Rasin Jean. French playwright Jean Rasin: biography, photos, works

Jean Rasin

Introduction

In 1667, "Andromaha" was supplied. Something new opened to the French theater. It was a different tragedy other than those created Cornel. The French viewer still saw on the theatrical stage of heroes of volitional and strong, capable of subordinate to his feelings will and reason, - now he saw people in strange strokes who do not know how to suppress them, - to defeat themselves. There was a new bright poetic talent, which was destined to eclipse the genius of the Cordney. It was Jean Rasin.

The playwrights shared thirty-three years: Cornel was 61, Racina - 28. 30 years old - the term is large enough. New generation came. Society entered into a new phase of development. Other ideas, feelings, tastes, the addiction mastered the minds and hearts. And Cornell Meal. He stayed with his generation, the views of which were formed even at Richelieu. He could no longer find a common language with a new viewer. His place now took Rasin. The French fell in love. Writer XVII century. Mrs. De Sevinier, known for his famous "letters" to his daughter, reported on the tragedy of Rasin "Mitridat": "Charming Piece. We cry, constantly admire, watch it 30 times, and in the 30th time it seems more beautiful than the first. " In the XVIII century Voltaire with delight wrote about the tragedy of Rasin "Iphiga in Avlida": "About tragedy tragedy! Charm of all times and all countries! Mount Savriar, who does not feel your great advantages. "

The French noted the difference in the poetic systems of two famous playwrights. Labryuer, their contemporary (it will be told on), wrote:

"Cornelel subordinates us to their characters, their ideas. Rasin relates them to our. He draws people with such as they should be, this one, what they are ... One elevates, the divutes, dominates, teaches; Other likes, causing, touches.

Everything that is in the mind of the most beautiful, most noble, most sublime, is the area of \u200b\u200bthe first, all that is in the passion of the most delicate, most thin, is the other area. Togo - saying, rules, instructions; It has a feeling. Cornell is most busy thought, the plays of Racina is worried. Cornell is instructive, Rasin Human, one impulsed Sofokla, the second more than the euripide. "

The beginning of the way to immortality

Rasin was born on December 21, 1639 in Firth-Milon in the family of a provincial judiciary.

Early losing his parents, he remained in the care of his grandmother, who placed him in the college of the city of Bow, and then to the grunge school in pore-piano. The teachers began to be Jansenists, members of one of the religious communities, opposition in relation to the dominant Catholic Church.

The pious and devoted to their religious convictions, the Yansenists (they were gone, and this did not leave doubts about their sincerity) with their upbringing left a deep mark in the consciousness of Rasin. He was forever remained a dreamy-religious, somewhat inclined to Melancholy and mystical exaltation by man.

Rasin walked in love with poetry. Sofokla and Euripid he knew almost by heart. Greek Roman "Theagen and Kharikley", a novel about the tender romantic love, which he read accidentally, he fascinated. Monks, fearing the harmful influence of the book about love, took the novel and burned. He found the second instance. Selected this. Then Rasin, looking for a new copy of the book, memorized her by heart, fearing that she would be taken away from him again and destroy.

In October 1658, Rasin arrived in Paris to continue his education in Gakur college. Philosophy, or rather, exercises in formal logic, for the study of the latter then the course of philosophical sciences was then fascinated by a young poet.

In 1660, Paris solemnly celebrated the wedding of the young king Louis XIV. On this occasion, the poet wrote the ODU, which called the Nymph Seine. Like all the beginners, he went for approval to official poets. Famous in those days and irrevocably forgotten subsequently Shamplin reacted favorably to the gift of the young poet, told him the influential then to the Minister of Louis Xiv Kohlbera, and he complained to him a hundred Liudorov from the king, and soon appointed him a pension as a writer. So received the official recognition of the poet Rasin.

"The twenty-one-year-old king, an ignorant, arrogant, stubborn, then took the royal power to his hands who finally reached omnipotence thanks to the century-old work of the great architects of the France building. Louis XIV loved women and power; Later he will love the gardens, the construction of palaces, walking in the carriage in the battlefields. Immediately after marriage, he began to entertain himself and entertain the nobility of ballet and carousers, showing poets writing for the theater, a sample of a gallant and lush yard, "describes those years Anatole France in his magnificent essay dedicated to Racin.

Images of theagen and Khariclei, so delighted once Racina, did not give him peace. He wrote a play on the plot who loved him, showed the play Moliere, who was then the director of the Theater Palae Royal. The play of a novice playwright was weak, but a sensitive Moliere noticed a spark of genuine dating in it, and Rasin began to work on the advice of the Grand Comedy. In 1664 his first tragedy of Fivaid was set. A year later, Rasin spoke with the tragedy "Alexander", which turned 3 attention to Paris. She was noticed by the Father of the French tragedy Cornel. However, Cornel feed was harsh: a good poetic gift, but no abilities in the field of dramaturgy, he should choose a different genre. Not everyone shared this opinion: the well-known writer of the time, whose believes listened to the reading France, St. Eward, said that, after reading the play Racina, he stopped sorry for the old Cornell's old age and fear that the death of the last French tragedy would die with the death of the latter. Soon Rasin left the Moliere Theater, preferring the Person-Bourbon Theater, which was transmitted to produce his tragedy "Alexander."

Rasin was adopted by the members of the Academy, among the forty of officially recognized outstanding cultural figures of the nation. As you know, Moliere was not elected academician: this prevented the despised craft of the actor, from which the playwright did not want to refuse. The traditional introductory speech Rasin said Robust, so quietly and inadvertently, that Colbert, who came to the meeting to listen to him, did not disassemble anything. More at the meeting of the Academy, Rasin was not; Only later, when Cornel died, Rasin said a brilliant academy, an agitated commendable speech in honor of the poet.

With the tragedy "Fedra" (1677) associated with a sad event in the life of the playwright. A group of aristocrats led by the closest relatives of Cardinal Mazarini decided to mock him. Initially to the sales poet-Paskvilanta Pradona write a play on the same topic and to compete with Racin.

