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‘ De ce această calomnie? După reprezentaţie am luat cina la Romanovi. Pe cuvântul meude onoare. Apoi m-am dus la culcare, am dormit sănătos şi a doua zi am mers acasă fără asuspina vreo nemulţumire. Dacă aş fi fost un laş aş fi alergat de la un editor la altul şi dela un actor la altul, i-aş fi implorat să fie îngăduitori şi aş fi petrecut două trei săptămâniîn Petersburg, agitându-mă cu ‘Pescăruşul’ meu, cu emoţie, cu o transpiraţie rece în

lamentaţii.....Am acţionat atât de rece şi de responsabil precum un om care a făcut oofertă şi apoi a fost întâmpinat cu un refuz şi nu mai are nimicaltceva de făcut decât să plece. Într-adevăr, vanitatea mea a fost năucită, dar ştiţi, nu a fost o lovitură din senin.Aşteptam un eşec şi mă pregătisem pentru el precum te-am prevenit cu o absolutăsinceritate ‘.

Subiectul:

Act I

Piesa se desfăşoară pe o proprietate rurală deţinută de Sorin,un fost angajatguvernamental cu o sănătate şubredă. El e fratele faimoasei actriţe Arkadina, care tocmaia sosit pe moşie împreună cu iubitul ei, Trigorin, pentru o scurtă vacanţă. În acest act,oamenii care stau pe moşia lui Sorin se întrunesc pentru a viziona o piesă pe care fiulArkadinei, Treplev a scris-o şi a regizat-o. În piesa din interiorul piesei joacă Nina , o fatătânără care locuieşte pe o moşie învecinată. Piesa e ultima tentativă de a crea o nouăformă teatrală şi presupune o bogată simbolistică. În actul I se conturează şi multeletriunghiuri romantice ale piesei. Profesorul Medvedenko o iubeşte pe Masha fiica

administratorului moşiei; Masha, în schimb e îndragostită de Treplev , care la rândul lui ocurtează pe Nina .

Act II

Actul II se desfăşoară după masa în afara proprietăţii ,cateva zile mai tarziu. Dupăreminiscenţe ale unor vremuri mai fericite Arkadina îl atrage pe administratorul moşieiShamrayev într-o dispută şi decide să plece imediat. Nina tânjeşte după grupul care pleacă , iar între timp Treplev apare şi îi dă un pescăruş pe care l-a împuşcat. Nina econfuză şi terifiată la acest gest. Treplev îl vede pe Trigorin apropiindu-se, motiv pentru

care pleacă gelos. Nina îl întreabă pe Trigorin despre viaţa de scriitor. El argumentează cănu e uşoară deloc. Nina adaugă că ştie despre dificultatea vieţii de actriţă, dar şi-ar dorifoarte mult să devină una.Trigorin remarcă pescăruşul ucis de Treplev şi jonglează cuideea folosirii lui ca subiect pentru o nuvelă.

Act III

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Actul III se desfăşoară în interiorul moşiei în ziua în care Arkadina şi Trigorin au hotărâtsă plece. Între acte Treplev a avut o tentativă de sinucidere, dar glonţul i-a rănit doar craniul. Nina îi oferă un medalion lui Trigorin care îi proclamă devotamentul faţă de el prin citate tocmai din cartea lui :"dacă vreodata vei avea nevoie de viaţa mea, vino şi ia-o!" .Apare Arkadina urmată de Sorin a cărui sănătate se deteriorează tot mai mult. Are

loc o scurtă discuţie între Arkadina şi Sorin după care Sorin se prăbuşeşte de suferinţa. Eajutat să se ridice de către Medvedenko. Treplev intră şi o roagă pe mama lui să-ischimbe bandajul. În acest timp el îl discreditează pe Trigorin şi se stârneşte o nouădispută. La dorinţa lui Trigorin de a mai ramâne pe moşie, Arkadina argumenteazăinsistent obţinând acordul lui de a se reîntoarce la Moscova. Nina vine să îşi ia un ultimrămas bun de la Trigorin şi să-l informeze că a luat decizia să fugă şi să devină actriţă în pofida opoziţiei părinţilor ei la acestea. Se sărută pasional şi fac planuri pentru o întâlnireîn Moscova.

