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Jean Racine
Phèdre
Title: Phèdre
Author: Jean Racine
Format: Paperback
Language: French
Pages: 55
Publisher: Nouveaux Classiques Larousse,
57690594
ISBN: 203034785X
Format: PDF / Kindle / ePub
Size: 9.9 MB
Download: allowed
Description
En 1677, Phèdre, la dernière grande tragédie de Racine, met en scène la mythique descente
aux enfers d'une incomprise. Vouée au malheur par son hérédité, Phèdre aime sans espoir son
beau-fils Hippolyte. Lorsque son mari, Thésée, revient, il envoie injustement son fils à la mort.
On assiste alors à l'empoisonnement d'une femme à la fois innocente et coupable. Ironie
tragique qui démontre à quel point l'amour peut se vivre comme une malédiction.
Insightful reviews
Emily: I was really impressed by this play. It's a page-turner. I didn't want to put it down.
Hughes' translation has a delightful terse lyricism. I rarely felt like I was reading a translation of
a French play recreating an ancient Greek atmosphere and style. The deviations from the plot
helped me appreciate the play for what it is, rather than continually comparing it with Euripides'
"Hippolytus." The biggest changes are Aricia (Hippolytus' lover), the order/progression of
events, diminished role of the gods, and lack of a quote-un-quote Greek chorus. These changes
make for a more modern take and I think this would be a good entry point for people interested
but not well-versed (oh puns) in Athenian drama; a basic understanding of Greek drama and the
family trees of Theseus and Phaedra are all that's necessary to understand the background of
the play.
Dagny: This tightly-knit seventeenth century play, based on a powerful and haunting myth, is
filled with compelling tension. It takes place over a very short time span allowing the action to
begin immediately and flow rapidly.
Jean-Paul Walshaw-Sauter: Une des plus belles tragédies de la littérature mondiale
Charles: possibly it was once the translator Robert Lowell (Jean Racine's 'Phedre' used to be
initially in French) and his kind and language or my specific model that experience contributed
to my adoration of this play. However, even supposing those components do give a contribution
substantially, it used to be Racine himself who confirmed his stature and dignity as a
widespread French playwright.I selected the phrases 'stature' and 'dignity' for a cause through
the way. For Racine, even supposing his foundation is largely Greek mythology and tragedy,
had baptized a brand new type of kind in his play writing, laying off a gentle on formerly
neglected facets that make 'Phaedra' easily delightful. The problematic splendour of the French
courtroom is obvious in many of the interactions during this play, not less than compared to the
Greek originals which galvanized it. because of this Phaedra always questions the morality of
her passions for her stepson Hippolytus and her 'shame' is continually highlighted. in fact the
main notable distinction is that the refrain has been eliminated, yet I do think it was once for the
higher in Racine's play. examine this with Aeschylus' 'The Libation Bearers', during which the
refrain is essentially a protagonist. there's additionally some degree within the play whilst
Phaedra confesses her love for Hippolytus while the flip of occasions are virtually humouristic,
Theseus' loss of life is introduced and Hippolytus' upcoming stopover at is made recognized to
Phaedra. I mean, discuss coincidence.However, make no mistake approximately it, the
'Phaedra', on my recognized 'Tragicometer', might rank concerning the Titanic's being
shipwrecked. that's how tragic it's (Euripides had met a powerful contender). actually it really is
not easy to not shed a few tears close to the ending, and that i can in simple terms think what
the adaptation will be have been i used to be to determine it staged. yet even this isn't reasons
why i presumed this play used to be amazing. with ease it's the diction and the imagery, the way
in which "the traces mix into one harmonious complete with out superfluous ornament or
irrelevancy" (though Lowell, the translator of my version, may have 'improvised', i believe it truly
is not going to a undeniable extent).I may heartily suggest analyzing this play, be it the French
unique or a French-English translation. a few French performs aren't credited as being
masterpieces for nothing, specifically whilst one considers that 'Phaedra' used to be written in
1677.
Eilis: needed to learn this for school and i've to claim I wasn't waiting for it to be relatively stable
- i assumed it'd be extra of a chore than whatever else. i used to be heavily proved wrong! as
soon as I received into the language and controlled to determine what they have been
announcing the tale used to be impressive - discuss dramatic! actually could not positioned it
down (unfortunately needed to though!)Positive: Epic storyNegative: attempting to get my head
round the language!
