Extract
[...] at the same time to Bérénice and Rome. And it is Bérénice who decides her fate by accepting, for each of the three loving protagonists, Titus, Antiochus, and herself, a solitary destiny. The Bérénice of Racine is therefore very far from the desperate woman, prey to sorrow, that Nathalie Azoulai describes; for if she indeed passes through a phase of desolation that leads her to think of suicide, she ultimately finds a way out of her situation through her love for Titus, which allows her to transcend her own personal suffering and find a sense of peace and fulfillment.52, the entire theatrical argument resides in the transcendence of pain and access to the peaceful sentiment that Racine calls «majestic sorrow ».53 to Bérénice and Rome. [...]
[...] We have seen,the opposition is evident first of all in what concerns the question of Racine's relationship to the Ancients44 ». The character of 'Nicolas' (Boileau), presented as the guarantor of the respect of the ancient tradition, even appears asa means to inscribe intradiegetically, within the historical framework of the 17th century, the the critical position supported today by Georges Forestier - and to start to refute it, since the Boileau of Nathalie Azoulai does not understand Racine's genius.45 » Welfringer points out again at the occasion of one of the many passages in the book where the author engages in genetic fictions of Racine's verses, the way she reduces the genesis of Racine's writing to circumstances emanating from the writer's couple relationships. [...]
[...] They do not think that on the contrary, all invention consists in making something out of nothing . »55 Nathalie Azoulai knowsBut this famous declaration of Racine, but it misunderstands its meaning: « The next day, she heads to Port-Royal, leaving her phone at home: not to be tempted to answer, to walk the valley, not to let go of the thread. It's not a question of letting the pain come back to cook her heart because of them. What would the other Bérénice have done in her place? [...]
[...] Jean can't look anywhere else. And when François finally straightens up, he smiles. Jean can't look anywhere else. And when François finally straightens up, he smiles.'It's an incredible pleasure, he says, a bit dazed. »27 For Forestier, nothing'attest that the cabarets, where Azoulay situates a series of fictional conversations with La Fontaine, Molière, 'Nicolas' (Boileau), played a great role in the youth of Racine. Not more than the great question of love, which continues to pose 'Jean' when he begins to take an interest in theater:Can he build intrigues on a feeling he has only read? [...]
[...] Write. Pale because of the approaching death, says a student. No, says the master. Write. Pale of an approaching death, suggests Jean. No, says the master. Write. Pale because of the approaching death, says a student. No, says the master. Write. Pale of an approaching death, proposes Jean. No, says the master says. [...]