Act IVActul IV are loc pe timp de iarnă,doi ani mai târziu, în salonul care este transformat încamera de studiu a lui Treplev. Masha a acceptat în sfârşit cererea în căsătorie a luiMedvedenko şi au un copil împreună deşi Masha încă nutreşte o iubire zadarnică pentruTreplev. Diverse personaje discută despre ce s-a întâmplat în răstimpul de doi ani : Ninaşi Trigorin au locuit pentru un timp, împreuna în Moscova până când el a abandonat-oreîntorcându-se la Arkadina. Nina niciodată nu a atins un succes răsunător ca şi actriţă şi pentru moment e într-un turneu în provincie cu o mică trupă de teatru. Treplev şi-a publicat câteva povestiri , dar e mereu deprimat. Sănătatea lui Sorin e tot mai şubredă iar oamenii de pe moşie i-au telegrafiat Arkadieni să vină să asiste la ultimele lui zile.

Majoritatea personajelor pleacă în camera de studiu pentru a juca bingo ; Treplev nu îiînsoţeşte , în schimb îşi petrece timpul lucrând la manuscrisul lui. După ce grupul părăseşte încăperea pentru a cina, Treplev aude bătăi în uşă. Este surprins la vederea Ninei. Nina îi povesteşte despre viaţa ei din ultimii doi ani. Începe să se compare pescăruşului pe care Treplev l-a ucis în Actul II, apoi respinge această asemănare şiafirmă : ‘sunt actriţă !’.Îi spune lui că a fost nevoită să meargă în turneu cu un teatru demâna a doua după moartea copilului pe care l-a avut cu Trigorin, dar pare să-şi fi găsit onouă linişte. Treplev insistă ca ea să rămână dar e foarte râvăşită . Îl îmbrăţişează peTreplev şi apoi pleacă. Deznădăjduit, Treplev petrece două minute în linişte , distrugândmanuscrisul înainte să părăsească încăperea.Grupul revine şi se reîntoarce la jocul de bingo. Brusc se aude o împuşcătură înafara scenei, iar Dorn merge să investigheze. Sereîntoarce şi îl ia pe Trigorin de-o parte, anunţându-l ca Treplev tocmai s-a sinucis (cutoate acestea, Cehov încheie strategic, în coadă de peşte lăsând să ne întrebăm dacă chiar s-a sinucis sau glonţul nu a fost fatal.)

Madame de La Fayette

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Madame de La Fayette

Born18 March 1634

Paris, France

Died

25 May 1693 (aged 59)

Paris, France

Occupation  Novelist

Notable work(s)  La Princesse de Clèves

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Marie-Madeleine Pioche de La Vergne, comtesse de La Fayette ( baptized 18 March1634 – 25 May 1693), better known as Madame de La Fayette, was a French writer , theauthor of  La Princesse de Clèves, France's first historical novel and one of the earliestnovels in literature.

[edit] Life

Christened Marie-Madeleine Pioche de La Vergne, she was born in Paris to a family of minor but rich nobility. At 16, de la Vergne became the maid of honor to Queen Anne of Austria and began also to acquire a literary education from Gilles Ménage, who gave her lessons in Italian and Latin. Ménage would lead her to join the fashionable salons of Madame de Rambouillet and Madeleine de Scudéry. Her father, Marc Pioche de laVergne, had died a year before, and the same year her mother married Renaud deSévigné, uncle of Madame de Sévigné, who would remain her lifelong intimate friend.

In 1655, de la Vergne married François Motier, comte de La Fayette, a widowednobleman some eighteen years her senior, with whom she would have two sons. Sheaccompanied him to country estates in Auvergne and Bourbonnais although she madefrequent trips back to Paris, where she began to mix with court society and formed her own successful salon. Some of her acquaintances included Henrietta of England, futureDuchess of Orleans, who asked La Fayette to write her biography; Antoine Arnauld; andthe leading French writers Segrais and Huet. Earlier on, during the Fronde, La Fayettehad also befriended the Cardinal de Retz.

Settling permanently in Paris in 1659, La Fayette published, anonymously, La Princesse

de Montpensier in 1662. From 1665 onwards she formed a close relationship withFrançois de La Rochefoucauld, author of Maximes, who introduced her to many literaryluminaries of the time, including Racine and Boileau. 1669 saw the publication of thefirst volume of  Zaïde, a Hispano-Moorish romance which was signed by Segrais but isalmost certainly attributable to La Fayette. The second volume appeared in 1671. Thetitle ran through reprints and translations mostly thanks to the preface Huet had offered.

