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Junior Language
Three plays by Racine For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
Le Misanthrope est une comédie sombre de 1666, dont l'intrigue paraît simple: un homme essaie d'obtenir un rendez-vous en tète à tète avec la femme qu'il aime - et n'y parvient pas. Cet homme excessif, Alceste, défend la sincérité absolue. Mais la jeune femme, Célimène, qui reçoit bien des hommes dans son salon, aime plaire... Qui a tort et qui a raison, des inadaptés sincères ou des hypocrites trop bien adaptés ? Entre le rire et les larmes, Molière se garde bien de nous donner une réponse.
One of the world's great minds ruminates on God, the world and reason in jewel-like fragments of thought.
A brilliant translation of one of the most influential works of French theater, Phaedra is rendered into movingly expressive verse by the Pulitzer Prize-winning translator Richard Wilbur.
Jean Racine's last and greatest tragedy is based on a legend that has intrigued dramatists as far back as Euripides and Seneca. Phaedra, the second wife of Theseus, the heroic king of Athens, is consumed with an illicit passion for Hippolytus, her stepson.
Given word that her husband is dead, she confesses her love for Hippolytus and is rebuffed. When Theseus turns out to be alive after all, Phaedra connives in a lie to convince her husband that it was Hippolytus who attempted to seduce her. The stage is set for fury and grief, guilt and remorse.
In his seventeenth-century interpretation, Racine replaced the ornate, stylized tragedy based on classic Greek form with human-scale characters and actions convincingly motivated by human emotions. Acclaimed translator Richard Wilbur describes in his lucid, informed introduction the method by which he remained faithful to Racine's form and intention. The result is a triumph of translation, poetry, and theater.
Jean Racine's last and greatest tragedy is based on a legend that has intrigued dramatists as far back as Euripides and Seneca. Phaedra, the second wife of Theseus, the heroic king of Athens, is consumed with an illicit passion for Hippolytus, her stepson.
Given word that her husband is dead, she confesses her love for Hippolytus and is rebuffed. When Theseus turns out to be alive after all, Phaedra connives in a lie to convince her husband that it was Hippolytus who attempted to seduce her. The stage is set for fury and grief, guilt and remorse.
In his seventeenth-century interpretation, Racine replaced the ornate, stylized tragedy based on classic Greek form with human-scale characters and actions convincingly motivated by human emotions. Acclaimed translator Richard Wilbur describes in his lucid, informed introduction the method by which he remained faithful to Racine's form and intention. The result is a triumph of translation, poetry, and theater.
A lean, high-tension version of a classic tragedy.
The myth of Phaedra is one of the most powerful in all of classical mythology. As dramatized by the French playwright Jean Racine (1639-99), the dying Queen's obsessive love for her stepson, Hippolytus, and the scrupulously upright Hippolytus' love for the forbidden beauty Aricia has come to be known as one of the great stories of tragic infatuation, a tale of love strong enough to bring down a kingdom. In this "tough, unrhyming avalanche of a translation" (Paul Taylor, The Independent), Hughes replaces Racine's alexandrines with an English verse that serves eloquently to convey the passions of his protagonists. The translation was performed to acclaim in London in 1998, and the London production, starring Diana Rigg, was staged in 1999 at the Brooklyn Academy of Music. "We are still catching up with Ted Hughes's gift for narrative verse after his Tales from Ovid," one English critic observed after the London premiere. "Little needs to happen on stage when there's a swirling action-packed disaster movie-riddled with sex and violence-in Hughes's free verse."