...Phaedra and Tartuffe Neoclassicism Neoclassicism, embraces the works of ancient Greece and Roman, also neoclassical plays had many requirements in order to fall under neoclassical. Phaedra and Tartuffe both embodies this idea in their own kind of way. There always had to be Five Acts and the play was also told in French Rhyme, that’s why some of the English translations seems like it doesn’t rhyme. It has three unities, time (24 hours only), place (same place), and action (only one plot). I will go in to greater detail on how each play does keeps to these requirements. “Poetic Justice” the evil guy gets what he deserves, and the forbearances of mixing comedy and tragedy, are major contraption on these neoclassical requirements. The plays have to feel real in neoclassical plays. Phaedra and Tartuffe both have perfect examples that show off how these plays are neoclassical. Each play must have 5 acts, that all must be done in one scene. In Tartuffe it was all done in Orgon house. In Phaedra it was done all in the royal palace at Trezene. Everything must be take place in a 24 hour span, it started when Orgon was talking about marrying his daughter to Tartuffe, then he gets arrested the following day by the king. In Phaedra it all starts when Hippolytus is talking about leaving in order to search for his father and then ending when everyone is pretty much dead and when Theseus pardons Aricia and adopts her as a his daughter. These rules must be followed to an exact or the...
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...The Values of Moral Enlightenment My interpretation of Phaedra, established that the play played on various frenzied feelings in a variety of differing morals called love. A romantic love, between Hippolytus and Aricia. Then there is a love that by law, then and now, one of distortion, and unnatural, and tainted and incestuous love, what Phaedra had for Hippolytus, her stepson,. There then is the love that exists between family members, as it is with Hippolytus and his father, Theseus. There then is a different love that is so fierce, and so protective, I like to call, a replacement of a mother, a shielding love, as the one that Oenone, the aging nurse servant, had for Phaedra. Hippolytus confesses that he is in love with princesses Aricia, of Athens. However, King Theseus has, “decreed that she not keep alive her brothers’ seeds; Fearing some new shoots from their guilty stem…doomed her to be single all her days.” (The Norton, Pg 164) For King Theseus, believes that there is bad blood that runs through the family of Aricia. If Aricia married Hippolytus, or any other man, and had offspring then there will be a chance that bad blood would be passed on to future generations. Therefore, Hippolytus, or any man, cannot and would not go against king’s commands. I believe that true love could surmount all. Like Hippolytus and Aricia’s love for each other, their love brings modesty, truthfulness, and self-denying to each other. Even though the Hippolytus and Aricia will never...
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...Week 2 – Phaedra Civilization 2: Renaissance Through Modern This is story of pain and tragedy involving the life of Theseus, King of Athens and Phaedra the Queen of Greece. This story follows the time-honored tradition that has plagued man since the beginning of recorded history and will continue with no end in sight far into our future. This is a story of unchecked passion between a man and a woman that has the potential to destroy both of their worlds. The story begins with Phaedra who is passionately attracted to her stepson Hippolytus. Although there were no blood relation between these two, there is something that is totally unacceptable and unnatural about the way that Phaedra feels about her stepson. This drive is so strong and totally consumes Phaedra. She is helpless and unable to stop these wretched emotions. As the Queen of Greece, there is much she could loose if these passions are found out so she struggles constantly to control these feelings. She is conflicted and she tortures herself because of the guilt she feels about these passions she has for her stepson. The story of Phaedra represents the evil that every human has carried since the beginning. In this story, Hippolytus has problems of his own; first of all, he has a father that has been an overpowering figure since his son’s birth. His father seems to be larger than life. A great warrior he is also known to be a “heroic womanizer” as he fight both human and non-human enemies (Douglas, et al., 2006...
