, it was at the request of
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977:. He is a much less colourful character than his opposite number. Œnone, Phèdre's evil genius, persuades her mistress to tell Hippolyte of her incestuous passion, and incriminates the young prince on Thésée's unexpected return. Céphise, knowing how deeply attached Pyrrhus is to her mistress, urges the despairing Andromaque to make a last appeal to him on her son's behalf, and so changes the course of the play.
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1393:. In his own plays, Racine sought to abandon the ornate and almost otherworldly intricacy that Corneille so favored. Audiences and critics were divided over the worth of Racine as an up-and-coming playwright. Audiences admired his return to simplicity and their ability to relate to his more human characters, while critics insisted on judging him according to the traditional standards of
783:'s hero becomes gradually aware of the terrible fact that, however hard his family has tried to avert the oracular prophecy, he has nevertheless killed his father and married his mother and must now pay the penalty for these unwitting crimes. The same awareness of a cruel fate that leads innocent men and women into sin and demands retribution of the equally innocent children, pervades
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gone out with Théramène, has met, fought and been killed by the monster, and Théramène has come back to announce his master's death. Furthermore, Aricie only leaves the stage at the end of V 3, and therefore in the space of two short scenes has met her dying lover on the seashore and has taken her leave of him! These chronological inconsistencies pass unnoticed in the theatre.
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1031:, it is sometimes impossible to tell where the action is taking place at all. But the circumstances of the Greek theatre, which had no curtain and no distinctive scenery and in which the chorus almost always remained on stage throughout the play, were such that it was frequently desirable to confine the action to a single day and a single place.
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whom he is prepared to repudiate his alliances with the Greeks. Orestes' duties as an ambassador are subordinate to his aspirations as a lover, and he finally murders the king to whom he has been sent. Néron's passion for Junie causes him to poison
Britannicus and thus, after two years of virtuous government, to inaugurate a tyranny.
1329:, for whereas in the earlier play the heroine fears that the son she has had by Pyrrhus may suffer death if she refuses to marry the father, the later heroine fears for the life of a legitimate son. The reason for these changes in the Homeric and Euripidean traditions is obvious: if Andromaque had been Pyrrhus's mistress (as in
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substance to Œnone's allegations. In his all-too-human blindness, he condemns to death his own son on a charge of which he is innocent. Only Amurat does not actually appear on stage, and yet his presence is constantly felt. His intervention by means of the letter condemning
Bajazet to death (IV 3) precipitates the catastrophe.
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unconscious disclosure that the time to proclaim Joas has finally come), an already tense situation becomes, or has become, critical. In a darkening atmosphere, a succession of fluctuating states of mind on the part of the main characters brings us to the resolution – generally in the fourth Act, but not always (
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The confidants' primary function is to make monologues unnecessary. Only very rarely do they further the action. They invariably reflect the character of their masters and mistresses. Thus, Narcisse and
Burrhus symbolize the warring elements of evil and good within the youthful Néron. But Narcisse is
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The queen shows greater variations from play to play than anyone else, and is always the most carefully delineated character. Hermione (for she, rather than the pathetic and emotionally stable
Andromaque, has a rôle equivalent to that generally played by the queen) is young, with all the freshness of
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and
Mathieu Bidar, both of whom had kept Hippolyte off stage after Act IV. Racine, on the other hand, brings him into Act V scene 1, the last line of which is only seventy or eighty lines earlier than Théramène's récit in V 6. In the four minutes which these lines take to recite the young prince has
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Unlike his rival, who crams into his plays "quantité d'incidents qui ne se pourraient passer qu'en un mois", Racine describes fluctuating states of mind which, in the rapidly mounting tension, are brought abruptly to a crisis from which there is no retreat. The so-called
Aristotelian rules happen to
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The only rule which
Aristotle lays down concerning the dramatic action is that, in common with all other forms of art, a tragedy must have an internal unity, so that every part of it is in an organic relationship to the whole and no part can be changed or left out without detracting from the economy
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The passion of these lovers is totally destructive of their dignity as human beings, and usually kills them or deprives them of their reason. Except for Titus and Bérénice, they are blinded by it to all sense of duty. Pyrrhus casts off his fiancée in order to marry a slave from an enemy country, for
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and conventions of a royal court for the true expression of human passion. French critics, too, revolted. Racine came to be dismissed as merely "an historical document" that painted a picture only of 17th century French society and nothing else; there could be nothing new to say about him. However,
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gain by our being able to see
Pyrrhus and his bride approach and enter the temple? The important fact is the effect of Cléone's words upon Hermione. Oreste's relating to Hermione the murder of Pyrrhus is the supreme irony of the play. Théramène's récit describes, in the most memorable and poetic
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the system of unrequited passions borrowed from tragicomedy alters the dramatic scheme, and
Hermione destroys a man who has been her fiancé, but who has remained indifferent to her, and is now marrying a woman who does not love him. The young princes and princesses are agreeable, display varying