Fedra

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Acest articol sau această secţiune are bibliografia incompletă sauinexistentă.Puteţi ajuta găsind susţinere bibliografică pentru conţinutul paginii.

Fedra este o tragedie în 5 acte (având respectiv 5,6,6,6 si 7 scene), scrisă în versuri de

către Jean Racine, prezentată la 1 ianuarie 1677 la Hôtel de Bourgogne.

Fedra (greacă: σελασφόρος , înseamnă Lumina) este ultima tragedie profană a lui Racineînaintea unei lungi tăceri de 12 ani de-a lungul cărora se va consacra serviciului regelui şireligiei. Încă o data, el alege un subiect deja tratat de poeţii tragici greci şi romani. Înlipsa regelui Teseu, Fedra sfârşeşte prin a mărturisi iubirea sa pentru Hippolit, fiul luiTeseu dintr-o alta căsătorie.

Totul în "Fedra" a fost celebru: construcţia tragică, profunzimea personajelor, abundenţaversificaţiei. Spre deosebire de "Hippolit poartă coroană" al lui Euripide, Racine face cala finele operei Fedra să moară; deci, un timp ea suferă de pe urma morţii lui Hippolit.

Fedra, ca personaj, este unul dintre cele mai remarcabile din operele lui Racine. Ea,totodată, este vinovată de nefericirea altora şi este şi victima instinctelor sale.

"Fedra" a fost victima unei creaţii simultane, pe aceeaşi temă, a lui Nicolas Pradon, azi bine uitat, care a provocat o ceartă literară care se va ivi în "’Affaire des sonnets". GabrielGilbert publicase deja "Hippolit sau un băiat insensibil" (1647). Puţin câte puţin, "Fedra"devine una dintre piesele cele mai cunoscute ale lui Racine. Chiar dacă ea n-a fost aşa destudiată ca Andromaca sau Britannicus, ea este una dintre tragediile secolului al XVII-leacel mai des reprezentate pe scenă.

 Phaedra, sometimes known as  Hippolytus, is a play by Seneca the Younger , telling the

story of Phaedra and her taboo love for her stepson Hippolytus. It is an adaptation of  Hippolytus by Euripides; in Seneca's version, Phaedra is more sensual and shameless,deceiving her nurse in order to gain her as an accomplice.

According to Pierre Grimal, it seems that this work is the result of the "contamination" of several sources, including Sophocles (a lost tragedy), Lycophron and Ovid.[citation needed ]

Contents

[hide]

• 1 Phaedra and stoicism• 2 Plot• 3 Characters• 4 External links

• 5 Bibliography

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[edit] Phaedra and stoicism

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 be challenged and removed. (January 2010)

Stoicism teaches that caustic sentiments are the products of error in judgment, and thatthe only people who were exempt from experiencing these emotions were sages, peoplewho possessed moral and intellectual perfection. Stoics also concerned themselves withthe energetic association of cosmic determinism and freedom, and believed it moral touphold a will according to nature. Best indication for a person’s philosophy wasexpressed through his behavior. It was with these philosophical teachings that Senecawrote his play, Phaedra. For the style of Stoic writing, Seneca created his main character with one obsession, her lust for Hippolytus, which would be her tragic emotion that produced an error in judgment and would lead to her downfall. Because Hippolytus’drive to remain innocent and favorable to the gods, alienated himself from women,

gluttony, etc. acts as an indication to rectify behavior and provides a polar opposite totragic hero’s wrong doings.

[edit] Plot

This article's plot summary may be too long or overly detailed. Please helpimprove it  by removing unnecessary details and making it more concise. (January

2010)

Lines 1-423

Hippolytus, son of King Theseus of Athens, leaves his palace at break of dawn to go boar-hunting--his favorite sport. He prays to the virgin goddess Diana for success in thehunt.

After he goes, Phaedra, wife of Theseus and daughter of King Minos of Crete, appears infront of the palace, lamenting her fate. Her husband has been gone for years after havingleft with his old friend Pirithous to capture Persephone from the underworld. Phaedra has been left alone to take care of the palace, and has lately felt ill. She finds herself piningfor the forests and the hunt. Wondering what is causing her desire for the forest glades,she reflects on her mother, Pasiphae, daughter of Apollo, who was cursed to fall in love

with a bull and give birth to a monster, the Minotaur. Phaedra wonders if she is asdoomed as her mother was.