Places in the theater were purchased in advance by this group and during the presentation of Pradon's play was filled with spectators, on the other days when Fedra was put on Rasin, remained empty. This dirty outlet insulted the playwright. Heathed, he left the theater for a long time. Having received the position of royal historography, as well as his friend Boulevard, he decided that he would never again write plays.

In twelve years, however, at the request of Mrs. De Mrs. Non Rasin wrote the "Esphyr" play (1689) for the girls of Pension Saint-Sira, who was on the care of this person. The play had three acts. In it not. There was a love conflict, as demanded a devout girlfriend of the king. In 1690, Rasin wrote his last tragedy "Atalya" and left forever from the theater. He died with a deep faith in the Christian God, which his youth inspired the pious mentors, with deep repentance that allowed himself to become a dramatic poet, violating the covenants of pore-grand piano. He wrote in his testament: "In the name of the Father and the Son and the Holy Spirit! Please, so that my body after my death is transferred to the pore-Royal de Sham and buried on the cemetery at the foot of the Ramon's grave. I feel more with a mummy and nuns and nuns, let me honor this honor, although I admit that he did not earn it with his past scandalous life (Rasin means his poetic activity) and the fact that it took advantage of the magnificent upbringing obtained in this house ... "

Time, the dominant ideology put their stamp even on the best minds of humanity. The moral tragedy of racine is typical for the time. She survived and Pascal. It remains only to add that the pore-piano abbey in 1705 was closed by decree of Louis XIV, and five years after that was destroyed.

Aesthetic views

"Jean Rasin lived at a time when the French genius achieved all its completeness, and the language, finally established, still kept all the freshness of the Golden Age. He studied at the poets of antiquity, enjoyed them and fully observed that Hellenic and Latin tradition, performed by beauty and mind, which created the forms of poetry - AD, Epopes, tragedies and comedies. Tenderness, sensitivity, his ferventness, curiosity, even its weaknesses - all had him to know his passions, which are the essence of the tragedy, and give an expression of horror and compassion "." So wrote about Rasin one of the best writers of France in the late XIX centuries of the XX century. Rasin was the top of the poetic forces of France XVII century.

He did not write special theoretical treatises and his aesthetic principles modestly and relatively outlined in the prefaces to his tragedies. These principles did not go beyond the norms of classic theory generally accepted in its time. In the preface to the tragedy "Britannik" he wrote: "The tragedy is reproducing the action of the completed, where many persons work together, the actions of a simple, but not too burdened matter." Rationalistic clarity, simplicity, logicality of the entire storyline, the entire composite system of the play, the arrangement of the actors, their relationship, if possible, the direct line of causes and consequences is its desired quality.

In the preface to the Fedra tragedy, Rasin emphasized the educational character of the theater. It is necessary to show the vice so that it is necessary to "understand and wave it disgrace." He refers to the ancients: "Their Theater was a school in which virtue was taught no worse than in the schools of philosophers ... should wish that our works would be as serious and just as fulfilled useful instructions." "Rationality", "common sense", the most important for classicists of concepts, roads and racines. The rationality of all the basics of the work - his ideas, emotions, visual funds - opens, according to Rasin, the road to the minds and hearts of contemporaries and the road to descendants, for, as he believed, common sense of all times the same.

(Vipper Yu. B. Creative fates and history. (On the Western European Literature XVI - Previous Half XIX Century) .- m., 1990.-s. 183 - 194)

Rasin Along with Cornell was the largest tragedy writer of classicism in France. But Racin presents a new stage in the development of the tragedy of French classicism compared to its wonderful predecessor. Moreover, the last period in the literary activities of Cornell turned into persistent martial arts with a junior contemporary. This is due (in the presence of individual and in many ways, fundamentally important traits of continuity) a significant difference in the creative look of both playwrights.

If the cornell in the powerful, monolithic, oen heroes and penetrated by paphos of the fierce political struggle, the images reproduced first of all the collisions that accompanied the process of strengthening a unified national state, then the work of Racin was saturated with other life impressions. The artistic globility of Racin was formed under conditions when the political resistance of the feudal aristocracy was suppressed and it turned into a submissive will of the monarch, deprived of creative life goals of the court to know. In the tragedies of Rasin, images of people who are corrupted by the lasty embraced by the flame of unbridled passions, the people of ignorant, fantastic. In the drama racine, not so much political as the moral criterion is dominated. An analysis of devastating passions raging in the hearts of vengearian heroes is unzores in the racin tragedies by the light of the all-permissive mind and an elevated humanistic ideal. Rasin's dramaturgy retains internal continuity with the spiritual traditions of the Renaissance era, and at the same time Heinrich Heine (in the "French Affairs") had the grounds to write: "Rasin was the first new poet ... In it, the medieval mineoscement was completely broken ... he became the authority of the new Society ... "

The art of classicism is often unilateral and superficially perceived as if reasonable, static and cold in their perfect harmony. Truth is more difficult. For equilibrium and deposit of the shape of the tragedy of Rasin, behind the images of people are carriers of exquisite civilization, behind the gust of the poet to the beautiful and pure spiritual harmony is hidden at the same time the tensions of the burning passions, the image of sour-cultivative conflicts, irreconcilable sincere clashes.

The nature of the poet was complex, multifaceted, contradictory. He combined fine sensitivity and impermanence, aggravated pride and vulnerability, a stinging warehouse of the mind and the need for tenderness and heartiness. In contrast to the measured, poor events of the life of Cornel, the personal fate of Racin is filled with drama and, because of this, it is important for understanding the creative evolution of the writer.

Jean Rasin was born on December 21, 1639 in the town of Firth-Milon, in the bourgeois for his origin to the family of a judicial officer. Racin early remained orphan. He took it on her care of a grandmother, which, like other relatives of the future playwright, was closely connected with the religious sect of the Yansenists. The opposition moods of the Yansenists who demanded the reforms of the Catholic Church who preached moral asceticism have repeatedly brought harsh persecutions from the government. All pedagogical institutions in which young Rasin studied were in the hands of pore-grand piano. The Yansenistry mentors gave their wards magnificent knowledge in the field of ancient languages \u200b\u200band ancient literature and at the same time they sought to instill their irreconcilability in matters of morality. At the same time, in the early 60s, Rasin was close to becoming a priest.