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The characteristic Racinian framework is that of the eternal triangle: two young lovers, a prince and a princess, being thwarted in their love by a third person, usually a queen whose love for the young prince is unreciprocated. Phèdre destroys the possibility of a marriage between Hippolyte and
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for a year, he announces his intention of marrying her, only to change his mind almost immediately afterwards. Mithridate discovers Pharnace's love for Monime by spreading a false rumour of his own death. By pretending to renounce his fiancée, he finds that she had formerly loved his other son
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could be interpreted as realist drama, containing characters that were universal and that could appear in any time period. Other critics cast new light upon the underlying themes of violence and scandal that seem to pervade the plays, creating a new angle from which they could be examined. In
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Writing centuries after the great Attic tragedians and using their works as a basis for generalization, he does not insist that the action of a tragedy must be confined to a single revolution of the sun, or that it must take place in one locality. He merely says that this limitation was often
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This new self-perception acknowledged the superiority of all things French; the French believed France was home to the greatest king, the greatest armies, the greatest people, and, subsequently, the greatest culture. In this new national mindset, Racine and his work were practically deified,
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to take poison. Dying, he unites the two lovers. Thésée is a rather nebulous character, primarily important in his influence upon the mechanism of the plot. Phèdre declares her love to Hippolyte on hearing the false news of his death. His unexpected return throws her into confusion and lends
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begins, Néron has been a good ruler, a faithful disciple of Seneca and Burrhus, and a dutiful son; but he is now beginning to show a spirit of independence. With the introduction of a new element (Oreste's demand that Astyanax should be handed over to the Greeks; Junie's abduction; Abner's
550:) was one of the events which caused Racine to renounce his work as a dramatist at that time, even though his career up to this point was so successful that he was the first French author to live almost entirely on the money he earned from his writings. Others, including the historian
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established as the perfect model of dramatic tragedy by which all other plays would be judged. Butler blames the consequential "withering" of French drama on Racine's idolized image, saying that such rigid adherence to one model eventually made all new French drama a stale imitation.
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However, one major incident which seems to have contributed to Racine's departure from public life was his implication in a court scandal of 1679. He got married at about this time to the pious Catherine de Romanet, and his religious beliefs and devotion to the
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Butler describes this period as Racine's "apotheosis," his highest point of admiration. Racine's ascent to literary fame coincided with other prodigious cultural and political events in French history. This period saw the rise of literary giants like Molière,
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premiered for the second time, by a different acting troupe, eleven days after its first showing. Molière could never forgive Racine for this betrayal, and Racine simply widened the rift between him and his former friend by seducing Molière's leading actress,
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are strictly observed, for only the final stage of a prolonged crisis is described. The number of characters, all of them royal, is kept down to the barest minimum. Action on stage is all but eliminated. The mangled Hippolyte is not brought back, as is the
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In the secular plays, he takes far greater liberties. The frequently conflicting sources of Greek and Roman mythology enable him to fashion the plot he thinks suitable to his characters and, above all, to present the old stories in a modern light. Whereas
418:, a theology condemned as heretical by the French bishops and the Pope. Racine's interactions with the Jansenists in his years at this academy would have great influence over him for the rest of his life. At Port-Royal, he excelled in his studies of the
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had declared a characteristic of tragedy, is not merely an action performed in all good faith which subsequently has the direst consequences (Œdipus's killing a stranger on the road to Thebes, and marrying the widowed Queen of Thebes after solving the
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in northern France. Orphaned by the age of four (his mother died in 1641 and his father in 1643), he came into the care of his grandparents. At the death of his grandfather in 1649, his grandmother, Marie des Moulins, went to live in the convent of
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The king (Pyrrhus, Néron, Titus, Mithridate, Agamemnon, Thésée) holds the power of life and death over the other characters. Pyrrhus forces Andromaque to choose between marrying him and seeing her son killed. After keeping his fiancée waiting in
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In a second important respect, Racine is at variance with the Greek pattern of tragedy. His tragic characters are aware of, but can do nothing to overcome, the blemish which leads them on to a catastrophe. And the tragic recognition, or
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sense of fatalism. However, the link between Racine's tragedy and Jansenism has been disputed on multiple grounds; for example, Racine himself denied any connection to Jansenism. As a Christian, Racine could no longer assume, as did
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suit this type of drama perfectly since they lead the playwright to concentrate the tragic action on those few hours when, after months or years of emotional tension, a new event supervenes and precipitates the catastrophe.
1222:, Œnone has besmirched Hippolyte's character, and the Queen does nothing during that Act to exculpate him. With the working-out of a situation usually decided by the end of Act IV, the tragedies move to a swift conclusion.
