| Title | : | Britannicus |
| Author | : | |
| Rating | : | |
| ISBN | : | 2038716811 |
| ISBN-10 | : | 9782038716818 |
| Language | : | French |
| Format Type | : | Mass Market Paperback |
| Number of Pages | : | 207 |
| Publication | : | First published January 1, 1669 |
Britannicus Reviews
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I remember this was the first play by Jean Racine that I encountered at university.
It is probably one of the best plays of the French Classic Age to teach to young students whose knowledge gaps are such that they can hardly actually be called gaps at all - rather empty space. After all, what did I know about Roman history at the times of Emperor Nero? What did I know of French rhyming schemes? What did I know of the Aristotelian unity of time, place and action? What did I know of the court of Louis XIV, where Racine, Corneille and Molière were the literary reference points, and where Madame de Sévigné was the brilliant chronicler en lettres?
What did I know of the French language at all?
So with hindsight, being an educator myself nowadays (how did that happen?), I understand why university classes start with Britannicus. It eliminates some of the frustration of teaching "the rules of Aristotelian drama" by pointing out the majority of plays that "make exceptions". Britannicus actually is a classic tragedy that manages to combine the different strings of action into one day and one place, and it creates a hero that is good, but not perfect, and a villain that is interesting despite (or because of) the flaws. And it ends in bloodshed, as one would expect of a tragedy of course.
And the psychological effect of having started with Britannicus is striking. Even though I have read almost all the other plays by Racine since then, and enjoyed the language and the drama in them even more, Britannicus is always what I think of when I see Racine's name pop up in an essay or in a book. It happens far too rarely, though!
Maybe he would benefit from a shelf called "undeservedly forgotten"? -
...sans doute, mon pote, quoi que tu dises.J'embrasse mon rival, mais c'est pour l'étouffer.
(Acte IV scène III)
« Toujours la tyrannie a d'heureuses prémices » : cette déclaration est peut-être le thème central de la pièce. Racine termine sa préface à la pièce par l'affirmation homine imperito nunquam quidquam injustius (quel bon début à mon avis).
Au début, on se trouve dans le palais de Néron, l'infâme empereur romain, dans lequel se déchaînent la violence, le sadisme, la cruauté. On se rencontre Agrippine (une mère autoritaire et possessive), Néron lui-même (son fils sournois et pervers), le Britannicus éponyme (un vertueux demi-frère par alliance, et l'héritier du trône légitime), sa fiancée Junie (une jeune femme enlevée en pleine nuit), et Narcisse et Burrhus (deux gouverneurs dont on a bien du mal à savoir s'ils sont les nobles caractères ou les politiques imbéciles).Acte I (4 scènes) — Agrippine, au petit matin, attend une entrevue avec son fils, l’empereur Néron, qui, sans prévenir sa mère, vient d’enlever Junie, l’amante de Britannicus ; celui-ci, fils de Messaline et de Claude (mort dans des conditions douteuses, sans doute empoisonné par Agrippine), est à ce titre prétendant légitime au trône ; mais Agrippine l’a écarté du pouvoir au profit de Néron, né d’un premier mariage avec Ahenobarbe cité dans la pièce. Néron, par l’intermédiaire de son gouverneur Burrhus refuse l’entrevue. Agrippine, inquiète de voir s’affaiblir la tutelle qu’elle exerce sur son fils, informe Britannicus du sort de Junie et lui propose son soutien contre Néron. Britannicus accepte, encouragé par Narcisse, son gouverneur, en vérité un traître à la solde de Néron.
Acte II (8 scènes) — Averti par Narcisse du complot qui se trame, Néron projette de répudier sa femme Octavie pour épouser Junie. Celle-ci, malgré les galanteries de Néron, lui refuse sa main. Néron lui ordonne alors de rompre avec son amant, dont la vie dépendra de cet entretien. Elle doit affecter devant Britannicus une froideur qui le désespère sans pour autant réussir à apaiser Néron, qui observe la scène en cachette.
Acte III (9 scènes) — Tandis que Burrhus ne parvient à apaiser ni Agrippine ni Néron, Junie révèle à Britannicus le stratagème de Néron. Mais ce dernier, averti par Narcisse, survient et fait emprisonner son rival, tout en maintenant Junie enfermée au palais.