However, even then in his consciousness, the mature of a different kind of design. He dreamed of literary glory and secular successes, approval from the Royal Court, who became the legislator of taste, the focus of cultural life, the nice writer's dream was narrowed with the striking speed. In 1667, after the production of Andromaha, Rasin was already recognized as the first playwright of France. He receives a pension from the Royal Court, in the princesses at home, he is patronized by De Montspan, the king's favorite. But complications, conflicts, conflicts accompany this ascent. Hexicated by success, Rasin writes a caustic pamphlet, directed against his taugerers-Yansenistov, for a while strongly glowing with them. He has influential enemies among the most reactive circles of the court nobility, which are annoying exactly the best, deepest works of playwright.

It would be naive to think that the writer, with such a penetration depicting the flour of love, did not experience himself in the lives of spiritual storms. We can, however, only vaguely guess about those distillation and shocks that were fraught with the existence of a young playwright in the 60s - first of the 70s, when he plunged into the whirlpool of passions. Rasin subsequently destroyed his correspondence these years and other written evidence. Up to the present days, for example, the imagination of the historians of literature is worried about the mysterious circumstances, in which in 1668 the beloved Racina-wonderful actress Teresa Dipark suddenly died. The famous playwright a few years before it lured her from the Moliere troupe to the theater of the Burgundian hotel, for her he created the role of Andromaha.

From the mid-70s, a new decisive fracture comes in the life of the playwright. After the production of Fedra, he suddenly ceases to write for theater, a little earlier reconciled and again brings together with his old Mentors-Yansenists. What was caused by this sharp shift? Historians of literature and to this day can not come about this to a common opinion. There could be a mental shocks caused by personal experiences, as well as sharp clashes, which were played between Racin and his powerful enemies during and after the "Fedra" (opponents were trying in every possible way to disrupt the success of this ingenious work and investigate the playwright). However, the decisive role played, apparently the following circumstance. Soon after the premiere "Fedry", the king on the advice of his approximations elevated Racina to the honorary San of the Court historograph, but thereby actually deprived the writer for a long time the ability to deal with literary creativity: the new position did not allow this.

From this point on, Racin's life acquires a strange dual character. The writer conscientiously fulfills its official duties and at the same time closes in his home Mirka. He marries a representative of a respectable bourgeois family. His spouse, however, did not even know how the tragedies created by her ingenious husband were called, and, in any case, did not see any of them on stage. His sons Rasin raises in a harsh religious spirit. But the writer finds the strength to get out of the state of spiritual stupor and once again experiencing a powerful creative rise.

The highest manifestation of this lift was the creation of Racinese in 1691 the tragedy of "Hofolya" (or "Ataly"), this political tragedy written on the biblical theme has become as part of Racin's art testation to the posterity and a new stage in the development of French dramatic art. She concluded ideological and aesthetic trends that were found their further development in the French Enlightenment Theater. Not by chance, Voltaire put it above all the other works of Racina. The philosophy of the story that Rasin developed in his last tragedy was, however, gloomy, full of pessimistic thoughts about the near future. But at the same time, "Hofolya" contained a harsh condemnation of despotism and protest against religious persecution. This protest sounded extremely acute during the years when the Government of Louis XIV, abandoning the policy of violence, was subjected to the harsh harassment of the Yansenists and Protestants. For the embodiment of the tyrant's ideas, which sounded in "Hofolya", no longer approached "narrow", by definition of Pushkin, the form of previous works of Racina. Instead of a tragedy with a limited circle of characters focused on the image of the inner struggle, experienced by heroes, the writer was now to create a monumental work with many active persons able to convey historical scope, to bring public pathos of events playing on the scene to the viewer. To this end, Rasin introduced the choir in his tragedy, refused the love intrigue prescribed by the rules, resorted to the V Act, violating theoretics instructions, to change the place of action and scenery.

Political topical and freedom-loving content of "Hofolya" was alerted official circles. The courtyard met the closed formulation of this work in the House of Favorite King de Mentenon is cold and hostile, and his public understanding was forbidden. However, the oldest Rasin, submitting to the field of civil debt, was not afraid to put his wischable wins with such difficulty again. In 1698, feeling that he was not entitled to be silent, Rasin filed Mrs. de Mentenon's note "On People's Poverty" note, which expressively outlined the sad fate of the country exhausted by unnecessary and ruinous wars. This note fell into the hands of the king, and in the last days of his life, Rasin, who died on April 21, 1699, was apparently in opal.

The creative heritage of Racina is quite diverse. His Peru belongs to the comedy "Soutagi" (1668), witty, with elements of the buffonade ridicule over judicial orders and passion for litigation, the work, in many ways inspired by the Aristofan, and intended originally for use by actors of the Italian comedy masks; and poetic works (here it is necessary to mention the cantat for "Idyllo about the world", created in 1685), and various writings and sketches - the fruit of the writer's activities as a royal historographer; and the "brief history of pore-piano", written in 1693 in defense of oppressive Yansenists; and translations from Greek and Latin. However, immortality Racina brought his tragedy.

One of the Soviet specialists in the field of literature theory S. G. Bocharov as follows and very successfully determined the ideological peculiarity of the tragedy of French classicism: "The great works of classicism were not court art, they contained not a figurative design of public policy, but the reflection and knowledge of the collisions of the historic era." . What were these collisions? Their content was "not a simple submission of a personal common, passion of debt (which would quite satisfy the official requirements)", that is, not a moral preaching, "but the irreconcilable antagonism of these beginnings", their irreparable disorder. This can be quite attributed to Racin. In the consciousness of the wonderful playwright there was a tense struggle of two mutually exclusive trends. Before the power of the monarch as a carrier of national majesty, blindness of the brilliance of the Versailles courtyard faced with a feeling of selfishness, the amorality of the morals generated by the aristocratic environment, with an insurmountable need for a sensitive artist brought up in the humanistic ideals of the harsh lessons of the Yansenists, follow the vital truth.