709:(1673). Racine was quick to point out that his greatest critics – his rival dramatists – were among the biggest offenders in this respect. Another major criticism levelled at him was the lack of incident in his tragedy
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The most striking evidence of Racine's success in fitting his tragedies into this very stringent framework is that, when watching them, the audience ceases to be aware that the unities exist. Not long before he wrote
445:, with whom Racine would later become great friends; Boileau would often claim that he was behind the budding poet's work. Racine eventually took up residence in Paris where he became involved in theatrical circles.
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sect were revived. He and his wife eventually had two sons and five daughters. Around the time of his marriage and departure from the theatre, Racine accepted a position as a royal historiographer in the court of
500:(1665), had classical themes, Racine was already entering into controversy and forced to field accusations that he was polluting the minds of his audiences. He broke all ties with Port-Royal, and proceeded with
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At present, Racine is still widely considered a literary genius of revolutionary proportions. His work is still widely read and frequently performed. Racine's influence can be seen in A.S. Byatt's tetralogy
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Racine restricts his vocabulary to 2500 words. He rules out all workaday expressions since, although the Greeks could call a spade a spade, he does not believe that this is possible in Latin or French. The
766:) are the most significant, Racine describes the fate of kings, queens, princes and princesses, liberated from the constricting pressures of everyday life and able to speak and act without inhibition.
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kills Chimène's father in a duel, overwhelms the Moorish invaders during the night and fights a second duel only a few hours after the enemy has fled. These discrepancies – and others besides, which
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which deemed Racine's model of tragedy superior to that of Corneille. This erased all doubts as to Racine's abilities as a dramatist and established him as one of the period's great literary minds.
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The 20th century saw a renewed effort to rescue Racine and his works from the chiefly historical perspective to which he had been consigned. Critics called attention to the fact that plays such as
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and his Italian commentators from which he tended to stray. Attitudes shifted, however, as Racine began to eclipse Corneille. In 1674, the highly respected poet and critic Boileau published his
1300:, the character of Ériphile. The disclosure that Iphigénie's treacherous rival was herself called Iphigeneia at birth and should be sacrificed in the heroine's place prevents a tragic outcome.
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claimed that 'the misdeeds of the psychological theater descended from Racine have made us unaccustomed to that immediate and violent action which the theater should possess' (p. 84).
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The linguistic effects of Racine's poetry are widely considered to be untranslatable, although many eminent poets have attempted to translate Racine's work into English, including Lowell,
1381:(1974), Philip Butler of the University of Wisconsin broke the main criticisms of Racine down by century to show the almost constantly shifting perception of the playwright and his works.
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have comic undertones is beside the point. Will Andromaque agree to marry Pyrrhus? Will Agamemnon sacrifice Iphigénie? Can Esther persuade her husband to spare the Jews? The plots of
814:, that God is merciless in leading men to a doom which they do not foresee. Instead, destiny becomes (at least, in the secular plays) the uncontrollable frenzy of unrequited love.
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For Racine, love closely resembles a physiological disorder. It is a fatal illness with alternating moods of calm and crisis, and with deceptive hopes of recovery or fulfilment (
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1561:). Byatt tells the story of Frederica Potter, an English young woman in the early 1950s (when she is first introduced), who is very appreciative of Racine, and specifically of
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Greek tragedy, from which Racine borrowed so plentifully, tended to assume that humanity was under the control of gods indifferent to its sufferings and aspirations. In the
1252:) in order to suppose that the father (whom the Bible does not describe as a prophet) likewise had prophetic powers. And thinking a child of seven – the age of Joas (
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The French installation of Racine into the dramatic and literary pantheon evoked harsh criticism from many sources who argued against his 'perfection.' Germans like
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Jean Racine died in 1699 from cancer of the liver. He requested burial in Port-Royal, but after Louis XIV had this site razed in 1710, his remains were moved to the
1440:) to new heights of international prominence. Political achievement coincided with cultural and gave birth to an evolution of France's national identity, known as
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1073:(1636) onwards. But even he found them a tiresome imposition. Only by a very ready suspension of disbelief can we accept that in the space of twenty-four hours
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to Racine, whom they dismissed as "didactic" and "commonplace." This did not trouble the French, however, as "Racine, La Fontaine, or generally speaking the
997:"Tragedy generally tries to limit its action to a period of twenty-four hours, or not much exceeding that, whilst epic poetry is unlimited in point of time."
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more than a reflection: he betrays and finally poisons his master Britannicus. Burrhus, on the other hand, is the conventional "good angel" of the medieval
489:, into becoming his companion both professionally and personally. From this point on the Hôtel de Bourgogne troupe performed all of Racine's secular plays.
