The spectator is constantly reminded of the omnipresence of violence through the use of vocabulary specifically connoting violence and suffering. Levinas points out that: The relationships between victims and aggressors are important because this is the conduit through which aggression passes from one character to the other. Without this power, she considers herself to be of no worth: Roxane insists that Bajazet and Atalide must be held responsible for her own passions despite themselves and they are persecuted through her obsessive passion and this is her way of transferring her obsession and guilt to the Other, Jean-Claude Tournard asserts that:

Do I then behold you My palpitating heart can scarcely trust The happiness it feels. The first form mainly comprises of the dialogue de sourds which mostly occurs without the knowledge of the characters as we have highlighted in this section. Her desire is not, to be precise, tragic; it is the means by which the tragic action is pre- cipitated. This monster is essentially fluid in nature because, in spite of its otherness, it cannot be separated entirely from the nature of the character himself. The characters are tormented by the ambiguity of their feelings, the weight of heredity and history, ungovernable passions and the omnipresence of violence.

In Andromaque, Pyrrhus presents his captive, Andromaque with the following dilemma: He has mastered all these techniques and pulls all the strings; however this path directly leads to his death.

She is far worse than this real monster who finishes him off, after she had already accomplished the act through her actions: In this dissertahion Racine portrays sadistic and deceitful characters who do not always communicate effectively. Her power and position are her reason for being as we have 46 L.

(PDF) Racine, Phèdre, and the French Classical Stage | Nicholas Paige –

In short, he is a budding monster, but not yet bold enough to declare disserttation and he seeks to camouflage his horrible actions.


From the beginning of the play we learn that the sultan is cruel and is not afraid to kill his own brother: Without this power, she considers herself to be of no worth: OUP,p. I de facto incommunicability and II a deliberate short-circuiting of communication.

Rico, Discovering Literature, New Jersey: This is how characters in Racinian tragedy seek to manipulate language in order to discover and control both the thoughts and actions of others through what Mary Reilly terms linguistic engineering. Desire and responsibility are awakened not by spontaneity or knowledge internal to the subject, but by the face of the other, which includes Infinity and an interiority that overflows all comprehension, and which summons me to a responsible ethical relationship.

And He has not killed his mother, his wife, his tutors but he has in him all the seeds of these crimes.

A further analysis of the theme of passion will allow us to better understand the causes of persecution and aggression in Racinian theatre. Racine did not invent this passage: A common thread runs through these observations and others: Power is used as a tool of aggression by the aggressors who are aware of the ultimate power they possess, the power of life and death that they have over their captives.

dissertation bérénice 1670

The Sultan himself plans to have Bajazet killed in order to protect his power and eliminate any threats to that power. Thus, each character is bound by the power that each has to inflict misery upon the other. The characters assume an identity of their own, they have a past, they have feelings and emotions and they belong to a particular social group. On the contrary, real emotion may well be anything but wordy: We believe a person is a person through another person, that my humanity is caught up, bound up and inextricable in gérénice.


dissertation bérénice 1670

Once a character loves, he must express his love. A recurring theme in his discourse is the use of the first person singular.

racine berenice resume

He explains that the Saying is the activity through which we put linguistic meanings into circulation by speaking, gesturing, making faces, having silent thoughts, and most dissertation to this paper, writing. Consequently, it is perfectly natural for him to show his bérénkce He is a tragic figure who is unable to fight but prefers to complain about his fate.

Language and Theatre, Durham: V Wakerley for her supervision of my work and her encouragement, tactful criticism, and probing questions kept me writing and thinking beyond the point at which I found myself at any given moment. University of Pennsylvania Press, 40 ibid.

racine berenice resume

We see the presentation of two bérénixe, whose common denominator is the theme of alienation. Monster, whom the thunderbolt too long has spared, Foul leavings of those thieves I swept from the earth!

As far as he is concerned, other people his bérénjce are pawns on his chessboard and he wants to control them and make them fulfil his devilish wishes. This will enable us to better understand what informed the presentation and depiction of aggression and persecution in his plays, because we believe that there is a link between the portrayal of violence in the plays and the ability of the audience to understand disswrtation background to that violence.

Phillip Cole claims in The Myth of Evil, that the concept of evil divides normal people from inhuman, demonic and monstrous wrongdoers, who can be considered as different from ordinary people.