This conflict was not characteristic of Rasin alone. It was characteristic of the consciousness of the advanced people of France in the second half of the XVII century, when the absolute monarchy reached the Zenit of his power and at the same time its progressive historical mission, essentially was already fulfilled. Under these conditions, the indicated contradiction was perceived as something that did not have development, permission, such as the eternal antinomy, as a clash of irreconcilable began, and his artistic understanding could well serve soil to create works, truly tragic in spirit.

The creative evolution of Racin was not smooth. Sometimes the playwright, obviously embellished the court aristocratic environment. Then, from under his pen, there were plays, in which psychological truth was pushed out to the background with artistic trends of the idealization of reality. It is these writings of Racin that is favorably and even enthusiastically be taken by aristocratic circles. Such, for example, the early work of Racina "Alexander Great" (1664), a peculiar, halane-heroic novel in verses, poelectric knightly values \u200b\u200bof the absolute monarch, a triumphant victory over his rivals. Several conditional and the central figure of the tragedy "Infigrations in Avlude" (1674) -printing, which because of the virtues and humility of the will of the parents is ready to sacrifice the gods. This is especially noticeable when comparing the heroine of Racin with the Evripid Iphigenia, which is poetically and emotionally much more deeply. In "Esphyri" (1689) many separate charming, breathable lyrics of poems. But in general, this is just facing the Almighty Monarch and his favorite and clothed in a dramatic form respectful and humble request writer-iborant of religious tolerance and condescension. However, Racin does not stop on it. He invariably found the strength to revise his art decision and, again takes care of the development of a similar topic, to rise to the poetic display of the sublime and terrible vitality. So, after Alexander the Great, "Andromaha" (1667) was created, after "IFIEND IN AVLIDE" - "Fedra" (1677), after Esphyri - "Hofolya" (1691). At the heart of the construction of the image and character in Racin-inherited from the Renaissance aesthetics, the idea of \u200b\u200bpassion as the driving force of human behavior. Depicting state power carriers, Rasin shows, however, in its largest works, as in their soul, this passion enters into a cruel, irresistible contradiction with the requirements of humanistic ethics and public debt. Through the tragedy of Racina, the string of the figures of crowning despots, inxicated with its unlimited power, accustomed to satisfy any desire.

Compared to Cornell, which preferred to create the characters of the whole and established, Racina, the Master of Psychological Analysis, more fascinated the dynamics of the internal life of a person. With a special force, the process of gradual transformation of the monarch, who was convinced of the absolute nature of his power, to the despota revealed by Racin in the image of Nero (the tragedy "British", 1669). This rebirth is traced here in all its intermediate stages and transitions, while not only in a purely psychological, but also in a wider political plan. Rasin shows how the moral moral, moral foundations rushes in the consciousness of Nero. However, the emperor is afraid of public indignation, worst of folk wrath. Then the evil genius of Emperor Narcissus convinces Nero in the absence of retaliation, in the passivity and indecision of the crowd. It was then that nerd and gives the final will of his passions and instincts. Now nothing can keep it.

The heroes of the racine tragedy burns the fire of passions. Some of them are stronger, powerful, decisive. Such is Hermione in Andromache, Roxan in Bayazet. Others are weaker, more impressionable, to the greater avalanche of feelings that fell on them. Such, let's say, Orest in the same "Andromache."

The court environment is represented in the best works of Rasin as the world of the soul, gloomy, full of fierce struggle. In the greedy pursuit of power, we welfare here are intrigue, crimes are committed; Every month you need to be ready to reflect attacks, protect your freedom, honor, life. Here the lies, slander, denunciations reign. The main feature of the ominous court atmosphere - Litsery. It excretes all and everything. Historizer Tyrant Nero, sneaking towards his victims, but forced to hypocrite and clean bayazet. Otherwise, he cannot do: the laws of self-defense are forced to this.

Heroes in the mercy of devastating passions, Rasin seeks to oppose light and noble images, implementing their humanistic dream in them, its idea of \u200b\u200bmental infrequentness. The ideal of flawless knightness is embodied in the Brittle and Ippolite, but these young, pure thoughts heroes are doomed to tragic death. Rasin's positive aspirations were mostly able to express in female images. Among them, Andromaha, a faithful wife and a loving mother, Trojank, who is unable to poke out the memories of the fire and the death of his hometown, about those terrible days, when the hazing now Her love, Pyrrus mercilessly destroyed her tribesmen. This is the "Mitridat" tragedy (1673), the image of Monima, the bride of the Son of the Terrible Command. Feminine softness and fragility are combined with an inflexible inner force and proud sense of self-esteem.

Over the years in the artistic globility and the creative manner of Rasin, changes occur. The conflict between humanistic and anti-humanistic forces develops more and more in a collision between the two opposing camps in the fierce martial art of a person with himself. Light and darkness, mind and destructive passions, muddy instincts and burning conscience harvests face in the soul of the same hero infected with the vices of their environment, but seeking to rise above her who does not want to reconcile with their fall.

These shifts are designated in their own way in "Bayazet" (1672), where positive heroes, noble bayazets and atalyd, defending their lives and the right to happiness, retreat from their moral ideals and are trying (in vain) to resort to means of struggle borrowed from their despotic and corrupted persecutors. However, the peaks of their development said trends reach in Fedre. Fedra, which constantly changed the mosted in the disinfects, feels lonely and abandoned, and in her soul there is a detrimental passion for a steppolitis. Fedra to some extent loved the Ippolitus because in his appearance, as it were, the old, once valiant and beautiful theses. But Fedra is recognized that the terrible rock is over her family and her family, that the tendency to the intentional passions in her blood is inherited by it from the ancestors. In the moral spoilness of the surrounding and is convinced by the Hippolyte. Turning to his beloved Ariza, Ippolit declares that they are all "covered by a terrible flame of vice," and calls to leave the "fatal and defile place, where virtue is designed to breathe contaminated air."