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Pyrrhus's unenviable wavering between Hermione and the eponymous heroine has been going on for a year and has exasperated all three. Up to the time when
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833:; but closely allied to this – indeed, indistinguishable from it – is the atavistic strain of monstrous aberration that had caused her mother
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shows how men fall from prosperity to disaster. The higher the position from which the hero falls, the greater is the tragedy. Except for the
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1337:, conceives her as sublimely faithful to Hector; yet the tension (III 8) between maternal love and a reluctance to marry Pyrrhus must (as in
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567:, alongside his friend Boileau. He kept this position in spite of the minor scandals he was involved in. In 1672, he was elected to the
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in her place on the sacrificial altar. Racine, determined to avoid the miraculous, borrows from a minor Greek writer, the geographer
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In creating Andromaque, Racine believes he must " conformer à l'idée que nous avons maintenant de cette princesse". Astyanax, whom
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320:; 22 December 1639 – 21 April 1699) was a French dramatist, one of the three great playwrights of 17th-century France, along with
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Racine's works have evoked in audiences and critics a wide range of responses, ranging from reverence to revulsion. In his book
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practised by writers of tragedy, but he well knew that there were many plays in which no such limitation existed. For instance,
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Aricie. Bajazet and Atalide are prevented from marrying by the jealousy of Roxane. Néron divides Britannicus from Junie. In
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in excluding minor plots (compare the parallel themes of blind and unnatural fatherhood and the retribution it invokes, in
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language, an event which would be infinitely less moving if it were to be seen it imperfectly represented upon the stage.
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degrees of innocence and optimism and are the victims of evil machinations and the love/hatred characteristic of Racine.
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developed a fondness for Racine at an early age, "whom he considered a brother and someone very much like himself..."
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general, people agreed that Racine would only be fully understood when removed from the context of the 18th century.
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is marked by his psychological insight, the prevailing passion of his characters, and the nakedness of both plot and
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Racine's work faced many criticisms from his contemporaries. One was the lack of historic veracity in plays such as
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as well as an important literary figure in the Western tradition and world literature. Racine was primarily a
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715:(1670). Racine's response was that the greatest tragedy does not necessarily consist in bloodshed and death.
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Gossip, Christopher J., "An Introduction to French Classical Tragedy," Totowa, NJ: Barnes & Noble, 1981.
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As Racine returned to prominence at home, his critics abroad remained hostile due mainly, Butler argues, to
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compresses into about fifteen minutes a journey (from Troy to Argos) which must have taken several days.
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The quality of Racine's poetry is perhaps his greatest contribution to French literature. His use of the
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In his own time, Racine found himself compared constantly with his contemporaries, especially the great
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Campbell, John, "Questioning Racinian Tragedy," Chapel Hill: University of North Carolina Press, 2005.
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Xipharès. Wrongly informed that Xipharès has been killed fighting Pharnace and the Romans, he orders
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Phillips, Henry, "Racine: Language and Theatre," Durham, England: University of Durham Press, 1994.
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The Poetry of the untranslatable: Racine's Phèdre confronted by Hughes and Lowell – Enlighten
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Complete Tragedies and the Comedy to edit with statistics and research (theatre-clasique.fr)
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described as a "diamond-edge", and the "glory of its hard, electric rage". Racine's
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Barthes, Roland, "On Racine," Trans Richard Howard, New York: Hill and Wang, 1964.
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2411:"Alan Hollinghurst, interview: bringing Jean Racine's Berenice back to Britain"
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Maskell, David, "Racine: A Theatrical Reading," Oxford: Clarendon Press, 1991.
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represents the unquenchable force of sexual passion within the human being in
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Racine invariably observes the unity of place. A room in Pyrrhus's palace at
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Nor was the unity of place a general feature of Attic tragedy. Æschylus's
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and took her grandson with her. He received a classical education at the
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Racine's plays displayed his mastery of the dodecasyllabic (12 syllable)
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in the very important respect that, taking the character of Aricie from
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stories and intended for performance by the pupils of the school of the
546:(1677). The success of Pradon's work (the result of the activities of a
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1933:
Mann, A. (1929). "Racine's Biblical Masterpieces, Esther and Athalie".
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In the religious plays, Racine is fairly scrupulous in adhering to his
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2488:"Before Columbus Foundation, Winners of the 2011 American Book Awards"
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654:. Statements consisting only of original research should be removed.
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Knight, R.C., "Racine et la Grèce," Paris: Nizet, 1950; rpt. 1974.
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1978, Still Life 1985, Babel Tower 1997 and A Whistling Woman 2002
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of the play – are obvious even to the most inattentive spectator.
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more closely than the Greek tragedians had done. The philosopher
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the amorous couple are kept apart by considerations of state. In
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Tobin, Ronald, "Jean Racine Revisited," New York: Twayne, 1999.