Phaedra’s aged nurse interjects that Phaedra should control the passions she feels, for love can be terribly destructive. She warns that Phaedra is on the brink of committing aterrible crime, more sinful in a way than the “monstrous passion” that gripped her mother, and that she should be cautious. Just because Theseus is in the underworld does

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not mean Phaedra’s crime will “go concealed”; her father Minos and her ancestor Apollowill see to it that the deed is exposed.

Phaedra explains that she is gripped by an uncontrollable lust, and that her passion hasdefeated her reason. It becomes clear that Hippolytus is the object of Phaedra's lust. The

nurse warns Phaedra to “fear and respect” her husband. Phaedra counters that Theseus is probably forever trapped in the underworld. Theseus is not the only problem, however.Hippolytus himself detests women in general and Phaedra in particular. Nonetheless,Phaedra vows to follow him. Every argument the nurse makes, Phaedra shoots down:Hippolytus may shun all women, but that means Phaedra need “fear no rival.” Try as thenurse may to persuade her, Phaedra cannot be reasoned with, and declares that she willcommit suicide. The nurse then begs Phaedra not to end her life, and promises to help her in her love: “Mine is the task to approach the savage youth and bend the cruel man’srelentless will.”

The Chorus sings of the power of love: Cupid is “reckless alike with torches and with

arrows,” and even the gods are not immune. Zeus dons earthly disguises in order to possess the objects of his affection or lust, and Diana left her lunar perch in order to seek love with the shepherd Endymion.

Phaedra goes into an emotional frenzy, and the nurse begs the goddess Diana to softenHippolytus' heart and make him fall in love with Phaedra.

 Lines 424-834

Hippolytus returns from hunting and, seeing Phaedra’s nurse, asks her why she looks sosullen and worried. The nurse replies that there is no need to worry, but that Hippolytus

should “show [him]self less harsh," enjoy life, seek the company of women. Hippolytusresponds that life at its most innocent and free is life spent in the wild. He reflects on themen and women of “the primal age,” who lived “in friendly intercourse with gods.” Theydid not thirst for power; they found all they needed in the nature that surrounded them,and they lived in peace. Civilization changed everything; with it came crime and warfare.Hippolytus alludes to Phaedra, saying that stepmothers “are no whit more merciful than beasts”; he goes on to declare women “the leader of all wickedness” and points to Medea(Jason’s wife, who killed her own children) as an example. “Why make the crime of fewthe blame of all?” the nurse asks. She then argues that love can often change stubborndispositions. Still, her arguments fall on deaf ears; Hippolytus maintains his steadfasthatred of womankind.

Phaedra appears, swoons, and collapses. Hippolytus wakes her. When asked why she isso miserable, she decides that she will confess to Hippolytus, hoping that her wordsmight sway him. After ensuring that no else is watching or listening, Phaedra tries tosubtly suggest Hippolytus should take his father’s place, as Theseus will likely never return from the underworld. Hippolytus takes the bait, offering to fill his father’s shoeswhile awaiting his return. Phaedra sees her opportunity and declares her love for him. Atthis, Hippolytus is aghast. He cries out that he is “guilty,” for he has “stirred [his]

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stepmother to love.” Then he pins the blame on Phaedra, railing against what he perceives as her terrible crime. He draws his sword to kill Phaedra, but upon realizingthis is what she wants, he casts the weapon away and flees into the forest.

“Crime must be concealed by crime,” the nurse decides, and plots with Phaedra to accuse

Hippolytus of incestuous lust. Since Phaedra’s confession was made in secret, it will beHippolytus’ word against hers. “Help, Athens, help!” she shouts. “The ravisher,Hippolytus, with vile, lustful intent, is after us; he is upon us and threatens us with death;with the sword he is terrifying our chaste queen – ah! he has rushed headlong forth and,dazed, in panic flight, has left his sword.”

The Chorus interjects, praising Hippolytus’ beauty but noting that beauty is subject to thewiles of time. The Chorus then condemns Phaedra’s wicked scheme.

It is then that Theseus appears, freshly returned from the underworld.