But Fedra, the reasoning mutual reciprocity of the stepmaking and slandering him, acts as Racin not only as a typical representative of his spoiled environment. It is simultaneously towers over this medium. It was in this direction that Rasin made the most significant changes to inherited from antiquity, from Euripid and Seneki, image. In the Seneki, for example, Fedra is depicted as a characteristic disposable of the dismissal palace morals of Nero's era, like a sensual and primitive nature. Fedra is Rasin, with all its spiritual drama, a person of a clear self-consciousness, a person in which the corrosive heart of the poison of instincts is connected with an irresistible desire to truth, cleanliness and moral dignity. In addition, she does not forget for a moment, which is not a private person, but the queen, the carrier of state power, that her behavior is designed to serve as a model for society that the fame of the name doubles the torment. The climax in the development of the ideological content of the tragedy is Fedra and the victory, which is then wanted in the heroine consciousness, a sense of moral justice over the egoistic instinct of self-preservation. Fedra restores the truth, but life for her is not supporting, and it destroys themselves.

In Fedre, due to its universal depth, poetic images, hoped in antiquity, are especially organically intertwined with ideological and artistic motifs, suggested by the writer with modernity. As already mentioned, the artistic traditions of revival continue to live in the work of Rasin. When a writer, for example, forces Fedra to contact the Sun as his progenitor, for him it is not a conditional rhetorical decoration. For Racina, the creator of "Fedry", as well as for its predecessors - French poets of the Renaissance, antique images, concepts and names are native elements. The legends and myths of gray antiquity come to life under the pen of the playwright, giving even greater majesty and the monumentality of the life drama, which is played before the eyes of the audience.

A peculiar artistic signs of the tragedy of French classicism, and above all, her pronounced psychological bias, found in the drama Jean Rasin their consistent embodiment. The requirement to comply with the unity of time, place and action and other canons of classicism did not constrain the writer. On the contrary, they helped him extremely compress action, focus on analyzing the mental life of heroes. Racin often brings the effect to the climax. Heroes are fighting in ebuncting networks, and the tragic character of the junction is already predetermined; The poet is listened to the way of heroes in this suicide agony, and captures their emotions. Rasin is still more consistent than Cornel, reduces the role of external action, completely refusing any stage effects. He avoids intricate intrigue. He doesn't need it. Building its tragedies, as a rule, is extremely transparent and clearly. A characteristic example of the amazing composite simplicity that is inherent in the tragedies of Rasin can serve as "Brenika" (1670). In this tragedy, in essence, three actors. Her plot can be set forth in several words. The Roman emperor Tit loved the Jewish queen Burenik, but the heroes are forced to part, because the laws do not allow Titus to marry a stranger, which besides the royal san. As carefully and sensibly tries to convey the title this bitter truth to the consciousness of Berenik, so that she understands the inevitability, the inevitability of the victim and humbled with her. With the penetrated lyrical force, Rasin reproduced the peaceful tragedy of people who, striving for the fulfillment of public debt, reveal their personal happiness. When the heroes leave the scene, the audience is clear: the personal life of these people is forever broken.

Mention of lyricism arises not by chance when it comes to racine drama. In the tragedies of the Creator "Andromaha" and "Fedry", stylistic features that distinguish the Cornelev stage in the development of the tragedy (several rational rhetoric rhetoric, addiction to the disputes built in all the rules of dialectics, to generalized maxims and maxim) are replaced by artistically more direct expression of the experiences of heroes, their emotions and moods. In the hands of Racina verse often acquires a pronounced email color. With the lyric qualities of poems Rasin is inextricably linked and distinguishing their musicality, harmony.

Finally, describing the syllable of Rasin tragedies, it should be noted and its simplicity. The exquisite turnover of the gallarian-court language in the racin tragedies is only an external shell, historically caused by tribute to the nravam time. The inner nature of this syllable is different. "There is something amazingly important in a slim, quietly spilling speech of Rasin Heroes," he was written.

The diversity and complexity of the creative appearance of Racina affected his posthumous fate. Which displays, and at times and simply mutually exclusive creative portraits offer us historians of literature engaged in interpreting works of the great playwright: Rasin-Peyvets of the Essential Versailles Civilization and Rasin-carrier of the moral intransigence of Yansenism, Rasin-embodiment of the ideal of the nobility of the XVII century, Rasin-Explanatory Rasin-artist, exposing the dark depths of human nature, and the Rasin-Forerunner founders of "pure poetry" ...

Trying to understand all these disgraceful opinions and estimates and thereby move further in the understanding of the poetic essence of the creative heritage of Racina, it is advisable in search of a guide thread to appeal to judgments left to us with wonderful figures of Russian literature of the XIX century.

Pushkin gradually came to the conclusion about a huge social content, objectively concluded in the tragedies of Rasin, despite the fact that the coverage of reality in them is largely limited. While Western writers (not only romantics, but also standal) in the 20s of the XIX century were opposed, as a rule, Racina Shakespeare, trying through the criticism of the first to exalted the second, Pushkin, claiming the principle of the nationality of literature, preferred to emphasize That is common, which relates to both great playwrights. Thinking over the fact that "what is developing in the tragedy, what is its goal," Pushkin answered: "Man and people. The fate of human, the fate of people, "- and, continuing his thought, said:" That's why Rasin is great, despite the narrow form of his tragedy. That is why Shakespeare is great, despite the inequality, negligence, the uglyness of the finish "(the article plan" On the People's Drama and the Marfa Posaditsa "m. P. Pogodina).

Herzen in the "letters from France and Italy" (in the third letter) very expressively told, as he, having learned from the works of German romantics, a completely reported idea of \u200b\u200bthe French classicists of the XVII century, unexpectedly opened the irresistible poetic charm of the latter, seeing their works on the Paris scene And felt the national originality of their creativity.