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sources, taking care to put into the mouth of Joad (the Second
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points out the ways in which tragedy differs from epic poetry:
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2020:"Theatre: The mother of all dramas - Arts & Entertainment"
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XXIV attributing the gift of prophecy to Joad's son Zacharie (
1238:) only those prophetic utterances that are to be found in the
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Vuillemin, Jean-Claude, "Jean Racine," in L. Foisneau, ed.,
1916:"Andromaque, Oxford Playhouse - Reviews, Theatre & Dance"
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of the play. No dramatic critic has ever dissented from this
452:, never reached the stage. On 20 June 1664, Racine's tragedy
437:
in Paris, but instead found himself drawn to a more artistic
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2490:. Before Columbus Foundation. 7 October 2011. Archived from
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As regards the unity of action, Racine differs sharply from
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865:'s riddle), nor is it simply an error of judgment (as when
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Racine is often said to have been deeply influenced by the
283:
3480:
Members of the Académie des Inscriptions et Belles-Lettres
332:, producing such "examples of neoclassical perfection" as
1887:
Braga, T. J. (1990). "Double Vision in Racine's Phèdre".
1341:) be paramount. And so Astyanax is brought back to life.
240:
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came onto the scene to soundly shake the foundations of
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second wife of King Louis XIV, with the moral fables,
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Dictionary of Seventeenth-Century French Philosophers
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2008:
Our Dramatic Heritage: The Golden Age – Google Books]
980:
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Many full versions of Racine's plays on Google Books
2300:
Loftis, J. (1958). "Racine and English Classicism".
1611:
Racine's plays have been translated into English by
1333:), why should she refuse to marry him? Racine, like
1242:. Nevertheless, he takes advantage of a verse in II
280:
237:
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2672:Complete Theater to download on line (Poesies.net)
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2036:
1489:. The British were especially damning, preferring
2581:. Vol. 22 (11th ed.). pp. 775–779.
2281:
2279:
694:poetic line is considered exceptionally skilful.
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2648:Biography, Bibliography, Analysis, Plot overview
2070:Three Plays : Andromache, Phaedra, Athaliah
746:
2043:. Fairleigh Dickinson Univ Press. p. 590.
1059:). The support which the unities received from
3430:17th-century French dramatists and playwrights
2850:
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1429:music, and most importantly, the ascension of
1063:eventually secured their complete triumph and
789:, a play that itself deals with the legend of
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3063:
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2124:Corneille and Racine: Problems of Tragic Form
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26:"Racine" redirects here. For other uses, see
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1174:
430:would play large roles in his future works.
1996:Iphigenia; Phaedra; Athaliah – Google Books
892:, of wrongdoing is not confined, as in the
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2533:London: Heinemann Educational Books, 1974.
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2099:. University of Texas Press. p. 208.
1262:– too young to have the part given him in
1099:, the same subject had been dealt with by
837:to mate with a bull and give birth to the
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718:
466:) was produced by Molière's troupe at the
107:
2923:Jean de Dieu-Raymond de Cucé de Boisgelin
2295:
2293:
2093:Katherine E. Wheatley (30 January 2015).
1991:
1989:
1465:or "courtly drama" too restricted by the
1171:are scarcely more complex than the rest.
796:
670:Learn how and when to remove this message
85:Learn how and when to remove this message
16:17th-century French dramatist (1639–1699)
2668:includes performances from 1680 to 1791.
2063:
1540:
1501:could not be understood by foreigners."
681:
48:This article includes a list of general
19:For other people named Jean Racine, see
2666:The Comédie Française Registers Project
2353:
1971:George Steiner: A Reader – Google Books
1913:
1225:
536:in the same year as Racine (1674), and
389:Racine was born on 21 December 1639 in
3397:
2437:"BBC Radio 3 - Drama on 3, Andromache"
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2017:
1986:
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910:from which the tragic outcome arises.
821:, the gods have become more symbolic.
3213:
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2040:Our Dramatic Heritage: The Golden Age
1886:
414:. Port-Royal was run by followers of
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1932:
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593:(1691), both of which were based on
433:He was expected to study law at the
34:
1811:
950:The major roles in Racinian tragedy
13:
3485:Deaths from liver cancer in France
2510:
2152:
2072:. Ware: Wordsworth. pp. xxx.
1982:Catholic Encyclopedia: Jean Racine
1914:Coveney, Michael (16 March 2009).
1824:Abrégé de l'histoire de Port-Royal
981:Observance of the dramatic unities
850:, which the thirteenth chapter of
54:it lacks sufficient corresponding
14:
3501:
3475:Members of the Académie Française
2915:Claude-Henri de Fusée de Voisenon
2867:Claude Gaspard Bachet de Méziriac
2598:
2524:Jean Racine: A Critical Biography
2120:Gordon Pocock (18 October 1973).
2018:Taylor, Paul (9 September 1998).
1778:
1658:
1653:The Complete Plays of Jean Racine
3490:Burials at Saint-Étienne-du-Mont
3435:17th-century French male writers
3382:
3370:
2931:Jean-Baptiste Dureau de la Malle
2899:Jean-François Leriget de La Faye
2891:Jean-Baptiste-Henri de Valincour
2640:
2560:L'Evolution du tragique racinien
2354:Coveney, Michael (24 May 2004).
2337:"Obituary: Professor Roy Knight"
1844:Muller, D. G. (1999). "Phedre".