Acte IV (4 scènes) — Agrippine rencontre enfin Néron et le contraint, par un long plaidoyer-réquisitoire, à lui promettre de se réconcilier avec Britannicus lors d’un festin prochain, promesse qui n’est que feinte de la part de Néron. Si les adjurations de Burrhus parviennent à ébranler Néron, Narcisse finit toutefois par le confirmer dans sa décision de tuer son rival.
Acte V (8 scènes) — Tandis qu’Agrippine se félicite de sa victoire sur Néron, Burrhus vient annoncer que Britannicus a été empoisonné lors du festin : Narcisse est déchiré par la foule, Junie s’enfuit chez les vestales, où le mariage est interdit, et Néron, maudit par sa mère, s’abandonne à un désespoir farouche.
Dans cette pièce Racine traite pour la première fois du domaine de la tragédie romaine (domaine qui a fait la gloire de
Pierre Corneille). Racine a choisi de mettre en scène un épisode clé du règne de Néron : en 54 après J.-C., à dix-sept ans, il a été acclamé empereur par l'armée grâce à sa mère Agrippine qui a empoisonné Claude et écarté Britannicus du trône (acte IV, scène 2). Avec sa pièce, Britannicus, Racine cherchait à réorganiser l'Histoire ; tout en maintenant une intrigue politique, il y superposait et incarnait un conflit psychologique.
Ce thème des frères ennemis oppose droit du sang et droit de la loi. Bon empereur, Claude a toujours respecté la loi. C'est Britannicus, le fils légitime qu'il a eu avec Messaline, sa troisième épouse, qui à sa mort régnera. Certes il a reconnu Néron, le fils d'Agrippine, sa quatrième épouse, comme son fils, mais pas question qu'il règne. C'est Agrippine qui impose Néron, et dans Britannicus Racine montre Néron la nuit de son premier crime. En tuant Britannicus, son rival le plus dangereux, le nouvel empereur se débarrasse de celui qui pourrait empêcher sa toute-puissance tyrannique de s'affirmer.
La pièce peut être lue dans son intégralité
ici sur Wikisource, mais la mise en forme est un peu foutue, ce qui la rend difficile à lire. -
Nero in Love
15 February 2018 – Phnom Phem
As I was reading this play the first thing that struck me is that Racine sticks very closely to the Aristotelean rules of unity of time and place: that is that the events take place over a single day in a single location (this being Nero's palace). I actually found it much easier to read this play than some of Racine's other ones, though it may have something to do with having some knowledge of the characters and a background to the story. Then again, in some of his other works I had some knowledge as well but found it difficult to follow. Another thing that stood out is that Racine seems to follow the Greek style, though of course this is a five act play, it is just that following the unities the acts really only represent a break in the action.
The play begins with Nero's mother, and power behind the throne, seeking a private audience with her son. The thing is that Nero doesn't particularly want to speak to her anymore, namely because of her influence over him. Nero has also fallen in love with a young lady named June (who should be called Junia). The problem is that she loves somebody else, the Britannicus of the title. Okay, we might just put this down to your typical love triangle, but this is Nero we are talking about, and when you happen to be him you sort of don't like taking no for an answer.
Yet Nero wasn't always the monster that we know him to be, and I suspect that this is what Racine is trying to get across. However, we do know what he does become and a part of me feels that the events on this one day end up being the tipping point – love does have that effect upon people, as does not being able to get what you want when you happen to be the most powerful person in the empire.
Look, we can probably work out what happens in the end, and we can pretty much see that things aren't going to work out all that well for everybody involved. Nero has Britannicus poisoned, and Junia then takes her own life, because, well, Nero. We know that Nero eventually has his mother killed as well, but this play isn't about that event, though once again it could also be that tipping point in Nero's life that sent him into a downward spiral that resulted in a coup against him.
The major thing that stands out is that you basically can't always have what you want, and even if you attempt to take it by force it doesn't mean that you are going to succeed. Moreso, even if you are Emperor of Rome you simply cannot force somebody to love you who doesn't, and the more you press yourself onto them the more likely they are going to be repulsed, and in this case Junia preferred death over being violated by Nero.
