{"title":"Racine à l'école de Molière: Britannicus","authors":"J. F. Gaines","doi":"10.1179/175226913X13789831447982","DOIUrl":null,"url":null,"abstract":"Abstract Racine is often viewed in literary history as a fledgling artist who betrayed Molière personally and distanced himself progressively from his former associate in the course of his career as an author for the Hôtel de Bourgogne troupe. As acrimonious as relationships may have become between the two dramatists, a study of key texts, especially Britannicus, shows that the literary relationship was far more complex, as Racine strove to emulate and in some ways to outdo Molière by adapting elements of the great comic author's œuvre into his own works. The strategic relationship of Britannnicus to Racine's only comedy, Les Plaideurs, adds insight to this process of adaptation. Racine shows familiarity with many of Molière's recurring types of scenes and the most prominent among these is the stylized lovers' quarrel named after the play that first featured it, Dépit amoureux. In crafting the amorous relationship between Nero's half-brother Britannicus and the captive noblewoman Junie, Racine refashions the symmetrical dépit amoureux in order to take tragic advantage of its alternate movements of repulsion and reattraction, based on such emotional factors as pride, uncertainty, and vulnerability raised to a heightened pitch. An important ingredient in this adaptation is the role of Néron as an ironic voyeur and manipulator, attempting to control the conversations remotely for his own amusement and self-interest.","PeriodicalId":88312,"journal":{"name":"Seventeenth-century French studies","volume":"31 1","pages":"175 - 185"},"PeriodicalIF":0.0000,"publicationDate":"2009-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1179/175226913X13789831447982","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Seventeenth-century French studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1179/175226913X13789831447982","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
Abstract Racine is often viewed in literary history as a fledgling artist who betrayed Molière personally and distanced himself progressively from his former associate in the course of his career as an author for the Hôtel de Bourgogne troupe. As acrimonious as relationships may have become between the two dramatists, a study of key texts, especially Britannicus, shows that the literary relationship was far more complex, as Racine strove to emulate and in some ways to outdo Molière by adapting elements of the great comic author's œuvre into his own works. The strategic relationship of Britannnicus to Racine's only comedy, Les Plaideurs, adds insight to this process of adaptation. Racine shows familiarity with many of Molière's recurring types of scenes and the most prominent among these is the stylized lovers' quarrel named after the play that first featured it, Dépit amoureux. In crafting the amorous relationship between Nero's half-brother Britannicus and the captive noblewoman Junie, Racine refashions the symmetrical dépit amoureux in order to take tragic advantage of its alternate movements of repulsion and reattraction, based on such emotional factors as pride, uncertainty, and vulnerability raised to a heightened pitch. An important ingredient in this adaptation is the role of Néron as an ironic voyeur and manipulator, attempting to control the conversations remotely for his own amusement and self-interest.
在文学史上,拉辛经常被视为一个初出茅庐的艺术家,他个人背叛了莫里埃尔,并在他作为Hôtel de Bourgogne剧团的作家的职业生涯中逐渐疏远了他的前同事。尽管这两位剧作家之间的关系可能已经变得尖酸刻薄,但对关键文本的研究,尤其是对《大英百科全书》的研究表明,他们的文学关系要复杂得多,因为拉辛努力模仿,并在某些方面超越了伟大的喜剧作家œuvre的元素,将其融入自己的作品中。《不列颠百科》与拉辛唯一一部喜剧《平原人》的战略关系,为这一适应过程增添了洞察力。拉辛表现出对莫里埃尔反复出现的场景类型的熟悉,其中最突出的是程式化的恋人争吵,以第一次出现它的戏剧命名,dsamureux。在塑造尼禄同父异母的兄弟Britannicus和被俘的贵妇Junie之间的爱情关系时,拉辛重新塑造了对称的dacimpit amoureux,以利用其排斥和重新吸引的交替运动的悲剧优势,基于诸如骄傲,不确定和脆弱等情感因素,提高到一个高度。这种改编的一个重要因素是,nsamron扮演了一个具有讽刺意味的偷窥者和操纵者的角色,他试图远程控制对话,以满足自己的娱乐和自身利益。