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Strongly influenced by Classical drama, Jean Racine (1639-99) broke away from the grandiose theatricality of baroque drama to create works of intense psychological realism, with characters manipulated by cruel and vengeful gods. Iphigenia depicts a princess's absolute submission to her father's will, despite his determination to sacrifice her to gain divine favour before going to war. Described by Voltaire as 'the masterpiece of the human mind', Phaedra shows a woman's struggle to overcome her overwhelming passion for her stepson - an obsession that brings destruction to a noble family. And Athaliah portrays a ruthless pagan queen, who defies Jehovah in her desperate attempt to keep the throne of Jerusalem from its legitimate heir.
This is the best translation into English of Andromache, Iphigenia, Phaedra and Athaliah.
The 'greatest hits' of French classical theatre, in vivid and acclaimed new Penguin translations by John Edmunds and with editorial apparatus by Joseph Harris. The plays in this volume - Cinna, The Misanthrope, Andromache and Phaedra - span only thirty-seven years, but make up the defining period of French theatre. In Corneille's Cinna (1640), absolute power is explored in ancient Rome, while Molière's The Misanthrope (1666), the only comedy in this collection, sees its anti-hero outcast for his refusal to conform to social conventions. Here also are two key plays by Racine: Andromache (1667), recounting the tragedy of Hector's widow after the Trojan War, and Phaedre (1677), showing a mother crossing the bounds of love with her son. This translation of Phaedra was originally broadcast on Radio Three with a cast including Prunella Scales and Timothy West, and was praised by playwright Harold Pinter. This is the first time it has been published. The edition also includes an introduction by Joseph Harris, genealogical tables, pronunciation guides, critiques and prefaces, as well as a chronology and suggested further reading. After a varied career as an actor, teacher, and BBC TV national newsreader, John Edmunds became the founder-director of Aberystwyth University's department of Theatre, Film and Television Studies. Joseph Harris is Senior Lecturer at Royal Holloway, University of London and author of Hidden Agendas: Cross-Dressing in Seventeenth-Century France (2005).
Collects five plays spanning Ibsen's career, with general introductions, explanatory annotations, criticism, and selections from his correspondence and other writings.
Nobel laureate Czeslaw Milosz's most recent collection Second Space marks a new stage in one of the great poetic pilgrimages of our time. Few poets have inhabited the land of old age as long or energetically as Milosz, for whom this territory holds both openings and closings, affirmations as well as losses. "Not soon, as late as the approach of my ninetieth year, / I felt a door opening in me and I entered / the clarity of early morning," he writes in "Late Ripeness." Elsewhere he laments the loss of his voracious vision -- "My wondrously quick eyes, you saw many things, / Lands and cities, islands and oceans" -- only to discover a new light that defies the limits of physical sight: "Without eyes, my gaze is fixed on one bright point, / That grows large and takes me in." Second Space is typically capacious in the range of voices, forms, and subjects it embraces. It moves seamlessly from dramatic monologues to theological treatises, from philosophy and history to epigrams, elegies, and metaphysical meditations. It is unified by Milosz's ongoing quest to find the bond linking the things of this world with the order of a "second space," shaped not by necessity, but grace. Second Space invites us to accompany a self-proclaimed "apprentice" on this extraordinary quest. In "Treatise on Theology," Milosz calls himself "a one day's master." He is, of course, far more than this. Second Space reveals an artist peerless both in his capacity to confront the world's suffering and in his eagerness to embrace its joys: "Sun. And sky. And in the sky white clouds. / Only now everything cried to him: Eurydice! / How will I live without you, my consoling one! / But there was a fragrant scent of herbs, the low humming of bees, / And he fell asleep with his cheek on the sun-warmed earth."
How does the entrance of a character on the tragic stage affect their visibility and presence? Beginning with the court culture of the seventeenth century and ending with Nietzsche’s Dionysian theater, this monograph explores specific modes of entering the stage and the conditions that make them successful—or cause them to fail. The study argues that tragic entrances ultimately always remain incomplete; that the step figures take into visibility invariably remains precarious. Through close readings of texts by Racine, Goethe, and Kleist, among others, it shows that entrances promise both triumph and tragic exposure; though they appear to be expressions of sovereignty, they are always simultaneously threatened by failure or annihilation. With this analysis, the book thus opens up possibilities for a new theory of dramatic form, one that begins not with the plot itself but with the stage entrance that structures how characters appear and thus determines how the plot advances. By reflecting on acts of entering, this book addresses not only scholars of literature, theater, media, and art but anyone concerned with what it means to appear and be present.