Herzen also notes the presence of certain contradictions in the roxin-classicist artistic method. But in these contradictions, the unique originality of the poetic vision of reality by Rasin is revealed. In the tragedies of the Great French Classicist, "the dialogue often kills the action, but he himself has an action." In other words, although the plays of Racin and poor events, they are saturated with drama of thought and feelings to the limit.

Finally, Herzen points to the enormous role of Racina in the spiritual formation of subsequent generations, resolutely speaking against those who would like to limit the playwright with the framework of conditional and gallant court civilization. Herzen notes: "Rasin meets at every step since 1665 and to restoration. It was raised by all these strong people of the XVIII centuries. Are they all wrong? "- And among these strong people, the XVIII century calls Robespierre.

Great playwright embodied in his work many wonderful features of the national artistic genius of France. Although the periods of tides and females of glory were alternated in the posthumous fate of Rasin (the critical attitude towards the work of the playwright has reached the era of romanticism), mankind will never cease to turn to the images created by him, trying to penetrate the wonderful secret to them, to know the secrets of the human soul.

Rasin); His works are the flourishing of the National Classic Theater. Jean Rasin was born on December 21, 1639 in the County of Valua, in the small town of La Firth-Milon; His father was a tax official. Jean brought up her grandmother, because at the birth of the boy's sisters their mother died, and in two years old and father.

In 1649, Jean becomes students at school, open at the monastery of Pore-Royal, and from 1655 - a student in the abbey itself. He had excellent philologe teachers, thanks to which he himself turned into a very knowledgeable Hellenist. The worldview, developing under the influence of Jansenism, and the love of classics, their contradiction of steel for Racin in many respects defining in its further biography, in particular, in creativity, turned into a source of inspiration. The ascetic lifestyle, Jean Rasin adhered to a long time and switched to an essay of one. To complete the formation, he walked in a college Arkur in Paris.

From 1666, he lived at a cousin who manages the Duccian estate. In the same year his acquaintance with Moliere, Lafonten, Bouoye. The soda of "Nymph Seine", praised the courtyard, made him a retirement assigned by Louis XIV. It is known that at that time he wrote two plays that were not preserved until our time.

In 1661, Jean Rasin moves to the southern city of Yuza, to the Uzate-Priest, counting on receiving the benefit from the church, which would give him a chance entirely and completely devote himself to the literature. However, Rasin collided with refusal, and in 1662 or 1663 he had to return to Paris. While in the capital, Jean Rasin was an active participant in the literary community, his relationship was grew, one of the cabins close to the yard were spared one after another. It is believed that the Moliere himself advised to write the plays "Fivaida, or the enemies" and "Alexander Great" and also put the performances in 1664 and 1665. respectively. However, despite the patronage of the famous playwright, the debut plays did not become a complete demonstration of the talent of the beginning of the author.

In 1667, the tragedy of Racina "Andromaha" comes out, whose success exceeded all expectations. For the years preceding the production of the tragedy, Racin got marked noticeably with the Supreme Society, managed to win the favor of Madame de Montespan, which was the mistress of the king. His own Pasia, actress Teresa Dupace, who played in Androma and the main role, moved to Racina from the Moliere troupe. Nevertheless, the creative life of the playwright proceeded not difficult, was filled with fierce clashes with people who did not take his works, mainly due to the personal qualities of Rasin himself, his exorbitant ambitions, irritability, arrogance.

In 1669, it was quite warmly greeted by the public of his tragedy "British", and much more successful had to have transferred to theatrical layouts next year after writing the tragedy of Brenika (1678). After the production, the Fedra tragedy was perceived, and the writer's written writing almost ceased for more than 10 years.

During this period, Rasin became a royal historist, having changed Baual, took a household and religious woman who gave him seven children. In 1689 and 1691. He wrote the two only plays that asked him to compose Madame de Madenon to set up the pupils of her school. On April 21, 1699, the outstanding French playwright died in Paris; Buried him next to the Church of Saint-Etienne-du Mont.

Jean-Baptiste Rasin is the famous poet playwright of France XVII century. His new unusual style conquered the hearts of millions of spectators and made it on their judgment of the feeling and passion of the acting characters.

This article is devoted to interesting biographical facts from the life and creativity of the famous playwright. There is also a variety of illustrations: a poet, writer compositions, lifestyle and use of that time. There is only a photo of Jean-Batista Racina with his wife, since we know a little about the personal life of the playwright.

Children's tragedies

France, a small County of Valua. In winter, 1639 in the family of a tax author's official is born by a male child. This is the future playwright Jean Rasin. He quickly learned the prose of life, over a few years lost both parents.

Two years after the birth of the firstborn, the mother dies from the birth of a guy, leaving the spouse of two children - a small son of Jean and a newborn daughter Marie.

Father marries the second time, but family happiness lasts long. A man dies aged twenty-eight years.

Losing both parents at such a young age is very bitter and hard. And although the four-year-old child is not fully aware of what is happening around, all the same tragedies leave an indelible mark in his fine soul and adversely affect the unidentified children's psyche.

An experienced in early childhood will help Racina in his creative activity. Having experienced the deep feelings of suffering and grief, the future poet will be able to talentedly in their works, brightly and realistically transmit the depth of other people's unrest and passions.

Acquaintance with religious life

Little orphans took her to her upbringing grandmother, who cared for their nutrition and education.

At the age of ten years, Jean was sent to training in Beauvais - the city in the north of France. The guesthouse was in the abbey of pore-piano, which served as a stronghold for adherents of Yansenism. The boy, having acquainted closer with this religious stream in Catholicism, took it with all his heart and soul. Until the end of his days, he remained a sublime-religious person, flowing into Melancholy and fondant mysticism.

The whole community of Yansenists settled in the pore-piano. It included many gifted well-known people who opposed generally accepted Jesuitism and caused him a lot of concern. Many of them were lawyers and scientists, poets and priests. By January, the famous domestic mathematician and physicist Pascal, as well as the metropolitan moralist and theologian Nicole, believed.