Yet we also see a tender side to Nero as well, one who is tormented by love and by a love that simply isn't going to be returned. Like Andromache, Nero lets his passions take control of him, and in the end acts in an irrational way that brings the whole edifice crashing down. From where we stand we can look forward to see the man who murdered his mother, and would wander the streets of Rome mugging people because, well, because he was Nero. Yet he is not so much a murderous tyrant (though he was), but a little boy who never got over the loss of his love.
Let us also consider Agrippina because woven through this tale of tragic love is also a struggle between a mother and her son. It works in two spheres as well – the political and the domestic. In the political sphere Aggripina is acting as the power behind the throne, and Nero is attempting to cast her off so that he might be able to rule in his own name. However, we also have a mother simply being a mother to her son, and the son wanting to cease being a boy and becoming a man. Well, this is also Nero that we are talking about, so whether he ever actually grew up is another debate (I suspect he didn't).
Yet, he does make a good point at the end of the play – Aggripina did have Claudius killed to put him on the throne, so what is so different about him killing Britannicus. Well, because love doesn't work the same way as the political world. Sure, one may be able to slash and burn their way to the top, until they sit atop a pile of corpses, but simply getting rid of a rival lover isn't going to change a person's view of you (in fact it is probably going to make it worse). Unfortunately love is love, and one cannot force Cupid to shoot his arrow into somebody that he has no intention of shooting it into. -
Schlecht gealterter Klassiker, habe mich nur gelangweilt. Kann aber gut nachvollziehen, warum Voltaire von der folgenden Generation so hoch eingeschätzt wurde, auch wenn dieses Phänomen für spätere Kritiker ein Rätsel darzustellen scheint.
Racine bietet hier nur sprechende Statuen und moralische Maximen. Fand keinen Zugang zu niemandem, am ehesten noch zu Neros unsinkbarer Mutter, die sich von Anfang an vom Abstellgleis (ich weiß, das ist ein ganz übler Anachronismus) zurück zu altem Einfluss strebt, zuletzt aber bemerken muss, dass nichts und niemand mehr das Monster stoppen kann, das sie geschaffen hat. -
du théâtre quoi
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Ovo je moj prvi susret sa Rasinom od kojeg sam možda očekivao više, odnosno očekivao sam više strasti na sceni, mada je to verovatno posledica činjenice da se Rasin gotovo uvek pominje u kontekstu pozorišta strasti, pa sam zbog toga umislio da ću kod njega naći scene brutalnosti, nasilja, mržnje itd. što sve naravno postoji, ali recimo da nisam očekivao ovoliki nivo suptilnosti, što je u neku ruku i prijatno iznenađenje. No, kako bilo ova tragedija poseduje ogromnu umetničku ubedljivost čemu doprinosi to što Rasin za temu uzima istorijske događaje koji se tiču Rima, odnosno odnosa među ljudima koji na ovaj ili na onaj način imaju udela u vrhovnim strkturama vlasti Rimskog carstva.
Glavni lik tragedije je Britanik, odnosno on je pokretač radnje, više nego što je glavni lik u klasičnom smislu te sintagme, budući da najviše mesta zauzima njegov oponent, brutalni rimski vladar Neron. Njih dvojica predstavljaju dve suprotne vrednosti u svetu ovog dela, Britanik je čist, jednostavan i plemenit, dok je Neron sve suprotno od toga, on je brutalni tiranin, opsednut sobom, narcis duboko prožet mržnjom i ljubomorom, zatvoren u sopstvenu predstavu moći koju misli da poseduje i duboko ubeđen da upravo toj moći odgovaraju svi ljudi oko njega. U kojoj meri je Neron obuzet svojim doživljajem sveta, najbolje govori činjenica da on želi da vlada srcima ljudi oko sebe, pogotovo Junijinim srcem koje gaji ljubav prema Britaniku. Neron nesposoban da podnese takav odnos između Britanika i Junije, koristi svoju moć da bi ucenio one koji ne samo misle, već i osećaju drugačije od njega. Ovo je klica tragičnog raspleta u ovom svetu. Jer i Junija i Britanik doživljavaju svet u drugačije od Nerona, što on želi da im skrati jednostavno zbog toga što oseća mržnju, ne prema Britaniku kao takvom, već prema njegovoj sreći, što uostalom i eksplicitno izgovara. Ovaj odnos pokreće niz zanimljivih pitanja, a prvo je da li je Neron uopšte sposoban da doživi, pa na kraju krajeva i da shvati tuđu sreću, jer da jeste, znao bi da opasnost po njegovu vlast ne predstavlja duševno stanje druge osobe koliko njegovo sopstveno i da je pre potrebno bojati se tuđih postupaka, ukoliko se već plaši da može izgubiti krunu, nego tuđih osećanja. U tom smislu, Neron je određen svojim doživljajem sveta, odnosno svojim duševnim stanjem i to u istoj meri u kojoj je to i Britanik, ovaj drugi je naravno dovoljno plemenit i jednostavan da ne može da prozre da mu Neron i Narcis, verni vladarev sluga, rade o glavi, već ih vidi u skladu sa onim što on sam jeste i uvek im iznova poklanja svoje poverenje, što će upravo izazvati tragične posledice.
