{"title":"Oser pleurer:Horaceand the Power of Tears","authors":"Joseph Harris","doi":"10.1179/102452908x289820","DOIUrl":"https://doi.org/10.1179/102452908x289820","url":null,"abstract":"","PeriodicalId":88312,"journal":{"name":"Seventeenth-century French studies","volume":"31 1","pages":"163-174"},"PeriodicalIF":0.0,"publicationDate":"2009-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1179/102452908x289820","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65478040","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Oser pleurer: Horace and the Power of Tears","authors":"J. Harris","doi":"10.1179/175226913X13789831448026","DOIUrl":"https://doi.org/10.1179/175226913X13789831448026","url":null,"abstract":"Abstract This article explores the representation of tears onstage in Corneille's Horace. Far from being a straightforward passive response to suffering, tears appear in Corneille's play as a dangerous political act of insubordination — most notably, of course, when Camille provokes her own death at her brother's hand by lamenting her own dead lover Curiace. As I demonstrate, Corneille strategically rewrites his historical source in order to accentuate both the harshness of Roman honour codes and the transgressiveness of Camille's tears. Within Corneille's fictionalised ancient Rome, weeping threatens to be doubly transgressive. For a start, the stock association of tears with femininity and weakness paradoxically accords women a powerful weapon in their dealings with male relatives and suitors; through tears, the perceived contagiousness of feminine weakness threatens to infect men and compromise their autonomy. On a more general level, Camille's mourning for Curiace also symbolically challenges the positivistic, anti-tragic ethos of Roman society — a society which regards tears as an appropriate response only to a loss of honour rather than to a loss of life. Camille's defiant tears, therefore, suggest a new value system that transcends and threatens the blinkered patriarchal, homosocial system in which she lives.","PeriodicalId":88312,"journal":{"name":"Seventeenth-century French studies","volume":"179 1","pages":"163 - 174"},"PeriodicalIF":0.0,"publicationDate":"2009-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1179/175226913X13789831448026","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65678527","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Racine à l'école de Molière: Britannicus","authors":"J. F. Gaines","doi":"10.1179/175226913X13789831447982","DOIUrl":"https://doi.org/10.1179/175226913X13789831447982","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":0.0,"publicationDate":"2009-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1179/175226913X13789831447982","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65678921","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Rhetoric of Mouvement and Passionate Expression in Seventeenth-Century French Harpsichord Music","authors":"Margot Martin","doi":"10.1179/175226913X13789831448107","DOIUrl":"https://doi.org/10.1179/175226913X13789831448107","url":null,"abstract":"Abstract In seventeenth-century France there was an entire branch of rhetorical theory based upon the non-verbal notion of mouvement, prevalent not only in artistic and intellectual disciplines but also within the musical arts. Modern studies have examined this philosophy with regard to the visual arts and to the vocal art of song, but have not yet explored the relation of this notion to contemporary instrumental music. This article, however, will do just that, illustrating how the rhetoric of mouvement applied to seventeenth-century French harpsichord music. The article discusses the chief concepts of mouvement and its relation to passionate expression, demonstrating how they manifest themselves within different artistic disciplines by citing primary sources on painting, poetry, singing, and ballet. The principles discussed in these writings are echoed in Saint-Lambert's treatise on harpsichord playing, allowing us to apply them to harpsichord music. How mouvement in harpsichord music was engendered by directing the physical/temporal motion of sound on many levels — tempo, meter, melody, rhythm, harmonic rate of change, use of agréments — is examined, illustrating their participation in an intricate declamatory language used to create an expressive rhetorical discourse that reflected contemporary aesthetic values.","PeriodicalId":88312,"journal":{"name":"Seventeenth-century French studies","volume":"31 1","pages":"137 - 149"},"PeriodicalIF":0.0,"publicationDate":"2009-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1179/175226913X13789831448107","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65678711","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Comedic Practicum: Molière and Terence Revisited","authors":"Michael J. Call","doi":"10.1179/175226913X13789831448143","DOIUrl":"https://doi.org/10.1179/175226913X13789831448143","url":null,"abstract":"Abstract Numerous authors and critics in the seventeenth century compared Molière with Terence, the Roman playwright. However, a close examination of the two authors shows that this comparison is difficult to sustain from the perspective of style or source material. There appears to be a much closer connection in the way that the two playwrights described their role as authors, their approach to compositional rules, and their deliberate use of controversy to solicit interest in their plays. By examining Terence's prologues and Molière's published prefaces, this study argues that Molière did indeed read and imitate Terence, but that Molière's understanding of Terence's work avoided the narrow tangential reading imposed upon the Roman playwright by Molière's contemporaries, using Terence instead as a guide to negotiating classical comedy's paradoxical imperative: to make extensive use of what has already been written in order to celebrate the primacy of present over past. What critics such as Boileau saw as betraying the classical tradition — the combining of farce and high-brow comedy; the disregard for rules in favour of the audience's pleasure; the uninhibited use of source material — actually places Molière in the tradition of classical authorship as Terence defines and describes it.","PeriodicalId":88312,"journal":{"name":"Seventeenth-century French studies","volume":"31 1","pages":"123 - 136"},"PeriodicalIF":0.0,"publicationDate":"2009-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1179/175226913X13789831448143","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65678937","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Case for Reasonable Love","authors":"J. Lyons","doi":"10.1179/175226913X13789831448189","DOIUrl":"https://doi.org/10.1179/175226913X13789831448189","url":null,"abstract":"Abstract