The idea of \u200b\u200bthe Yansenistov, who sincerely supported the young Jean-Baptiste Rasin, focused on the divine predetermination of all events in a person's life, the so-called fate that cannot be changed or corrected. Personal choice and our own beliefs went to the background, giving way to the fishery of God, as well as the original sin, which has a huge impact on human thoughts and actions.

At the age of sixteen, young Rasin got access to the abbey itself. He was taught by four educated philologists of the time, they attracted him to love for Greek culture and literature.

Hellenistic poetry Jean Rasin knew by heart, giving up with all the soul sensual impulses and gentle passions, which he read in classic works. Many love books that young people read at that time were condemned by his trustees. For this young student, he was searched several times, and the novel found destroyed in his eyes.

Education in Paul Royal had a huge impact on the life and creativity of Jean Rasin. The source of his further inspiration becomes the sincere passion for the sensual literature and the heart commitment to the ideas of the Yansenism, which he wanted to connect together in his works.

Start of a creative path

At the age of nineteen, Jean Rasin, whose biography tolerate further transformations, moves to Paris and enters the college Arkur, where he studies the right and philosophical sciences. There he makes useful dating in the literary environment and begins his writer's writings.

Jean Rasin, whose work still was not familiar to anyone, writes several plays and musical ODU for court execution.

Young Louis XIV, who has just been combined with a marriage with Young Maria Terezia, drew attention to the talented creations of Rasin. The king, who loved all sorts of entertainment and entertainment, patronized gifted people, writing bright, colorful works for the courtyard. Therefore, he appointed a monthly retirement novice writer, in the hope of its further creative works.

Empty hopes

Jean Rasin loved to write, it gave him pleasure and unspeakable joy. But, without having a constant livelihood, the young man understood that he could not plunge into literary activities with his head. It was necessary to live on something.

Therefore, a year after his poetic debut, a novice playwright goes to Languedoc, where his uncle lived on the mother, an influential priest, in order to ask the Church about his revenue position. So he, almost without bothering spiritual affairs, could devote himself to art. But Rome refused to a young man, and he was forced to return to Paris again to earn his pen.

Cooperation with Moliere

In the capital, charming and witty Jean Rasin acquired success in the literary environment. The doors of some aristocratic salons even opened before him.

At about this time, the novice writer meets the famous Moliere - the creator of the classic comedy and director of the respected theater.

Following some advice and prompts of Moliere, young Rasin writes the tragedy "Fivaida" and "Alexander Great". They were delivered to the corpure of Moliere and had a great success.

Relationship with Cornem

However, Racin's plays were rigidly criticized by Cornell, who at that time was the most popular and respected master of the tragic genre.

Cornelo did not like the style of works of young playwright. He noted a deep rare talent in it, but advised to elect another genre for writing.

The fact is that the tragedy of Jean Rasina was the opposite of the Cornell tragedy. If the experienced experience and years, Cornell wrote mainly about strong and volitional heroes, then the young Rasin exalted in his main characters their sensitivity and inability to cope with their own impulses.

However, as time has shown, Cornelel wrote for the last generation. Rasin, being a representative of a new era and has absorbed new conditions, worked for modern society.

It is noteworthy that, having a bright individual talent and aware of the emerging star of Cornel playup, the young Jean-Baptiste did not experience the shadows of gloating or ill-facilities in relation to his kidnapped opponent. He respected his inimitable talent and its exceptional contribution to the theater culture of the state.

When Rasin Jean, whose verses were rapidly acquired by popular recognition and love, became a member of the French Academy, he showed riberate respect and respect, not seeking to eclipse his elderly man. Only after the death of Cornel, Jean-Baptiste said his first bright and unforgettable speech in the Academy, in honor of the merit and the merits of the well-minded playwright.

Jean Rasin "Andromaha". Summary

Collaboration with the Moliere was short-lived in the creative life of Rasin. At the age of twenty-six, he moves to another theater - Pub-Bourbon, where he soon puts his ingenious and inimitable play "Andromaha" - a serious and harsh tragedy written by Alexandrian verse.

After a brilliant "Alexander the Great", many connoisseurs of theatrical art were interested in which the plot for his next work would he choose Jean Rasin? "Andromaha" was based on the mythological work of Euripid, but somewhat changed and rebuilt for the modern viewer.

The essence of the tragedy Jean-Batist saw not in the conflict between the debt and feeling, but in contradiction of various emotions and sensations that nest into the heart of a person.

For example, the dual image of Andromakh encourages the audience to think over the true causes of her changeable behavior. Why did she grow by the dead husband and the price of blackmail agreed to marry with an unloved Pyrrome, after his death, he posed for passion to him and is going to revenge his killers? Doubts and oscillations of Androma, hidden in the hidden depths of her hearts, are interested in the author more than her actions and actions.

Contradictory and beyond the logic of feelings and another heroine - Hermione. Trying the humiliation of Pyrrh, she loves him insanely and rejects the courtship to her faithful to her. Then, bespoken by jealousy and offend, she asks a rejected friend to kill Pyrrh, and when he dies, the unfortunate girl curses Ores and kills himself right over the body of the late groom.

An interesting, fascinating play found a favorable response from both dismissed spectators and demanding critics. It was the great colossal triumph of the French playwright.

However, much on the scene depends not only on the author of the work, but also from the game of actors.

Who is the main role in his ingenious tragedy recommended Jean Rasin? Andromaha has become the brilliant scenic success of his mistress - actresses of Teresa du Park, talented in the image of the central heroine and the seriousness of the leading conflict of the play.

Flowering creativity

After the dizzying success, "Andromaha", Jean Rasin strengthens its position as a talented playwright and a subtle connoisseur of the human soul. He creates bright, strong style and topics of the tragedy "Britanik", "Brenika", "Bayazet" and "Iphigations".