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...McKenna Griffiths HUMN 1120 Short Paper 1, Prompt #3 2/9/2016 Phèdre’s Monsters Phèdre, the daughter of Minos and Pasiphae, is the half-sister to the illegitimate son of her mother and a bull: the Minotaur. Theseus, Phèdre’s husband and the king of Athens, seeks to kill monsters to protect his kingdom. The literal monsters that Theseus seeks to destroy exhibit the same features that are innate in his wife due to her monstrous blood line. Phèdre’s half-brother, the Minotaur, displays physical monstrousness and destruction, whereas Phèdre is destructive emotionally and mentally. Phèdre’s feelings for Hippolytus manifest in such a way that result in literal consequences, such as the ruin of her marriage and the betrayal of her kingdom. Although Theseus seeks to eliminate literal monsters, he fails to deal with, let alone take notice of the monsters that reside inside of his wife. However, due to the fact that he is constantly gone for his job, he is not necessarily given the chance to. Throughout this story, the characters are overwhelmed with concern over killing physical monsters, and they seem to turn a blind eye to the figurative monsters within. These monsters prove to be more destructive than a literal beast. After revealing her love to Hippolytus, Phèdre states: Your father was a hero, be like him, And rid the world of one more monster now. Does Theseus’ widow dare to love his son? Believe me you should not let her escape. Here is my heart. Here, where your hand...
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...(bourgeoisie, peuple, petite aristocratie) | Tonalité | fatalité et mort, destin individuel et destin collectif inaltérables face aux divinités, universalité de la condition humaine (dénouement malheureux) | réalisme relatif, reflet d’une société, travers humains éternels + rire ou sourire, effets comiques variés et fin heureuse (farce grossière ou finesse - comique de mots, de gestes, de situation, de caractère, de mœurs) | Langue | langue soutenue, alexandrins, 5 actes | langue standard ou familière ; en prose ou en vers ; en 1, 3 ou 5 actes | Règles | trois unités (temps, lieu, action), vraisemblance et bienséance | souplesse | Titre | nom propre (Andromaque, Phèdre, Horace...) | nom commun ou personnage collectif (L’Avare, Les Femmes savantes, Le Misanthrope…) | Jean Racine Andromaque, Britannicus, Phèdre Pierre Corneille Le Cid, Cinna, Horace Farceurs français et italiens Un hôtel particulier. La troupe de comédiens jouait dans la cour de l’hôtel. Musique de Lully pour Le Bourgeois gentilhomme, de Molière : http://www.webscolaire.jeaneudes.qc.ca/profs/bfriset/theatre/sons/Chaconne%20des%20Scaramouches.wma Une salle de jeu de paume, autre lieu de représentation. Molière Vie et mort de...
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...32 Russell, Science et religion : le nombrilisme métaphysique de l’homme « Pourquoi, de toute façon, cette glorification de l’Homme ? Que dire des lions et des tigres ? » [...] seule une suffisance insondable peut voir dans l'homme un mobile que l'Omniscience jugerait digne du créateur." « . Si je recevais la toute-puissance, avec des millions d’années pour expérimenter, je ne penserais pas à me vanter de l’Homme comme résultat de mes efforts. « <-> LUCRECE 72 « Et quand j'ignorerais la nature des atomes, j'oserais encore, après l'examen des phénomènes célestes et bien d'autres d'ailleurs, affirmer que la nature n'a pas été faite pour nous et qu'elle n'est pas l'oeuvre des dieux: tant l'ouvrage laisse à désirer! 36 Pascal sur la science et la religion : la nécessaire humilité de la science La raison est disqualifiée dans sa prétention à revendiquer un magistère en matière de vérité. Au contraire, elle devrait faire preuve de modestie car sans le secours du « cœur » qui lui donne ses premiers principes, elle ne pourrait même pas produire le moindre raisonnement. « il n’y a rien de si conforme à la raison que le désaveu de la raison dans les choses qui sont de foi » ? Pensée B. 272. 37 Leo Strauss, Droit naturel et histoire : science, religion et révélation Opposition science / religion : chacune refuge les présupposés indispensables de l’autre (croyance ou non originelle en la révélation) : à partir de là, aucune a pu convaincre l’autre 41 Freud. Nouvelles...
