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Two plays of the French Revolution by Romain Rolland. Authorized translation and with a preface by Barrett H. Clark.
The Fourteenth of July; and Danton: Two Plays of the French Revolution by Romain Rolland: In this compelling volume, Romain Rolland presents two historical plays set during the turbulent period of the French Revolution. "The Fourteenth of July" delves into the events leading up to the storming of the Bastille, while "Danton" explores the life and political career of the revolutionary leader Georges Danton. With vivid character portrayals and gripping narratives, Rolland's plays shed light on the complex personalities and ideologies that shaped this pivotal moment in history. Key Aspects of the Book "The Fourteenth of July; and Danton": French Revolution Drama: Rolland's plays offer theatrical depictions of key figures and events of the French Revolution, providing insights into the political and social upheaval of the era. Character Studies: The plays delve into the motivations, conflicts, and convictions of the historical figures, bringing depth and humanity to their portrayals. Historical Context: Readers gain a deeper understanding of the French Revolution's impact on society and the complex forces that drove historical change. Romain Rolland was a French author, playwright, and essayist born in 1866. He was awarded the Nobel Prize in Literature in 1915 for his extensive literary output and contributions to French literature. Rolland's fascination with historical events and social themes is evident in his plays and writings. Through "The Fourteenth of July; and Danton," he weaves together drama and history to explore the human drama behind the French Revolution.
«I would have gone down on my knee before him if we were allowed to worship men.» With these words Giuseppe Verdi described his first impulse upon meeting Alessandro Manzoni in Milan in June 1868. Many readers are familiar with Manzoni's great novel, The Betrothed (I Promessi Sposi), the work that elicited Verdi's extravagant reverence for its author. Before turning to write a novel, however, Manzoni composed two plays, The Count of Carmagnola (1820) and Adelchi (1822). Both plays broke free of the constraints of the neo-classical stage, and embraced the spirit of the new Romantic drama. Alessandro Manzoni, Two Plays makes these tragedies available in a fresh English translation.
A Tale of Two Cities has always been one of Dickens's most popular texts. Using a variety of disciplinary approaches, this new collection of essays examines the origins of Dickens vision of the French Revolution, the literary power of the text itself, and its enduring place in British culture through stage and screen adaptations.
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Smoothly blending performance theory, literary analysis, and historical insights, Cecilia Feilla explores the mutually dependent discourses of feeling and politics and their impact on the theatre and theatre audiences during the French Revolution. Remarkably, the most frequently performed and popular plays from 1789 to 1799 were not the political action pieces that have been the subject of much literary and historical criticism, but rather sentimental dramas and comedies, many of which originated on the stages of the Old Regime. Feilla suggests that theatre provided an important bridge from affective communities of sentimentality to active political communities of the nation, arguing that the performance of virtue on stage served to foster the passage from private emotion to public virtue and allowed groups such as women, children, and the poor who were excluded from direct political participation to imagine a new and inclusive social and political structure. Providing close readings of texts by, among others, Denis Diderot, Collot d'Herbois, and Voltaire, Feilla maps the ways in which continuities and innovations in the theatre from 1760 to 1800 set the stage for the nineteenth century. Her book revitalizes and enriches our understanding of the significance of sentimental drama, showing that it was central to the way that drama both shaped and was shaped by political culture.
What view of man did the French Revolutionaries hold? Anyone who purports to be interested in the "Rights of Man" could be expected to see this question as crucial and yet, surprisingly, it is rarely raised. Through his work as a legal historian, Xavier Martin came to realize that there is no unified view of man and that, alongside the "official" revolutionary discourse, very divergent views can be traced in a variety of sources from the Enlightenment to the Napoleonic Code. Michelet's phrases, "Know men in order to act upon them" sums up the problem that Martin's study constantly seeks to elucidate and illustrate: it reveals the prevailing tendency to see men as passive, giving legislators and medical people alike free rein to manipulate them at will. His analysis impels the reader to revaluate the Enlightenment concept of humanism. By drawing on a variety of sources, the author shows how the anthropology of Enlightenment and revolutionary France often conflicts with concurrent discourses.
From 1680 until the French Revolution, when legislation abolished restrictions on theatrical enterprise, a single theatre held sole proprietorship of Molière’s works. After 1791, his plays were performed in new theatres all over Paris by new actors, before audiences new to his works. Both his plays and his image took on new dimensions. In Molière, the French Revolution, and the Theatrical Afterlife, Mechele Leon convincingly demonstrates how revolutionaries challenged the ties that bound this preeminent seventeenth-century comic playwright to the Old Regime and provided him with a place of honor in the nation’s new cultural memory. Leon begins by analyzing the performance of Molière’s plays during the Revolution, showing how his privileged position as royal servant was disrupted by the practical conditions of the revolutionary theatre. Next she explores Molière’s relationship to Louis XIV, Tartuffe, and the social function of his comedy, using Rousseau’s famous critique of Molière as well as appropriations of George Dandin in revolutionary iconography to discuss how Moliérean laughter was retooled to serve republican interests. After examining the profusion of plays dealing with his life in the latter years of the Revolution, she looks at the exhumation of his remains and their reentombment as the tangible manifestation of his passage from Ancien Régime favorite to new national icon. The great Molière is appreciated by theatre artists and audiences worldwide, but for the French people it is no exaggeration to say that the Father of French Comedy is part of their national soul. By showing how he was represented, reborn, and reburied in the new France—how the revolutionaries asserted his relevance for their tumultuous time in ways that were audacious, irreverent, imaginative, and extreme—Leon clarifies the important role of theatrical figures in preserving and portraying a nation’s history.
Throughout his life Karl Marx commented on the French Revolution, but never was able to realize his project of a systematic work on this immense event. This book assembles for the first time all that Marx wrote on this subject. François Furet provides an extended discussion of Marx's thinking on the revolution, and Lucien Calvié situates each of the selections, drawn from existing translations as well as previously untranslated material, in its larger historical context. With his early critique of Hegel, Marx started moving toward his fundamental thesis: that the state is a product of civil society and that the French Revolution was the triumph of bourgeois society. Furet's interpretation follows the evolution of this idea and examines the dilemmas it created for Marx as he considered all the faces the new state assumed over the course of the Revolution: the Jacobin Terror following the constitutional monarchy, Bonaparte's dictatorship following the parliamentary republic. The problem of reconciling his theory with the reality of the Revolution's various manifestations is one of the major difficulties Marx contended with throughout his work. The hesitation, the remorse, and the contradictions of the resulting analyses offer a glimpse of a great thinker struggling with the constraints of his own system. Marx never did elaborate a theory of an autonomous state, but he never stopped wrestling with the challenge to his doctrine posed by late eighteenth-century France, whose changing conditions and successive regimes prompted some of his most intriguing and, until now, unexplored thought.