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Translated into English rhyming verse, with introductions, by Lacy Lockert, the four plays included in this volume are Berenice, Bajazet, Mithridate, and Iphigenie. They are significant for their inherent excellence, and for what they reveal about the development of a great dramatist. Originally published in 1958. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Tragedy has been reborn many times since antiquity. Seventeenth-century French playwrights composed tragedies marked by neoclassical aesthetics and the divine-right absolutism of the Grand Siècle. But their works also speak to the modern imagination, inspiring reactions from Barthes, Derrida, and Foucault; adaptations and reworkings by Césaire and Kushner; and new productions by francophone and anglophone directors. This volume addresses both the history of French neoclassical tragedy--its audiences, performance practice, and development as a genre--and the ideas these works raise, such as necessity, free will, desire, power, and moral behavior in the face of limited choices. Essays demonstrate ways to teach the plays through a variety of lenses, such as performance, spectatorship, aesthetics, rhetoric, and affect. The book also explores postcolonial engagement, by writers and directors both in and outside France, with these works.
This unique volume contains studies not only of Corneille's and Racine's tragedies but also of the best work of the lesser French-classical tragic dramatists, too generally neglected, to whom more than half of the book is devoted. Its author brings to his tasks of presentation, criticism, and appraisal a wider acquaintance, perhaps, with the drama of many lands and times than anyone who has previously written at any considerable length on the subject of French-classical tragedy. To the desirable perspective thus obtained, he joins an appreciation of good plays of every type, without prejudice either for or against any type of drama. Numerous, often lengthy, quoted passages (with an English verse translation accompanying the French in every case) exemplify the achievement and exhibit the qualities of the dramas and dramatists discussed. That portion of the author's critical work in this field which has already appeared, as introductions in his volumes of translated plays, has been much appreciated, as witness the following brief excerpts from reviews of those books: "The plays...are discussed with insight and enthusiasm."--(London) Notes and Queries. "Refreshingly original and yet free from specious pleading or naïve enthusiasm."--Chattanooga Times. "Thoughtful, discerning appraisals."--Seventeenth Century News. "An excellent critical introduction."--The Library Journal. "A judicious introduction."--Arthur Knodel in The Personalist. "The very best interpretative treatment of Corneille that has appeared."--C. Maxwell Lancaster.
What do we know about the Book of Job? Not very much. The hero complains endlessly. He has just lost his children all his livestock. He scratches his ulcers. The misfortunes of which he complains are all duly enumerated in the prologue. They are misfortunes brought on him by Satan with God's permission. We think we know, but are we sure? Not once in the Dialogues does Job mention either Satan or anything about his misdeeds. Could it be that they are too much on his mind for him to mention them? Possibly, yet Job mentions everything else, and does much more than mention. He dwells heavily on the cause of his misfortune, which is none of those mentioned in the prologue. The cause is not divine, satanic nor physical, but merely human.
The book contains, then, eleven plays from the great age of French drama in the seventeenth century, one play from the prolific pen of Alexandra Hardy, who proceeded the great age, and on from the eighteenth century, the aftermath of that age.
'This is an extraordinary book, brilliantly conceived and beautifully written. Its approach to the well-worn subject of tragic drama is quite fresh. While Goodkin draws on the best of traditional scholarship in philosophy, classical philology, and literary criticism, he argues with an intellectual style that is entirely his own. Every reader will be stimulated in his own particular way-so great is the range and power of this book-to extend the book's argument toward or from his own area of interest.'-William Levitan, Princeton University
For contents, see Author Catalog.