Le consentement tragique : Bérénice au miroir de Marie Mancini

“You are the emperor, Sire, and yet you weep”. I argue that Racine based his tragedy on the forced separation between Marie Mancini and Louis XIV, who is the first addressee of the play. No deaths, but love leads to renouncement. Despite the glamorous anecdote, the comparison between Marie and Bérén...

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Autor principal:	Jennifer Tamas
Formato:	article
Lenguaje:	EN FR
Publicado:	Institut du Monde Anglophone 2021
Materias:	Racine Consent Marie Mancini Louis XIV spectatorship dramaturgy History (General) and history of Europe D French literature - Italian literature - Spanish literature - Portuguese literature PQ1-3999
Acceso en línea:	https://doaj.org/article/9c61bc70e5da4a06b79a3c5da8abbfeb
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id	oai:doaj.org-article:9c61bc70e5da4a06b79a3c5da8abbfeb
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spelling	oai:doaj.org-article:9c61bc70e5da4a06b79a3c5da8abbfeb2021-12-02T10:16:41ZLe consentement tragique : Bérénice au miroir de Marie Mancini1634-045010.4000/episteme.13610https://doaj.org/article/9c61bc70e5da4a06b79a3c5da8abbfeb2021-10-01T00:00:00Zhttp://journals.openedition.org/episteme/13610https://doaj.org/toc/1634-0450“You are the emperor, Sire, and yet you weep”. I argue that Racine based his tragedy on the forced separation between Marie Mancini and Louis XIV, who is the first addressee of the play. No deaths, but love leads to renouncement. Despite the glamorous anecdote, the comparison between Marie and Bérénice sheds light on the role of women in seventeenth-century theater. Both the historical figure of Marie and Racine’s character embody a rarely acknowledged power of resistance, and their struggle aims at promoting a symbolic and tragic recognition. The focus on silence in dialectical tension with utterance offers a better understanding of consent and love throughout the play. Instead of the traditional analysis of the “King’s two bodies” applied to Titus, this article envisions Bérénice as the foremost character in terms of rhetoric and dramaturgy. Racine renews the Aristotelian conception of anagnorisis by using free consent as the outcome of the play. Bérénice both fights and tempts Titus before she sublimely sacrifices her love. Using the royal affair as the subtext of his play, Racine examines key notions such as misalliance and marriage, but he also magnifies feminine virtue conceived as a heroic act of resistance.Jennifer TamasInstitut du Monde AnglophonearticleRacineConsentMarie ManciniLouis XIVspectatorshipdramaturgyHistory (General) and history of EuropeDFrench literature - Italian literature - Spanish literature - Portuguese literaturePQ1-3999ENFREtudes Epistémè, Vol 40 (2021)
institution	DOAJ
collection	DOAJ
language	EN FR
topic	Racine Consent Marie Mancini Louis XIV spectatorship dramaturgy History (General) and history of Europe D French literature - Italian literature - Spanish literature - Portuguese literature PQ1-3999
spellingShingle	Racine Consent Marie Mancini Louis XIV spectatorship dramaturgy History (General) and history of Europe D French literature - Italian literature - Spanish literature - Portuguese literature PQ1-3999 Jennifer Tamas Le consentement tragique : Bérénice au miroir de Marie Mancini
description	“You are the emperor, Sire, and yet you weep”. I argue that Racine based his tragedy on the forced separation between Marie Mancini and Louis XIV, who is the first addressee of the play. No deaths, but love leads to renouncement. Despite the glamorous anecdote, the comparison between Marie and Bérénice sheds light on the role of women in seventeenth-century theater. Both the historical figure of Marie and Racine’s character embody a rarely acknowledged power of resistance, and their struggle aims at promoting a symbolic and tragic recognition. The focus on silence in dialectical tension with utterance offers a better understanding of consent and love throughout the play. Instead of the traditional analysis of the “King’s two bodies” applied to Titus, this article envisions Bérénice as the foremost character in terms of rhetoric and dramaturgy. Racine renews the Aristotelian conception of anagnorisis by using free consent as the outcome of the play. Bérénice both fights and tempts Titus before she sublimely sacrifices her love. Using the royal affair as the subtext of his play, Racine examines key notions such as misalliance and marriage, but he also magnifies feminine virtue conceived as a heroic act of resistance.
format	article
author	Jennifer Tamas
author_facet	Jennifer Tamas
author_sort	Jennifer Tamas
title	Le consentement tragique : Bérénice au miroir de Marie Mancini
title_short	Le consentement tragique : Bérénice au miroir de Marie Mancini
title_full	Le consentement tragique : Bérénice au miroir de Marie Mancini
title_fullStr	Le consentement tragique : Bérénice au miroir de Marie Mancini
title_full_unstemmed	Le consentement tragique : Bérénice au miroir de Marie Mancini
title_sort	le consentement tragique : bérénice au miroir de marie mancini
publisher	Institut du Monde Anglophone
publishDate	2021
url	https://doaj.org/article/9c61bc70e5da4a06b79a3c5da8abbfeb
work_keys_str_mv	AT jennifertamas leconsentementtragiquebereniceaumiroirdemariemancini
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Le consentement tragique : Bérénice au miroir de Marie Mancini

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