1499:chefs-d'œuvre de l'esprit humain
624:
506:(1667), which told the story of
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2011:
1960:Jean Racine Criticism (Vol. 28)
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1384:
2656:Racine's works on Bartleby.com
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1975:
1964:
1953:
1926:
1907:
1880:
1837:
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1:
3425:17th-century writers in Latin
2875:François de La Mothe Le Vayer
2624:Works by or about Jean Racine
2382:Jones, Sarah (28 June 2004).
2335:Evans, George (9 July 1999).
2096:Racine and English Classicism
1830:
1417:'s historic expansion of the
1053:Jean Vauquelin de la Fresnaye
747:Fundamental nature of tragedy
514:, and her fate following the
3445:Writers from Hauts-de-France
1663:
1411:François de La Rochefoucauld
1372:
599:Maison royale de Saint-Louis
408:Petites écoles de Port-Royal
384:
21:Jean Racine (disambiguation)
7:
2907:Prosper Jolyot de Crébillon
2639:(public domain audiobooks)
2037:Philip George Hill (1983).
1758:
817:As already in the works of
650:the claims made and adding
350:. He did write one comedy,
10:
3506:
2064:Howcroft, Michael (2000).
1459:Johann Wolfgang von Goethe
518:. Amongst his rivals were
496:(1664) and its successor,
25:
18:
3465:17th-century male writers
3440:17th-century French poets
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3153:
3128:
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2258:Tadié, Jean-Yves (2000).
1790:Vie de Diogène le Cynique
1433:to the throne of France.
1349:differs from Euripides's
1175:Tempo of Racinian tragedy
1141:or many of the scenes of
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188:
174:
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158:
144:
118:
106:
99:
3470:Lycée Saint-Louis alumni
2384:"Robert David MacDonald"
2356:"Robert David MacDonald"
2128:. CUP Archive. pp.
1557:The Virgin in the Garden
1545:Jean Racine on the 1989
1043:by theoreticians of the
1021:has two settings and in
881:Racine’s concept of love
615:
540:also wrote a play about
356:, and a muted tragedy,
317:[ʒɑ̃batistʁasin]
3455:French historiographers
2947:Antoine-Vincent Arnault
2578:Encyclopædia Britannica
2543:Paris: Gallimard, 2006.
1527:The Theatre and Cruelty
770:Nature of Greek tragedy
758:, of whom Narcisse (in
719:General characteristics
468:Théâtre du Palais-Royal
69:more precise citations.
28:Racine (disambiguation)
3460:French Roman Catholics
1613:Robert David MacDonald
1550:
1250:Zechariah ben Jehoiada
999:
797:Racine’s tragic vision
687:
397:), in the province of
2562:, Paris: SEDES, 1991.
2539:Forestier, Georges,
2463:"Racine: Three Plays"
2302:Modern Language Notes
2155:"Cantata in a Castle"
1544:
1179:Unlike such plays as
1051:) and other writers (
995:
685:
610:Saint-Étienne-du-Mont
464:or the enemy Brothers
457:ou les frères ennemis
3182:Story within a story
2633:Works by Jean Racine
2614:Works by Jean Racine
2605:Works by Jean Racine
2572:"Racine, Jean"
2262:. New York: Viking.
2142:. GGKEY:HQ5XPTD2PXY.
1858:10.1353/tj.1999.0066
1796:Eusebius of Caesarea
1785:Le Banquet de Platon
1651:for the translating
1647:, who earned a 2011
1645:Geoffrey Alan Argent
1461:dismissed Racine as
1419:Palace of Versailles
1226:Treatment of sources
985:Racine observes the
844:Thus, in Racine the
229:Jean-Baptiste Racine
122:Jean-Baptiste Racine
3313:Hippolyte et Aricie
3003:Wladimir d'Ormesson
2979:Paul-Albert Besnard
2939:Louis-Benoît Picard
2417:. 26 September 2012
1649:American Book Award
1549:commemorative stamp
1423:Jean-Baptiste Lully
1407:Jean de La Fontaine
1127:William Shakespeare
575:Madame de Maintenon
170:Seventeenth century
3321:Ippolito ed Aricia
2852:Académie française
2732:Alexandre le Grand
2567:Saintsbury, George
2520:Brereton, Geoffrey
2242:Second Preface of
1679:Alexandre le Grand
1591:Friedrich Schiller
1551:
1472:Charles Baudelaire
1455:Friedrich Schiller
1442:l'esprit français.
