Theatre

Andromaque by Jean Racine

By Jean Racine

Ideal chef-d uvre de Racine, qui lui valut, à vingt-sept ans, d être comparé au grand Corneille, Andromaque fut à sa création un véritable triomphe. En réinventant l histoire de l. a. veuve d Hector captive de Pyrrhus, roi d Épire, il inaugurait une nouvelle forme de tragédie, où l amour devenait resource de tous les périls et de tous les égarements. Dans cette pièce aux puissants effets pathétiques, marquée par le désordre extrême des sentiments, les personnages, emportés par leurs passions, se livrent aux pires excès sans jamais cesser d être d authentiques héros.

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Andromaque

Ultimate chef-d uvre de Racine, qui lui valut, à vingt-sept ans, d être comparé au grand Corneille, Andromaque fut à sa création un véritable triomphe. En réinventant l histoire de l. a. veuve d Hector captive de Pyrrhus, roi d Épire, il inaugurait une nouvelle forme de tragédie, où l amour devenait resource de tous les périls et de tous les égarements.

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Example text

Under Beckett’s tireless wand that opening passage soon became: They clothed me and gave me money. I knew what the money was for, it was to get me started. 10 During those long but edifying sessions, there were low moments and high, but for Beckett, faced with going back over a text he had left behind some years before, from which he had progressed to other levels and other considerations, it was too often painful. Finally, in response to one particularly long moment of despair, I blurted, “But Mr.

C’est moi qui y vis maintenant. …” Before nightfall I had finished Molloy. I will not say I understood all I had read, but if there is such a thing as a shock of discovery, I experienced it that day. The simplicity, the beauty, yes, and the terror of the words shook me as little had before or has since. And the man’s vision of the world, his painfully honest portrayal thereof, his anti-illusionist stance. …I waited a day or two, then reread Molloy, tempted to plunge into Malone but resisting the temptation, as one resists the seductive sweet.

And many critics have applied the dialogues with Duthuit to Beckett’s own work. Whether he is dealing with the visual arts or with literature, Beckett’s concern is to define the changing relationship between the artist and the “occasion” of his art—the persistent need of the artist to express, even in the face of subject matter resistant to expression and an inadequate medium. In writing about the predicament of the modern artist faced with fundamental questions of representation, Beckett has implicitly defined his own position.

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