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Updated: May 31, 2025
He added the last words with a malicious smile, for the hardening look in Racine's face told him his request was hopeless, and he could not resist the temptation to put the matter with cutting force. Racine rose to the bait with a jump. "Not one single thing not one single solitary thing !"
Yet, even so, Adrienne held the first place in his heart, and her rival knew it. Therefore she resolved to humiliate Adrienne, and to do so in the place where the actress had always reigned supreme. There was to be a gala performance of Racine's great tragedy, "Phedre," with Adrienne, of course, in the title-role.
Peter's, Rome, that all statues were Venus dei Medici, that all tragedies were as beautiful as Racine's "Iphigénie", all works of poetry as well written as Boileau's "Art Poétique", all comedies as good as "Tartufe", and thus in every sphere; would you then have as much pleasure in enjoying masterpieces become common as they made you taste when they were rare?
There was no machine of thought which he could employ with perfect ease, confidence, and freedom. He had German enough to scold his servants, or to give the word of command to his grenadiers; but his grammar and pronunciation were extremely bad. He found it difficult to make out the meaning even of the simplest German poetry. On one occasion a version of Racine's Iphigenie was read to him.
Yet, even so, Adrienne held the first place in his heart, and her rival knew it. Therefore she resolved to humiliate Adrienne, and to do so in the place where the actress had always reigned supreme. There was to be a gala performance of Racine's great tragedy, "Phedre," with Adrienne, of course, in the title-role.
The appearance of this exciting and vital drama, written when Racine was twenty-eight years old, brought him immediate fame. Racine's character was a complex one; he was at once a brilliant and caustic man of the world, a profound scholar, a sensitive and emotional poet.
Of an entirely different character is the version of Racine's 'Phedre', which, as we have seen, was finished a few weeks before Schiller's death. Here we have for the first time what can properly be called a poetic translation. To a large extent Schiller's version is a line-for-line rendering of the French alexandrines into German pentameters, a thing by no means easy to do.
And here precisely similar considerations apply, as in the case of Racine's dramatic method. In both instances the English reader is looking for variety, surprise, elaboration; and when he is given, instead, simplicity, clarity, ease, he is apt to see nothing but insipidity and flatness.
Henrietta of England induced Corneille and Racine, unknown to each other, to produce a tragedy on Berenice, in order to contrast the powers of these illustrious rivals. They were represented in the year 1670; that of Corneille proved a failure, but Racine's was honored; by the tears of the court and the city.
Yet whatever might be the undoubted capabilities of Porter for assuming the tragic mask, audience and manager sometimes insisted that Nance should banish all the sunlight and becloud her features with the sorrows of a high-strung heroine. One of these heroines was Andromache, the title personage of "The Distressed Mother," an adaptation by Ambrose Philips of Racine's "Andromaque."
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