Núria: Pocas obras deben existir como los angeles 'Fedra' de Racine que sean una defensa tan
radical de los angeles virtud (afortunadamente), pero también pocas obras deben existir como l.
a. 'Fedra' de Racine que hablen con tanta intensidad del dolor por un amor que se sabe que
nunca será correspondido (desgraciadamente). Fedra está enamorada de Hipólito, el hijo de su
marido, que encima resulta que no es nada más que un bravucón misógino y arrogante. Ella
agoniza literalmente de amor (como pasa en toda tragedia que se precie), pero, avergonzada,
no se atreve a confesar quién es los angeles causa de su lenta agonía. Al final, presionada por
su nodriza, se lo confiesa. Fedra se llama a sí misma "un monstruo incestuoso", porque en el
mundo de Racine l. a. suggestion de cometer un crimen es tan grave como el hecho cometer
un crimen en sí mismo. Siguiendo esta misma tónica, ella nunca se hubiera atrevido a confesar
su amor a Hipólito, pero como parece que Teseo (el soso de su marido) ha muerto, una vez
más, convencida por su nodriza, se lo confiesa. Hasta aquí bien: Fedra es un personaje
consumido y debilitado a partes iguales por el amor y l. a. culpabilidad; en este contexto se
entiende que ella no se atreva a hacer nada hasta que no es empujada por un personaje
externo. Lo que me mosqueó es que en el mundo de Racine los personajes de alta cuna sean
tan nobles que no sean capaces de una calumnia y que por tanto no sea Fedra quién calumnie
a Hipólito después de su rechazo, sino su nodriza (que es una criada y que por tanto, en el
mundo de Racine, sí que es lógico que sea capaz de calumniar a quién se le ponga por delante
sin remordimientos; una vez más l. a. calumnia se refiere sólo al hecho de tener deseos
incestuosos, no a una violación como period hasta entonces los angeles tradición, Diós nos
libre). Es por esto que l. a. Fedra de Racine nunca será una de mis heroínas favoritas. Aún así
es una heroína bastante guay, tiene unos grandes discursos, que te encogen el corazón, y una
salida de escena épica (aunque una vez más me mosqueó que las últimas palabras de los
angeles obra no fueran las suyas; Racine, en serio, tío, ¿darle las últimas palabras a Teseo que
es un muermo de personaje? ¿cómo habíamos quedado que se titulaba los angeles obra?)Así,
el mayor pero que le encuentro a los angeles obra es el personaje de l. a. nodriza, maniqueista
a más no poder, un mero instrumento a las manos del autor para hacer su heroína más noble y
recatada. Y el mayor acierto, para mí, es que es una obra en que poco ocurre, que l. a. acción
se ve empujada por las palabras de los personajes, por los angeles revelación de sus
sentimientos (¡ésta es mi definición del teatro, señores, apuntárosla!) Personalmente también
me gusta que haya un montón de muertes pero ningún asesinato. Me gusta (en esta ocasión)
el uso recurso del deus ex machina: Poseidón envía un monstruo del mar que acojona los
caballos que tiraban el carro de Hipólito y éste es arrastrado hasta que queda hecho una
piltrafa. Toma ya, esto sí que es una muerte. Toma ya, le está bien empleado al chuleras de
Hipólito. Pero, aunque Hipólito, me caiga mal, es un buen personaje. Uno de los aciertos de
Racine fue hacerlo enamorado, una novedad en l. a. tradición, y se tiene que tener en cuenta
que en el mundo de Racine, estar enamorado es una flaqueza de carácter, pero en el caso de
Hipólito es aún más grave, porque Hipólito es hijo de una amazona y siempre ha mirado con
desprecio y aires de superioridad a los que se enamoran, pobres diablos, hasta que él se
enamora y se enamora nada más ni nada menos que de los angeles hija de los enemigos de
su padre, lo cual hace de Hipólito un auténtico hipócrita, porque es víctima de un amor que
debería ser tan condenable como el que siente Fedra por él. Racine ignora este aspecto (como
ignora también que los errores que Teseo ha cometido fuera de cámara sean también de l. a.
misma calaña), pero nosotros lectores del siglo XXI no podemos hacerlo. Evidentemente, las
lecturas implícitas que contiene este olvido me encantan (ya sabéis, a los hombres se les
perdonan errores que las mujeres no se pueden permitir cometer y tal).
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