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...A ROOM OF ONES OWN [* This essay is based upon two papers read to the Arts Society at Newnharn and the Odtaa at Girton in October 1928. The papers were too long to be read in full, and have since been altered and expanded.] ONE But, you may say, we asked you to speak about women and fiction--what, has that got to do with a room of one's own? I will try to explain. When you asked me to speak about women and fiction I sat down on the banks of a river and began to wonder what the words meant. They might mean simply a few remarks about Fanny Burney; a few more about Jane Austen; a tribute to the Brontës and a sketch of Haworth Parsonage under snow; some witticisms if possible about Miss Mitford; a respectful allusion to George Eliot; a reference to Mrs Gaskell and one would have done. But at second sight the words seemed not so simple. The title women and fiction might mean, and you may have meant it to mean, women and what they are like, or it might mean women and the fiction that they write; or it might mean women and the fiction that is written about them, or it might mean that somehow all three are inextricably mixed together and you want me to consider them in that light. But when I began to consider the subject in this last way, which seemed the most interesting, I soon saw that it had one fatal drawback. I should never be able to come to a conclusion. I should never be able to fulfil what is, I understand, the first duty of a lecturer to hand you after an hour's discourse a...
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...> 168159 CD >m Gift of YALE UNIVERSITY With the aid of the ROCKEFELLER FOUNDATION 1949 OSMANIA UNIVERSITY LIBRARY Call No. Author %&V/S#/ 2-^ & Accession No. - . This bookihould be returned on or before the date last marked below. WHAT IS LITERATURE? JEAN-PAUL SARTRE Translated from the French by BERNARD FRECHTMAN PHILOSOPHICAL LIBRARY NEW YORK Copyright, 1949, by Philosophical Library, Inc. 15 EAST 40th Street, New York, N.Y. Printed in the United States of America TABLE OF CONTENTS Foreword I II What Why is Writing? Write? Whom Does One Write? 7 38 III For IV Situation of the Writer in 1947 161 Index 299 67 FOREWORD want to engage yourself," writes a young imbecile, "what are you waiting for? Join the Communist Party." A great writer who engaged himself often and disengaged himself still more often, but who has forgotten, said to me, "The worst artists are the most engaged. Look "If you at the Soviet painters" "You want tres is to murder An old critic gently complained, literature. spread out insolently all Contempt for belles-let- through your review." A petty mind calls me pigheaded, which for him is evidently the highest insult. An author who barely crawled from name sometimes awakens men accuses me of not being one war to the other and whose languishing memories in old concerned with immortality; he knows, thank God, any number of people whose chief hope it is. In the eyes of an American...
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...I I HAVE noticed that when someone asks for you on the telephone and, finding you out, leaves a message begging you to call him up the moment you come in, and it’s important, the matter is more often important to him than to you. When it comes to making you a present or doing you a favour most people are able to hold their impatience within reasonable bounds. So when I got back to my lodgings with just enough time to have a drink, a cigarette, and to read my paper before dressing for dinner, and was told by Miss Fellows, my landlady, that Mr. Alroy Kear wished me to ring him up at once, I felt that I could safely ignore his request. “Is that the writer?” she asked me. “It is.” She gave the telephone a friendly glance. “Shall I get him?” “No, thank you.” “What shall I say if he rings again?” “Ask him to leave a message.” “Very good, sir.” She pursed her lips. She took the empty siphon, swept the room with a look to see that it was tidy, and went out. Miss Fellows was a great novel reader. I was sure that she had read all Roy’s books. Her disapproval of my casualness suggested that she had read them with admiration. When I got home again, I found a note in her bold, legible writing on the sideboard. Mr. Kear rang up twice. Can you lunch with him to-morrow? If not what day will suit you? I raised my eyebrows. I had not seen Roy for three months and then only for a few minutes at a party; he had been very friendly, he always was, and when we separated he had expressed...
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