Neronov strah je u nekoj meri opravdan, jer Agripina njegova majka, želi da na presto postavi Britanika, a da skloni svog sina Nerona nad kojim je izgubila svu kontrolu. Ona optužuje Bira i Seneku da s namerom žele da pokvare odnose između majke i sina, jer jednostavno ne žele da Agripina posredno vlada Rimom. Bir i Seneka bili su Neronovi vaspitači, Rasin se odlučio da Seneku izostavi iz ovog komada, a da Bira predstavi kao lika kojem nije sasvim jasno šta se zaista događa oko njega i koji ne želi da prihvati stvarnost koja se kosi sa njegovim uverenjima. No on ipak usepeva privremeno da uveri Nerona da je Britanik nevin, i ovaj privremeno odustaje od svoga plana, ali onda kada se Narcis nastupi sa svojom ulizivačkom retorikom koja je direktno usmerena ka Neronovoj taštini na površinu izbija sva tama koju ovaj nosi u sebi. Zanimljivo je ovde kako Rasin jednom malom liku daje toliku odgovornost, Narcis (koji se ne zove slučajno tako) potpaljuje Neronove sumnje koje je Bir privremeno uspeo da obuzda, a sve to čini iz sebičnih razloga iz jednostave želje da se dokopa moći. Narcis ovde funkcioniše kao Neronov odraz i kao takav on ima funkciju da obavlja one poslove koji su ispod vladarske časti, dakle ono što je tiranskoj vlasti neophodno da bi održala svoj poredak, a to je perfidno sprovođenje tiranskih ubeđenja, u krajnjoj liniji sprovođenje prljavih i zlih namera na kojima tiranski poredak opstaje, a koje sam vladar ne može da obavlja upravo zbog taštine i količine moći koja ga od ostatka sveta odvaja. U tom smislu Narcis čini sve što Neron izgovori, videći u njemu svoj odraz, odnosno svog idealnog sebe, onakvog kakvim se u krajnjoj liniji i zamišlja.
Još jedan lik je vredan pomena i on na svoj način pokreće celu tragediju. To je lik Agripine, Neronove majke koja je sina i dovela do vlasti, samo da bi sama mogla da vlada. Čini mi se je na ovaj komad primeljiva Deridina teza prema kojoj se lik majke nalazi uvek i svuda, ali je uvek skriven i uvek deluje posredstvom podsvesti. Mada, Agripina ovde nije skrivena i gotovo da ima otvorene pretenzije ka preuzimanju trona, ona pokušava da deluje na suptilan način ne bi li se dokopala vlasti. Upravo toga se Neron i plaši i čini se da je njegov suštinski strah uzrokovan ne toliko Britanikom koji uopšte nema težnje ka vladarskoj kruni, već pre Agripinom, odnosno znanjem da je upravo zahvaljujući njoj Neron došao na vlast i da vrlo lako ona može biti uzrok gubitka vlasti. (Valja imati na umu da je Neron zaista ubio Agripinu, što Rasin izostavlja iz svog komada, ali postavlja radnju tako da se na suprtonim stranama, suprotno od onih na kojima se nalaze Britanik i Neron, nalaze Agripina i Neron, ali sa razlikom što je odnos sina i majke suštinski obeležen težnjom da se ima moć i da se vlada, što nije slučaj u opozciji Neron Britanik, upravo zbog Britanikove pasivnosti prema vladarskoj stolici, što suštinski menja odnos između ova dva lika i održava ga u jednoj drugoj ravni.) U samoj suštini Neronove nesigurnosti, leži dakle odnos prema Agripini, koji je i uzrok Neronovog nepoverenja u samog sebe, odnosno u svoju moć, jer tamo gde je neprekidno potrebno dokazivati moć, njena održivosti je upitna, odnosno poredak koji ona uspostavlja je upitan.