Originating probably in some oral cautionary tale, the Phaedra story illustrates a peculiar pattern of transgression and retribution. This Phaedra syndrome provided inspiration for many major writers from Euripides to Gabriele d'Annunzio. The present book offers a close re-reading and a re-assessment of four acknowledged masterpieces - Euripides' Hippolutos, Seneca's Phaedra, Lope de Vega's Castigo sin venganza and Racine's Phèdre: together with Lope's Italian source. Matteo Bandello's Novella 44, they all deal with the old tale or none of its analogues. While paying minute comparative attention to the texts, it aims at clarifying the relevance of each work for the meandrous evolution of religious beliefs and ethical criteria in the history of European society, ranging from Democritus' effort to react against his contemporaries' archaic shame-culture attitudes to Latin Stoicism, to the syncretic Baroque outlook in siglo de oro drama and to the radical puritanical inwardness of French Jansenism. The last two chapters offer an original interpretation of Phèdre as the supreme poetic utterance of Racine's confusion and perplexity in front of the unresolved contradictions in his faith; a case is made in the Conclusion the view that the puzzled and puzzling mood of this mysterious play exemplifies the new mind-set that was paving the way for Enlightenment rationalism and the ensuing dechristianisation of the Western intelligentsia.
A brand-new look for multiple Eisner-winner ERIC SHANOWER's hard-hitting version of the Trojan War. The politics and passion get turned up to eleven when colorist JOHN DALLAIRE injects his vibrant palette into the enduring epic. Helen runs off with Paris. Agamemnon declares war on Troy. Achilles hides among girls. Odysseus goes mad. And that's only the beginning. Collects AGE OF BRONZE #1-9 COMPARISON TITLES If you like the epic adaptations of Garc’a and Rub’n's BEOWULF and Neil Gaiman's Norse Mythology, you'll love this historical adaptation of Troy in AGE OF BRONZE.
Charles Peguy (1873-1914) was a French religious poet, philosophical essayist, publisher, social activist, Dreyfusard, and Catholic convert. There has recently been a renewed recognition of Peguy in France as a thinker of unique significance, a reconsideration inspired in large part by Gilles Deleuze's Difference et repetition, which ranked him with Nietzsche and Kierkegaard. In the English-speaking world, however, access to Peguy has been hindered by a scarcity of translations of his work. This first complete translation of one of his most important prose works, with accompanying interpretive introduction and notes, will introduce English-speaking readers to a new voice, which speaks in a powerful and original way to a modern West in a condition of cultural and spiritual crisis. The immediate circumstance of the writing of this last prose essay, unfinished at the time of Peguy's early death, was the placing of Henri Bergson's philosophical works on the Catholic Index, and Peguy's undertaking to defend his former teacher from his critics, both Catholic and secular. But the subject of Bergson is also a springboard for the exploration of the perennial themes--philosophical, theological, and literary--most central to Peguy's thought.
What are emotions, where do they originate and how are they brought into being? While from antiquity to early modernity, affects or passions were mostly conceived of as external physiological forces which act upon a passive subject, modern conceptions generally locate emotions within the subject. Drawing on the dichotomy of “interiority / exteriority” as a complex interdependent relationship, they mostly envision emotions as interior processes. Contemporary conceptions of emotion from such different fields as human geography, art history and cognitive sciences recently started to challenge this notion of internal emotions by developing alternative descriptions of externalized emotion. This book reevaluates premodern, modern and contemporary conceptions of affects, passions and emotion by analyzing various historical manifestations of the discourse on emotion. Unlike most previous research, which ‐ especially in the German tradition ‐ often focused exclusively on the rise of the modern (Romantic) interiority without paying attention to the underlying dichotomy of “interiority / exteriority”, this study aims to explore the historical preconditions, the internal logic and the possible shortcomings that inform our thinking on emotion.