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020 _a9780271058856
_qPDF
024 7 _a10.1515/9780271058856
_2doi
035 _a(DE-B1597)9780271058856
035 _a(DE-B1597)584148
035 _a(OCoLC)1253313659
040 _aDE-B1597
_beng
_cDE-B1597
_erda
050 4 _aPQ1888.E5
_b.R335 2010
072 7 _aLCO008000
_2bisacsh
082 0 4 _a842/.4
_222
084 _aonline - DeGruyter
100 1 _aRacine, Jean
_eautore
245 1 4 _aThe Complete Plays of Jean Racine :
_bVolume 2: Bajazet /
_cJean Racine.
264 1 _aUniversity Park, PA :
_bPenn State University Press,
_c[2021]
264 4 _c©2010
300 _a1 online resource (144 p.)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aThis is the second volume of a projected translation into English of all twelve of Jean Racine's plays-only the third time such a project has been undertaken in the three hundred years since Racine's death. For this new translation, Geoffrey Alan Argent has taken a fresh approach: he has rendered these plays in rhymed "heroic" couplets. While Argent's translation is faithful to Racine's text and tone, his overriding intent has been to translate a work of French literature into a work of English literature, substituting for Racine's rhymed alexandrines (hexameters) the English mode of rhymed iambic pentameters, a verse form particularly well suited to the highly charged urgency of Racine's drama and the coiled strength of his verse. Complementing the translation are the illuminating Discussion, intended as much to provoke discussion as to provide it, and the extensive Notes and Commentary, which clarify obscure references, explicate the occasional gnarled conceit, and offer their own fresh and thought-provoking insights.Bajazet, Racine's seventh play, first given in 1672, is based on events that had taken place in the Sultan's palace in Istanbul a mere thirty years earlier. But the twilit, twisting passageways of the Seraglio merely serve as a counterpart to the dim and errant moral sense of the play's four protagonists: Bajazet, the Sultan's brother; Atalide, Bajazet's secret lover; Roxane, the Sultaness, who is madly in love with Bajazet and dangles over his head the death sentence the Sultan has ordered her to implement in his absence; and Akhmet, the wily, well-intentioned Vizier, who involves them all in an imbroglio in the Seraglio, with disastrous consequences. Unique among Racine's plays, Bajazet provides no moral framework for either protagonists or audience. We watch as these benighted characters, cut adrift from any moral moorings, with no upright character at hand to serve as an ethical anchor and no religious or societal guidelines to serve as a lifeline, flail, flounder, and finally drag one another down. Here, Racine has presented us with his four most mercilessly observed, most subtly delineated, and most ambiguously fascinating characters. Indeed, Bajazet is certainly Racine's most undeservedly neglected tragedy.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 24. Mai 2022)
650 7 _aLITERARY COLLECTIONS / European / General.
_2bisacsh
700 1 _aArgent, Geoffrey Alan
_eautore
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.1515/9780271058856?locatt=mode:legacy
856 4 0 _uhttps://www.degruyter.com/isbn/9780271058856
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9780271058856/original
942 _cEB
999 _c187164
_d187164