U najširem smislu, možemo govoriti o majci kao uzroku tragedije u ovom komadu,tragedija koja pored toga povlači i druga pitanja, koja se tiču odnosa ljudskih osećanja i politike i onoga što iz toga proizilazi. Neron neosporno, šta god uzrokovalo njegovo ponašanje, pokušava da nametne svoja politička uverenja Britaniku i Juniji koji ne funckionišu u kontekstu tog sveta, odnosno oni Britanik i Junija postoje u kontekstu sveta kojim vlada Neron, ali ne dele njegove vrednosti, ne vode se istim idejama već jednostavno stoje od njega. Ovo pogotovo važi za Britanika koji je zbog svoje naivnosti uhvaćen u nemilosrdno kolo takvog sveta i koji će na kraju stradati jednostavno jer ne poseduje veštine potrebne da bi u takvom svetu mogao da preživi. Njegova smrt za posledicu ima i to da Junija odbaci ovaj svet u celini i posveti se izlovanom vestalskom životu. -
N'allez pas croire que je mets de "mauvaises" notes aux hommes du XVIIe siècle, parce qu'ils m'énervent à 99% des cas. Ils m'énervent, certes, mais s'ils écrivent quelque chose de bien, je sais l'admettre.
Personnellement, j'accroche pas (plus?) avec les pièces de théâtre centrées sur des histoires "d'amour" bidons. Je suis désolée, ça m'ennuie profondément.
Pour moi, Britannicus et Néron, c'est un conflit politique. Néron a pris le trône de Britannicus. Britannicus devient un homme et prend conscience que la place d'empereur devrait lui revenir. Britannicus et Néron, c'est une histoire de jalousie. Le peuple aime tendrement Britannicus. Britannicus séduit et ça, ça enrage Néron. Néron n'a de compte à rendre à personne parce qu'il a tous les pouvoirs. S'il ne touche pas à Britannicus, c'est pour une question de popularité. Il perdrait tout. Britannicus et Néron, c'est aussi ce moment ou Britannicus a émue et bouleversé tout le monde en chantant (de sa belle voix) la scène triste d'un prince destitué de son trône, reflétant sa propre histoire et créant un malaise que Néron ne pouvait plus tolérer.
C'est plusieurs tentatives de meurtres, aussi.
Pour moi, Britannicus, ça ne peut pas seulement être l'histoire d'un grand frère jaloux de son cadet parce qu'il aime et est aimé de la femme dont il crush. Où est l'intérêt, sinon? -
aggripine stan account
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talk tragédie racinienne that ruined my life to me
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As I love history, especially Roman antiquity, this was so interesting to read. The character of Nero, as well as all of his predecessors, is really intricate. This play explained so well is descent into tyranny. I feel like the next time I will read the Trials of Apollo series, I will understand the characters so much more!
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"britannicus c'est des barres frère !"
- jeune spectateur enthusiaste - -
i envy britannicus, at least he was put out of his misery unlike me who has two more jean racine plays to read
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Read it for school, it was okay. Not sure what else to say about it.
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mensonge et trahison
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könnte ich 0 geben würde ich das machen.
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(Possibly everything I read now seems better because I keep comparing books to "The Pillars of the Earth." My subjectivity may have suffered some permanent damage. Apologies to Mr. Follett but I am also still waiting on his apologies for inflicting all those weird rape scenes and meticulous boob descriptions on the world.)
In other news: Neron est amoureux!! (Nero is in love) I read all sorts of extracts from this play in school, so it was a lot of fun to experience the full play from an armchair.
That being said, a theatre would be better. This is a very soapy play. Did you ever wonder where that soap opera trope (the one where the bad guy forces one of the good guys to break up with the love interest because the bad guy threatens to kill the love interest) originated? Well I cannot say for sure that it started here, but Racine is the earliest work of literature I've seen include that story idea. And he makes it work! And then fixes it because he's a surprisingly good writer.
