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Jean Racine (1639-1699) | |
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Playwright, poet, master of the classical French tragedy in the times of Moliére and Corneille. Racine took his subjects from antiquity or mythology and became very popular with his plays on blind, passionate love. His dramas followed the neoclassical tragic form; they had five acts and the dramatic time of the action did not exceed one day. Usually the action was restricted to one place. "Great crimes grow out of small ones. If today / A man first oversteps the bounds, he may / Abuse in time all laws and sanctities: / For crime, like virtue, ripens by degrees; / but when has one seen innocence, in a trice, / So change as to embrace the ways of vice? " (from Phèdre, 1677) Jean Racine was born in La Ferté-Milon, a small town near Soissons. His family belonged to the upper bourgeoisie. After the death of his mother and father, he was raised by his grandparents. They were converted to Jansenists, a sect that emphasized severely controlled conduct, denied free will and stressed the necessity of grace for salvation. Racine was educated at the Catholic school at Port-Royal, a centre of religious thought and learning, where his grandmother had retired. At the age of 19, he entered the Collège de Harcourtin in Paris. During this period he became friends with Moliére, the fabulist La Fontaine, and the poet-critic Boileau. Racine's lost first play, AMASIE (1660), was accepted by the Marais Theatre but never performed. Because theatre was considered at that time immoral, Racine found himself in conflict with his family. He was forced to leave Paris, and his family tried to get him interested in the career of a priest. However, after a period of seclusion in Provence, he returned to Paris and the theatre world. Racine's early tragedy The Thebans, or The Enemy Brothers (1664) was staged by Moliére's company. His first chef-d'oeuvre, Alexander the Great (1665), was performed by the rival company at the Hôtel de Bourgogne. This work alienated him from Moliére, but marked the beginning of his ruthless promoting of his own career and his artistic triumphs. Moliére never spoke to him again. With this plays, Racine challenged Corneille's position as the leading tragedian of the age. During the production of ANDROMAQUE (1667) for Moliére's theatre, the star actress Mlle. Duparc chose Racine and became his mistress. She died in 1688. In the 1680s Racine's mistress was the actress La Champmeslé, who was his leading lady from Berenice. In the mid-1660's Racine made his break with the Jansenists. Among his following plays were LES PLAIDEURS (1668, The Litigants), BÉRÉNICE (1670), BAJAZED (1672), MITHRIDATE (1673, Mithridates), IPHIGÉNIE (1674, Iphigenia), and PHÈDRE (1677, Phaedra), the last two being inspired by Euripides, whom Racine most admired. Of Racine's tragedies, only Bajazet had a contemporary setting; The Litigants, a comedy partly based on Aristophanes' Sphekes (The Wasps), was set in the 17th century. Phaedra, Racine's masterpiece, was his last for the professional theatre. Unfortunately, Cardinal Mazarin's niece Nicolas Pradon had written a play of the same nime, and it was praised by critics. Racine was a master of Alexandrine verse, but he sketched his plays first in prose and then turned it into verse, using conventional vocabulary, less than 2000 words. The chief source for Andromaque was a passage from the third book of the Aeneid, but Racine made many changes. Andromache is the widow of Hector. Pyrrhus, King of Epirus, has brought her captive from Troy. Another great woman character is Hermione, who has come to the court of Epirus to marry Pyrrhus. In one of the great scenes of the play, the desperate Hermione says to the king, who loves the unresponsive Andromaque: "I loved you faithless; had you been faithful, how much more could I have loved you? Even now, Hearing you speak the calm, cold words which kill my hopes, it may be that I love you still." Phaedra was partly based on Euripides' Hippolytys. Phaedra loves her stepson, Hippolytys, and confesses her love to him when she wrongly assumes that her husband Theseus, the heroic King of Athens, is dead. "Shall Theseus' widow dare to love his son? No, such a monster is too vile to spare. Here is my heart. Your blade must pierce me there." Theseus returns home and hears from his wife's nurse that Hippolytus has attempted to seduce Phaedra. Hippolytus wants to seek his own heroism, telling his father: "Let me at long last show my courage." He loves the princess Aricia and protects her step-mother's honor. Theseus curses his son who is killed by Neptune's power. Phaedra confesses all and poisons herself - "Death dims my eyes, which soiled what they could see, Restoring to the light its purity." "THÉSÉE: Ah! qu'est-ce que j'entends? Un traître, un téméraire At the age of thirty-three, Racine was elected to the Académie Française. After Phaedra was ridiculed in a sonnet, Racine decided to change his life. Never happy at the distress that his career caused his family, Racine cut all links with the commercial stage, and reconciled with the Jansenists at Port-Royal. He married a pious young woman, Catherine de Romanet; they had two sons and five daughters. Most of the children became nuns or priests. Racine's wife never went to theatre. It has been claimed that she never even read any of Racine's plays. Racine remained in the country but also made short trips to Paris. He was appointed Royal Historiographer with Nicolas Boileau-Despréaux (1636-1711), a writer and critic. As royal historian, Racine accompanied the King on his military campaigns and recorded his exploits. He received a salary of 145,000 francs over a period of ten years. However, the King was not aware about the artistic significance of his favorite. When Boileau once remarked that Moliére was the greatest writer of the century, he replied: "But I never knew that." Racine's last plays, ESTHER (1689), first performed by pupils of St. Cyr, and ATHALIE (1691), were commissioned by King Louis XIV's wife, Mme de Maintenon. Esther was a great success but eventually Mme. de Maintenon banished plays from St. Cyr, her charitable foundation for young ladies. Racine died on April 21, 1699 from cancer of the liver, and was buried at Port-Royal. Later his remains were transferred to Saint-Étienne-du-Mont in Paris and reburied next to Pascal. For further reading: Jean Racine by J. Lemaître (1908); Jean Racine by G. Truc (1926); La vie de Jean Racine by F. Mauriac (1928); Racine; L'homme et l'oeuvre by P. Moreau (1945); Jean Racine: A Critical Biography G. Brereton (1951); Vers le vrai Racine by R. Jasinski (1958); Le thème symbolique dans le thèâtre de Racine by M. Blom (1962-1965); On Racine by Roland Barthes (1964); The Art of Jean Racine by B. Weinberg (1963); Jean Racine: A Critical Biography by G. Brereton (1973); Racine's Theatre: The Politics of Love by William Cloonan (1978); Racine by B.J. Yarrow (1978); Dramatic Narrative: Racine's Recits by Nina C. Ekstein (1986); Racine: Berenice by James J. Supple (1987); Time and Space in Euripides and Racine: The Hippolytos of Euripides and Racine's Phedre by Mary Pittas-Herschbach (1990); Racine: A Theatrical Reading by David Maskell (1991); Racine: Phedre by E.D. James, G. Jondorf (1994); Jean Racine Revisited by Ronald W. Tobin (1999); Birth Marks: The Tragedy of Primogeniture in Pierre Corneille, Thomas Corneille, and Jean Racine by Richard E. Goodkin. (2000) SELECTED WORKS:
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