In seventeenth-century France, the choice of the person one loves, the object of love, is frequently described as irrational. Blaise Pascal, in one of the best-known passages of his Pensées, set forth this view with the example of the effect of Cleopatra's nose on Mark Anthony. This article considers a number of seventeenth-century works in which the choice of the object of love is shown to be a matter of rational choice, as described in René Descartes's Traité des passions de l'âme. First Pierre Corneille's Le Cid, largely considered to be a model of rational choice, is described as conforming to that reputation. Then, Jean Racine's Phèdre, often considered to convey an anti-rationalist view of love, is shown to depict the protagonists as choosing their love objects rationally. The third literary example considered is from Madeleine de Scudéry's Clélie, in which the rationalist and anti-rationalist views are debated and left in an inconclusive opposition. Finally, the article contends that the rational-choice position leads potentially to much more pessimistic outcomes than the anti-rationalist opposition.","PeriodicalId":88312,"journal":{"name":"Seventeenth-century French studies","volume":"31 1","pages":"110 - 97"},"PeriodicalIF":0.0,"publicationDate":"2009-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1179/175226913X13789831448189","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65679195","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Women, Religious Conviction and the Subversive Use of Power","authors":"C. Baxter","doi":"10.1179/175226909X12591470229034","DOIUrl":"https://doi.org/10.1179/175226909X12591470229034","url":null,"abstract":"Abstract This article examines the actions of female religious orders to explore the scope available to them to exercise power in the French Counter-Reformation Church. It argues that while the Ursuline and Visitandine communities accepted enclosure, which affected their ability to undertake an active charitable role outside the cloister, they nonetheless consistently sought to carve out an active role for themselves that went beyond the traditional space accorded to nuns. These nuns actively sought roles as spiritual directors to women in their local communities, to clerics and to prominent courtiers. By exercising subversive power clandestinely, they succeeded in wielding significant influence, even over doctrinal matters. In contrast, Madame Guyon challenged the right of the ecclesiastical establishment to declare her writings heretical. Similarly, the Port-Royal nuns overtly challenged the commands of Pope and King, arguing that the dictates of conscience superseded the doctrinal judgements of the religious authorities. Such overtly subversive challenges were harshly punished by the religious establishment. This article concludes that the skill with which certain orders negotiated to expand their roles without constituting an overt challenge to authority should be recognised as an exercise of subversive yet effective power rather than as an unquestioning acceptance of patriarchal authority.","PeriodicalId":88312,"journal":{"name":"Seventeenth-century French studies","volume":"31 1","pages":"111 - 121"},"PeriodicalIF":0.0,"publicationDate":"2009-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1179/175226909X12591470229034","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65677358","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Innocence ou dissidence des Amants magnifiques de Molière?","authors":"J. Robin","doi":"10.1179/175226913X13789831448062","DOIUrl":"https://doi.org/10.1179/175226913X13789831448062","url":null,"abstract":"Les Amants magnifiques, spectacle encomiastique total, serait-il à double entente? De par la présence de l’‘astrologue Anaxarque, dont la princesse Aristione est entêtée’, la pièce ressortit au cycle moliéresque de la dénonciation de l’imposture et n’est pas à ce titre dénuée de portée philosophique. Cependant, en raisonnant a contrario, son apparente innocence pourrait bien fournir les meilleurs indices de dissidence. Innocence du sujet, plaisamment galant, que le rationalisme du ‘général d’armée’ Sostrate n’entache nullement si on le rapporte à la tradition humaniste et sa prédilection pour Périclès. Innocence de sa poétique, puisque Molière semble faire concession entière à l’esthétique galante. Ce paravent d’innocence dissimule mal une scène centrale jumelle de celle de Dom Juan puisque s’y retrouve à l’œuvre le principe d’inférence sganarellien, en vertu duquel l’impiété de Sostrate se déduit de son aveu d’impiété en astrologie. Sostrate est impie en astrologie comme Dom Juan en médecine. Son caractère est probablement celui de l’impie tout court, impie dont le discours n’est galant que par défaut. L’astrologie participe de la mystification absolutiste. Pièce redoutable, car disposant au doute, Les Amants magnifiques sape subrepticement, à travers la démolition de l’astrologie, le dogme de la souveraineté absolutiste en lui déniant in fine toute transcendance.","PeriodicalId":88312,"journal":{"name":"Seventeenth-century French studies","volume":"31 1","pages":"151 - 161"},"PeriodicalIF":0.0,"publicationDate":"2009-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1179/175226913X13789831448062","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65678655","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Chappuzeau and the Performance of French Classical Drama","authors":"C. J. Gossip","doi":"10.1179/175226909X445231","DOIUrl":"https://doi.org/10.1179/175226909X445231","url":null,"abstract":"Abstract Chappuzeau's Le Théâtre françois was published in 1674, being the first description of day-to-day operations in the Paris theatres as well as containing several arguments in favour of drama and against the doctrinaires who opposed it. A slightly earlier version of the work, in an autograph manuscript dedicated to the newly established Guénégaud theatre company, offers evidence of the author's more robust references to Catholic clergy and greater exuberance in his comments on authors and their works and on the acting profession. Taken together with remarks contained in two printings of Chappuzeau's L'Europe vivante (1666–67), the 1673 text provides a setting for information about performance days, premières and seasonal preferences which, although retained in the printed edition, does not accord with what is known of actual practice.","PeriodicalId":88312,"journal":{"name":"Seventeenth-century French studies","volume":"31 1","pages":"13 - 3"},"PeriodicalIF":0.0,"publicationDate":"2009-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1179/175226909X445231","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65677082","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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