The plot in a nutshell is: Nero (emperor of Rome and notoriously spoiled son of Agrippine) kidnaps Junie, his cousin Britannicus's fiancee. Possibly Nero has a sadistic streak but that's not the point. Britannicus is also a valid alternative candidate to the throne, so lots of politics occur where Britannicus tries to use his political heft to get his girlfriend back. Meanwhile, Agrippine (Nero's mother) is pissed because her son (whom she essentially put on the throne) is being a spoiled brat and screening her calls. So she sides with Britannicus to serve her son a slice of humble pie, and the plan does not go well.
Technically Britannicus is the title character, but Racine's introduction (and the play itself) points to a more interesting focus: Nero's origins as a future murderous tyrant. This play isn't about the tinny romance between Britannicus and Junie. It's about how Nero went from beloved son to budding homicidal emperor. Racine explores how a man so powerful can lose all bearings, with a little help from a certain double-agent advisor. Multiple characters attempt to sway Nero's mind, until finally, Nero caves to his most basic instincts of fear, ego, and selfishness. As Racine puts it, Britannicus's death is not significant in and of itself; it matters more because it marks the moment in which Agrippine realizes Nero will one day kill HER, too. It's a much more chilling and interesting play when you read it with that idea in mind. I loved every second of it.
Recommended if you enjoy Roman history, 17th century French plays, and possibly villain origin stories. Honestly it's a very good play and I recommend it to all. -
i will do a shit essay about this book
update: i got 95 on my essay purr💅 -
I read this with a not-so-good attitude because I had to read it for school. Even though I had to look up half the words in the dictionary, it was well worth it! Racine is the man! The alexandrins flow beautifully and the arguments are elegantly built in the ancient rhetorical style. Agrippine was my favorite character. She was so controlling and obsessive, I loved it!
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I have always wanted to read a play by Racine in the original French alexandrin (12 syllables per line, AA/BB rhyme format), but it's no piece of cake. Britannicus (1669) was chosen as a book club selection for a French Book Club in which I am a member, and I gave it a try. It was helpful to read it in a group, and I think that is why this text is assigned so often in French high schools. If you're ever going to read Britannicus, you should read it with other people, or at the very least, see it performed and read along with the text.
Racine produced very modern, minimalist plays, with a small number of characters and acts. The setting never changes from the antechamber of Nero's main chamber. This must have made performances easy to set up in the 17th century. Also, given those limits, it helps the young or new French reader navigate what is happening more easily. There are not numerous scene changes or long lists of characters whose backstories have to be remembered.
The basic plot is a family drama. We learn a bit later, but it is good to know at the start, that Agrippina has married her uncle, Claudius, and convinces him to adopt her son as his own. This makes her son, Nero, next in line for the throne of Emperor of Rome. She does this really so that she herself will rule through her son, whom she hopes will only act as a proxy for her own power. Somehow Claudius adopts Nero, even though he already had a natural heir, Britannicus, but by the time he realizes what he's done, Claudius is dead. When we enter the play, Nero has already ruled for a few years, and wants more complete power, away from his mother's meddling. It also becomes apparent that he not only wanted his half-brother's throne, but he also wants his fiancée, Junia, even though Nero is already married to Britannicus' sister, Octavia. (I would assume that Octavia is Nero's half-sister, but remember, this play is set in ancient Rome, where such intermarriage was not uncommon.) Nero has also taken Britannicus' governor and tutor, Narcissus, under his wing, and together they plot the demise of Britannicus. Burrhus is Nero's actual "governor" or tutor, to some extent the only person with any sense in the play, and Albine is Agrippina's confidante, who has a minor role but reports a lot of what happens offstage, especially at the end. Junia is also very strong character, like Agrippina. To Racine's credit, the women in this play are infinitely smarter and stronger than the men.
Everything happens in the play in what seems to be the span of one day, and it's the epitome of "what a difference a day makes." Racine was clear in his prologue that while the characters were real historical figures, he took liberties to make a dramatic play, so keep that in mind while reading it. Britannicus is frustratingly clueless, and even when Junia realizes the plot against him, he doesn't believe it. It is a great psychological study of human nature and the lengths to which people could go and will go to achieve complete power. -
J'ai du lire ce livre, pour les cours. Mais, c'est avec plaisir, que j'ai découvert cette oeuvre de Racine.
Honnêtement, cette pièce est vraiment très intéressante.
