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Updated: May 13, 2025
All the interest is centred in Monime: she is one of Racine's most amiable creations, and excites in us a tender commiseration. On no work of this poet will the sentence of German readers differ more from that of the French critics and their whole public, than on the Iphigenie.
This actor made his first appearance in the character of Achille in the tragedy of Iphigenie en Aulide by RACINE. He was not the Achilles of Homer, nor even that of the piece, or at best he represented him in miniature.
She had "created" Gluck's Iphigénie en Aulide and the composer had said of her, "If it had not been for the voice and elocution of Mlle. Arnould, my Iphigénie would never have been performed in France." In her youth she had interested not only Marie Antoinette but also the King, and she had been the object of Mme. de Pompadour's suspicion and Mme. du Barry's rage.
Pelletan brought me into the work, the two Iphigenie had been published; Alceste was about to be, and Armide was ready. In Armide Damcke had been entirely carried away by his zeal for "improvements" a zeal that can do so much harm. It was time this was stopped. Not only had he corrected imaginary faults here and there, but he had also inserted things of his own invention.
On one occasion, when he was praising Rameau's chorus of "Castor and Pollux," an admirer of his flattered him with the remark, "But what a difference between this chorus and that of your 'Iphigénie'!" "Yet it is very well done," said Gluck; "one is only a religious ceremony, the other is a real funeral." He was wont to say that in composing he always tried to forget he was a musician.
Corydon mastered new lists of German words, and they read Freitag's "Verlorene Handscrift" together, and von Scheffel's "Ekkehard", and even attempted "Iphigenie auf Tauris" though in truth they found it difficult to detach themselves to quite that extent from the world of every-day.
In 1774 the great composer Gluck, whose genius was destined to have such a profound influence on French music, came to Paris with his "Iphigenie en Aulide," by invitation of the Dauphiness Marie Antoinette, who had formerly been his musical pupil.
Opera of "Iphigénie en Aulide" performed in Paris. Opinion of foreign nations. Outrages in the provinces in 1789. Overthrow of the Girondins. Paris Duverney.
But Germany at that time presented nothing in which he could have anticipated Iphigenie, and the formation of an effective classical tradition in German literature. Under this purely literary influence, Winckelmann protests against Christian Wolff and the philosophers. Goethe, in speaking of this protest, alludes to his own obligations to Emmanuel Kant.
But we pronounce this departure from literal truth a merit and not a defect. We consider Goethe's second "Iphigenie," written in verse, far preferable to the first one written in prose; nay, it is the rhythm or metre itself which communicates to the work its incomparable beauty.
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