1357:Seneca the Younger
1289:Iphigenia in Aulis
1144:Alexandre le Grand
1061:Cardinal Richelieu
875:Seneca the Younger
688:
635:possibly contains
570:Académie française
478:Hôtel de Bourgogne
473:Alexandre le Grand
435:Collège d'Harcourt
422:and the themes of
367:French alexandrine
113:Portrait of Racine
3420:People from Aisne
3358:
3357:
3351:(Britten cantata)
3305:Opera adaptations
3207:
3206:
3154:Opera adaptations
3045:
3044:
2818:
2817:
2609:Project Gutenberg
2269:978-0-670-87655-6
2227:First Preface of
2179:on 17 August 2020
2106:978-1-4773-0700-7
2050:978-0-8386-3107-2
1935:The French Review
1889:The French Review
1617:Alan Hollinghurst
1480:French literature
1425:'s revolution in
1081:admits to in his
1049:Jean de La Taille
919:, ll. 1441–1448;
904:of III 7, is the
726:classical unities
680:
679:
672:
637:original research
612:church in Paris.
522:and his brother,
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189:Literary movement
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2531:Racine: A Study,
2529:Butler, Philip,
2526:, Cassell, 1951.
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1818:Vie de Louis XIV
1812:Historical works
1495:Sir Walter Scott
1476:Gustave Flaubert
1470:as writers like
1463:höfisches Drama,
1391:Pierre Corneille
1310:The Trojan Women
1256:) in the Second
1254:Jehoash of Judah
1065:Pierre Corneille
987:dramatic unities
762:) and Œnone (in
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668:
664:
661:
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652:inline citations
628:
627:
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524:Thomas Corneille
520:Pierre Corneille
448:His first play,
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1602:Pádraig de Brún
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1516:Jean-Yves Tadié
1507:
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1409:, Boileau, and
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1379:Racine: A Study
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1101:Gabriel Gilbert
1037:unity of action
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895:Œdipus Tyrannus
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871:Hercules Furens
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2066:"Introduction"
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1531:Antonin Artaud
1525:In his essay,
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2558:Rohou, Jean,
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2494:on 8 May 2012
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2260:Marcel Proust
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633:This section
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595:Old Testament
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412:Blaise Pascal
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371:Robert Lowell
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353:Les Plaideurs
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203:Notable works
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181:(primarily),
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154:Paris, France
148:21 April 1699
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2541:Jean Racine,
2540:
2530:
2523:
2496:. Retrieved
2492:the original
2482:
2470:. Retrieved
2466:
2456:
2444:. Retrieved
2440:
2431:
2419:. Retrieved
2414:
2405:
2393:. Retrieved
2387:
2377:
2365:. Retrieved
2361:The Guardian
2359:
2349:
2340:
2330:
2305:
2301:
2259:
2253:
2243:
2238:
2228:
2223:
2218:, chapter 8.
2213:
2208:
2203:, chapter 5.
2198:
2193:
2183:18 September
2181:. Retrieved
2177:the original
2167:
2159:The Guardian
2158:
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2115:
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2088:
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2013:
2002:
1977:
1966:
1955:
1941:(1): 55–57.
1938:
1934:
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1909:
1892:
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1882:
1849:
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1800:
1789:
1784:
1779:Translations
1764:
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1701:
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1572:
1569:Translations
1562:
1555:
1552:
1537:21st century
1526:
1524:
1510:
1508:
1505:20th century
1498:
1487:Francophobia
1484:
1466:
1462:
1452:
1449:19th century
1441:
1435:
1415:Louis Le Vau
1403:
1399:Art Poétique
1398:
1388:
1385:17th century
1378:
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1045:New Learning
1040:
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666:
657:
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588:
582:
568:
556:
552:Warren Lewis
541:
531:
530:produced an
501:
497:
493:
492:Though both
491:
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447:
434:
432:
388:
364:
357:
351:
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339:
333:
228:
227:
218:
212:
206:
193:Classicalism
150:(1699-04-21)
81:
72:
53:
32:
3415:1699 deaths
3410:1639 births
3405:Jean Racine
3241:Jean Racine
3191:L'Amour fou
3079:Jean Racine
3027:Simone Veil
2971:Pierre Loti
2883:Jean Racine
2788:La Thébaïde
2767:Britannicus
2720:Jean Racine
2683:(in French)
2675:(in French)
2651:(in French)
2230:Britannicus
2212:Aristotle,
2197:Aristotle,
1801:La Poétique
1774:Other works
1695:Britannicus
1671:La Thébaïde
1643:, and poet
1633:Edward Kemp
1587:Derek Mahon
1518:noted that
1491:Shakespeare
1200:Britannicus
1188:The Tempest
1057:Jean Mairet
889:anagnorisis
786:La Thébaïde
760:Britannicus
703:(1669) and
700:Britannicus
692:alexandrine
686:Jean Racine
587:(1689) and
510:, widow of
494:La Thébaïde
462:The Thebans
455:La Thébaïde
101:Jean Racine
67:introducing
3450:Jansenists
3399:Categories
3255:Characters
3162:Andromaque
3137:Andromache
3100:Andromache
3093:Characters
3084:Andromaque
2802:Mithridate
2739:Andromaque
2618:Faded Page
2467:Bloomsbury
2245:Andromaque
2079:1840221127
1831:References
1719:Mithridate
1687:Andromaque
1637:Andromache
1579:Ted Hughes
1352:Hippolytus
1327:Andromache
1316:Andromache
1275:Chronicles
1270:Septuagint
1245:Chronicles
1194:Andromaque
1150:Mithridate
1138:Andromaque
1118:Andromaque
942:Andromaque
916:Andromaque
901:peripeteia
831:Hippolytus
756:confidants
731:Hippolytus
706:Mithridate
644:improve it
579:morganatic
516:Trojan War
508:Andromache
503:Andromaque
404:Port-Royal
375:dramaturgy
341:Andromaque
208:Andromaque
159:Occupation
127:1639-12-21
75:April 2016
50:references
3389:Biography
3267:Hippolyte
2781:Iphigénie
1874:191586923
1805:Aristotle
1794:Texts of
1727:Iphigénie
1664:Tragedies
1631:director
1604:into the
1599:Monsignor
1467:étiquette
1431:Louis XIV
1395:Aristotle
1373:Criticism
1339:Euripides
1331:Euripides
1305:Euripides
1298:Pausanias
1286:, in his
1284:Euripides
1278:XXIII 1.