 Lines 835-1280

Theseus asks “What is this tearful outcry that strikes my ears?” The nurse informs him of Phaedra’s plight: “she scorns our tears,” she says, “and is on the very edge of death.”Theseus demands why Phaedra has resolved to die, especially now that her husband hascome back. The nurse explains that Phaedra is telling no one the cause of her grief.Theseus opens the doors to the palace and sees Phaedra clutching a sword, ready to slayherself. He asks her why she is in such a state, but she responds only with vague,epigrammatic quips, alluding to a “sin” she has committed. Theseus asks to know whatthat sin is. “That I still live,” comes the reply.

Theseus orders the nurse to be bound in chains and tormented with the “scourge” untilshe confesses her mistress’s secret. Phaedra intervenes, telling her husband that she has been raped and that the “destroyer of [her] honor” is the one whom Theseus would leastexpect. She then points to the sword Hippolytus left behind.

“Ah me!” Theseus cries. “What villainy do I behold?” After Phaedra tells him thatHippolytus was last seen “speeding away in headlong flight,” Theseus, in a rage,summons his father Neptune to destroy the young man. (He notes that his father grantedhim three wishes, two of which he has already used.) He vows to pursue Hippolytus"through all thy hiding places... regions remote, blocked, hidden away, far separate,trackless, will I traverse, and no place shall stop me – thou knowest whence I am

returned.”The Chorus asks the heavens why they do not reward the innocent (such as Hippolytus)and punish the guilty and evil. The Chorus asserts that the order of the world has becomeskewed: “wretched poverty dogs the pure, and the adulterer, strong in wickedness, reignssupreme.”

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Moments later, a Messenger arrives to inform Theseus that Hippolytus is dead. As theMessenger tells us, a great storm broke out and out of the ocean’s depths, a monstrous bull appeared before Hippolytus. Hippolytus, steering his horse-drawn chariot, kept hiscalm and tried to control the situation; his horses, however, were terrified from themonster and broke from his grasp. Hippolytus’ limbs became entwined in the reins, and

his body was dragged through the forest and torn asunder.Upon hearing the news, Theseus breaks into tears. Although he wished this death uponhis son, hearing of it makes him despair . “Truly I deem this the crowning woe of woes, if fortune makes what we must loathe that we must long for,” he says. The Chorus proclaims that the gods most readily target mortals of wealth or power, while “the low-roofed, common home ne’er feels [Jove’s] mighty blasts.”

Phaedra reappears, again with a sword. She condemns Theseus for his harshness andturns to Hippolytus’ mangled corpse. She bemoans the young man’s fate: “Whither is thyglorious beauty fled?" Then she reveals the truth – that she had falsely accused

Hippolytus of her own crime. With that, she falls on her sword and dies.Theseus is despondent. He looks upon his son’s body and calls for his missing parts to beassembled, so that Hippolytus may be given a proper burial. Then, pointing to Phaedra’scorpse, he utters the play’s closing line: “As for her, let her be buried deep in earth, andheavy may the soil lie on her unholy head!”

[edit] Characters

 Hippolytus -Son of Theseus and the Amazonian Antiope. A lover of the hunt and of thewoods, he is known to despise women. He prefers the freedoms of the wilderness to the

comforts (and constraints) of civilization.

 Phaedra - Theseus' wife and Hippolytus' stepmother. Daughter of Pasiphae, who fell inlove with a bull and gave birth to the Minotaur, she too becomes stricken with a "sinful"desire - a lust for Hippolytus.

Theseus - King of Athens, famed for his heroic exploits, trapped in the Underworld at the play's beginning, on a quest with his friend Pirithous to capture Persephone and bring her to the mortal world. Known for his harshness, he killed his former wife Antiope, mother of Hippolytus.

The Nurse - Phaedra's nurse, an old woman who at first seems a vessel of wisdom in her attempts to console and advise her mistress, but then reveals a more sinister side whenshe hatches a plan to falsely accuse Hippolytus of trying to rape his stepmother.

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Marie de LaFayette's La Princesse de Clèves (1678)

La Fayette's most famous novel was La Princesse de Clèves, first published anonymouslyin March 1678. An immense success, the work is often taken to be the first true Frenchnovel and a prototype of the early psychological novel.

The death of La Rochefoucauld in 1680 and her husband in 1683 led La Fayette to lead aless active social life in her later years. Three works were published posthumously: La

Comtesse de Tende (1718), Histoire d'Henriette d'Angleterre (1720), and Memoires de la

Cour de France (1731).