Puisqu'on peut voir la naissance d'un monstre,
la haine qui monte, les envies de meurtres, les machinations politiques.
Des pleurs, des histoires d'amour.
Cette histoire est complète, mais très prévisible.
Car nous sommes face à une tragédie.
Malgré le fait que j'ai apprécié cette pièce, j'ai absolument détesté la fin, rapide, bâ
clée et atroce.
Ou l'on se rend bien compte que le sort des femmes, n'a pas une grande importance dans la société de l'époque.
Description:
L’empereur Claude a eu de Messaline un fils, Britannicus, avant d’épouser Agrippine et d’adopter Néron, fils qu’Agrippine a eu d’un précédent mariage. Néron a succédé à Claude. Il gouverne l’Empire avec sagesse au moment où débute la tragédie. Racine raconte l’instant précis où la vraie nature de Néron se révèle : sa passion subite pour Junie, amante de Britannicus, le pousse à se libérer de la domination d’Agrippine et à assassiner son propre frère.
Livre audio à écouter seul ou en même temps que la lecture:
https://youtu.be/zBnKN-jUeWA -
Homine imperito nunquam quidquam injustius. [There is nothing more unfair than an ignoramus]. Racine ends his preface to the play with this statement. What a great beginning.
This play is a Roman play of political intrigue. Specifically, the events follow Nero as he assumes power and subverts Roman morality and political practice. Agrippina, when discussing Nero in the first scene, states that “Tyranny always starts auspiciously.” This is another of the many quotable lines from this play. Britannicus, near the end of the play, tells June, “How little do the lips and heart agree! How joyfully do people break their word! We both are strangers in a foreign land.” While I’m sure this play is better in the French, in English it maintains its excellence. -
"Excité d’un désir curieux, Cette nuit je l’ai vue arriver en ces lieux,
Triste, levant au ciel ses yeux mouillés de larmes,
Qui brillaient au travers des flambeaux et des armes,
Belle, sans ornements, dans le simple appareil
D’une beauté qu’on vient d’arracher au sommeil."
L'écriture coule du livre comme un beau fleuve, et les personnages suivent parfaitement le rythme sur la rive. Je ne pensai pas aimer cette pièce autant que Phèdre et bien quelle surprise !! L'intensité et la splendeur de cette oeuvre classique m'ont rappelé que le théâtre tragiques a toujours sa part de modernité. J'ai hâte de jouer Junie sur scène et de donner autant de caractère à mon personnage que Racine en a donné à sa pièce. -
J'ai relu cette pièce dans le cadre de mes études. J'ai beaucoup aimé d'ailleurs celle-ci car Racine comme ses contemporains emploie des figures de l'Antiquité comme Néron. Il s'inspire de l'Histoire par exemple Néron qui était un dictateur horrible pour le mettre dans sa pièce face à un dilemme :
l'indépendance ou l'amour filial. En effet, Racine nous propose une fiction nous situant avant aux prémices de la cruauté de Néron. On assiste donc à l'ascension violente de ce dictateur et à son émancipation.
C'est aussi une pièce qui parle d'amour, de folie et la soif du pouvoir.
Bref, c'est un pur régal cette pièce en alexandrin. Je vous recommande de le lire au moins une fois dans votre vie. -
Un classique de la littérature française. Texte très agréable et beau qui nous emporte à l'époque de Nerón et d'Aggripine sa mère. Cela nous donne envie d'apprendre et déclamer ce texte. On aurait peut-être apprécié que le meurtre de Britannucus ne soit pas simplement évoqué mais qu'à travers une scène on assiste à ce moment clé de la pièce et on puisse s'imprégner de cet instant dramatique.
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Moi, j'avais l'idée d'écrire en alexandrin
Cependant c'est difficile ; deux vers est la fin
J'ai trouvé Racine plus facile que j'avais imaginé pour une pièce de théâtre du 17e siècle. Sa language est belle et ses rimes sont divertissants. L'histoire n'est pas la plus engageante, mais les personnages sont très bien décrits. Agrippine et Néron en particulier sont captivants. -
J’ai vraiment bien aimé l’écriture, et l’histoire était globalement intéressante, mais j’avoue que le théâtre n’est pas mon genre de prédilection et l’intrigue n’était pas non plus des plus prenante.
(no rating)