1132:King Lear
1109:Buthrotum
1079:Corneille
1029:Euripides
1009:Agamemnon
991:Aristotle
869:, in the
852:Aristotle
827:Euripides
819:Euripides
812:Sophocles
803:Jansenist
781:Sophocles
735:Euripides
660:June 2019
648:verifying
603:Saint-Cyr
560:Jansenist
533:Iphigénie
498:Alexandre
482:Alexandre
439:lifestyle
416:Jansenism
385:Biography
330:tragedian
326:Corneille
197:Jansenism
162:Dramatist
3198:Marquise
3115:Hermione
2760:Bérénice
2637:LibriVox
2620:(Canada)
2569:(1911).
2472:22 March
2446:22 March
2421:22 March
1866:25068685
1759:Comedies
1703:Bérénice
1621:Berenice
1313:and the
1236:Jehoiada
1004:Æschylus
936:Bérénice
907:hamartia
867:Deianira
847:hamartia
839:Minotaur
835:Pasiphaë
808:Æschylus
712:Bérénice
420:classics
140:, France
3377:Theatre
3363:Portals
3348:Phaedra
3294:Phaedra
3286:Origins
3170:Ermione
3129:Origins
3120:Pylades
3110:Orestes
3105:Pyrrhus
2855:seat 13
2753:Bajazet
2746:Athalie
2626:at the
2395:8 April
2367:8 April
2322:3043031
2215:Poetics
2200:Poetics
1751:Athalie
1711:Bajazet
1625:Bajazet
1427:Baroque
1265:Athalie
1213:Athalie
1207:Bajazet
1168:Athalie
1156:Bajazet
1041:Poetics
857:Poetics
752:Tragedy
740:Bajazet
642:Please
590:Athalie
399:Picardy
347:Athalie
322:Molière
313:French:
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179:Tragedy
138:Picardy
63:improve
3332:(1820)
3324:(1759)
3316:(1733)
3277:Aricie
3272:Thésée
3262:Phèdre
3249:(1677)
3246:Phèdre
3173:(1819)
3165:(1780)
3144:Aeneid
3087:(1667)
3037:(2020)
3029:(2008)
3021:(1999)
3013:(1974)
3005:(1956)
2997:(1946)
2989:(1935)
2981:(1924)
2973:(1891)
2965:(1862)
2957:(1834)
2949:(1829)
2941:(1807)
2933:(1804)
2925:(1776)
2917:(1762)
2909:(1731)
2901:(1730)
2893:(1699)
2885:(1672)
2877:(1639)
2869:(1634)
2809:Phèdre
2774:Esther
2498:12 May
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1947:379685
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1826:(1767)
1820:(lost)
1769:(1668)
1754:(1691)
1746:(1689)
1743:Esther
1738:(1677)
1735:Phèdre
1730:(1674)
1722:(1673)
1714:(1672)
1706:(1670)
1698:(1669)
1690:(1667)
1682:(1665)
1674:(1664)
1627:), by
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1585:, and
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1511:Phèdre
1438:Fronde
1367:Virgil
1362:Phædra
1346:Phèdre
1219:Phèdre
1182:Hamlet
1162:Phèdre
1096:Phèdre
1083:Examen
1075:El Cid
1070:Le Cid
962:Monime
957:Epirus
922:Phèdre
863:Sphinx
791:Œdipus
764:Phèdre
584:Esther
548:claque
543:Phèdre
512:Hector
450:Amasie
359:Esther
344:, and
335:Phèdre
214:Phèdre
183:comedy
167:Period
52:, but
3340:Other
3329:Fedra
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1943:JSTOR
1897:JSTOR
1870:S2CID
1862:JSTOR
1335:Homer
1322:Iliad
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1113:Aulis
823:Venus
616:Style
424:Greek
395:Aisne
379:stage
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324:and
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