At this time, the famous playwright tries to experiment with plots and genres. For example, he writes a sparkling comedy "Humors" (or "Soutagi"), where the French judicial system is ridiculed. In another work - "Britanik", the poet for the first time appeals to the history of Rome, where he tells the audience about the bloodthirsty traitor Nerno and his brutal love for the bride of a consolidated brother.

During this period, Jean Rasin acquires a huge location of the Royal Court. His plays shown in Versailles, they are cheerful and entertain not only the court, but also the sovereign itself. At the age of thirty-three years, Jean-Batist is honored by the noble title. He uses the patronage of Madame de Montiespan - the permanent mistress of Louis XIV, thereby it has the ability to communicate with the king himself and have close relationship with him.

Jean Rasin "Fedra". Summary

At the age of thirty-eight years, Rasin composes the talented and ambiguous tragedy of Fedra, based on the plot of the plot from Greek mythology. In ancient times, Euripped has already been written by the same featured play with similar content.

What new wanted to show his tragedy Jean Rasin? "Fedra" of the playwright paid attention not so much on the swirling intrigue itself as the feeling and feeling of the unfortunate heroine, forced to lead the painful struggle with his own passions.

The actions of the plot unfolds in an ancient Greek city of siner. Athens Tsar Tesove went to war and already as half a year she serves Westa. At this time, his wife - a young and beautiful Fedra, begins to realize that he experiences the forbidden sinful feelings for the son of the Tereus from the first marriage. Hippolyte (so the name of the young man) is not suspected of stepmother's love. He is all immersed in his personal experiences - his chosen by Arikia is a captive father.

Fedra, torn by oppressive shameful desires, wants to commit suicide, but here comes to the message about the death of Sene. Circumstances change. A woman is advised to confess to the IPPOLIT in love, since now these feelings are not forbidden and shameful.

Fedra, taking the courage, in the impression of the frenzy and hot emotions recognized as a passion, which has long been experiencing passion for him. Hippolyte is a clean and impeccable young man, in response to confession of stepmother, only surprise and horror, mixed with embarrassment.

And then there is an unexpected - a living and healthy temple appears! He is surprised by a strange attitude, manifested with his son and his wife at a meeting. Soon, Ippolita slander, as if he wanted to rape his stepmother, and the king believes these cruel statements. He curses his son and refuses to listen to his excuse.

When the father's sentence overtakes the young man and he dies, Fedra decides to admit the spouse in shameful feelings and justify his beloved person in the eyes of the Father.

She cums the life of suicide, and Teshesy, finally learned the truth, crushes about the death of the Son and in memory of him he wants to accept his chosen to Arikia as a native daughter.

Attitude to the tragedy of the author

As the playwright itself admits in the preface to his tragedy, before writing it, he conducted many studies and studied many mythological documents to determine the true characters and actions of the main characters. He also tells that he intentionally tried to whitewash the main characters to cause the audience without condemnation, but an understanding and sympathy.

In his work, the great playwright displaced the conflict not only in the soul of the main character. One of his main tasks was to convey the contradiction between the pagan and Christian interpretation of events.

The tragedy of the French playwright Jean Rasina revealed the pagan world of influential Greek gods, which could execute and punish people (in the case of a hippolyte). On the other hand, the ideas of the Yansenists (the concept of the divine predetermination and the redemption of sins of their own life) pass through all the work of the red thread.

Attitude towards the tragedy of the audience

How did the public perceived the immortal work that Jean Rasin wrote? "Fedra" caused a storm of discussions and disagreements about his unusual interpretation.

In addition, at the first show, the play was suffered a complete fiasco because of the envious goose enemies of Rasin. Pay for this special attention.

A group of influential aristocrats led by the relatives of Cardinal Mazarini ripped the premiere of the tragedy, bought in advance all the tickets for her presentation. In parallel, there were shows of a performance with a similar plot of poet-Paskvilanta Pradon, who was bribed with the enemies of Rasin. Enlightened opponents set up everything that the play of Pradon was collected many viewers, and no one came to show the immortal tragedy of Rasin.

Jean Rasin, whose books and plays enjoyed wide demand and unprecedented popularity, was offended by such a subtrack of enemies and left theatrical creativity.

Life after "Fedry"

The playwright married a modest girl, who over time gave him seven children, and took the honorary position of the court historically. His responsibilities included writing the official history of the French state. Being at the king, talented Jean-Baptiste enjoyed its full location and experienced special mercy of the monarch.

Frustrated and offended Rasin twelve did not take for a pen to write tragedies. But one day he allowed himself to persuade and again took up writing plays.

At the request of the Unifestable Spouse, Louis XIV, Mrs. de Mentenon, the great playwright created two plays - "Esphyra" and "Hofolya" (or "Afmaty"). The works were written specifically for setting in the Great School of Saint-Sira, so they almost did not have a love conflict and consisted of an instructive entity.

Bible plots based on biblical plots (especially "Hofolya") had a political background. They were outlined by an absolute monarchy and described the uprising of ordinary people against despota-autocrat.

Since then, Jean-Baptiste Rasin no longer wrote for scenic frames. He again felt a strong faith in God, grasping him back in the pore-piano, and penetrated the spirit of the Yansenistal teachings. Under the influence of the pious doom, Rasin creates religious creations: "Spiritual songs" and a little later "brief history of pionery".

Before his death, the talented Jean-Baptiste fully turned to a religious path and considered his poetic activity of an unworthy "scandalous life", for which it is necessary to push forgiveness from God.

Great playwright died in Paris at the age of sixty.

Creative heritage

Jean-Batist Rasin wrote mainly in the style of traditional classicism: his works based on historical or antique mythology consisted of five actions, and the events took place in one day and in one place.

With his work, talented playwright did not want to fundamentally change the existing system of drama. He did not write philosophical extensive treatises, and spout his thoughts and ideas in a short and simple form in the form of prefaces to published tragedies.

He passed his worldview in practice, refusing to the idealization of the main characters, and paid attention not to the duties and debt of his heroes, but on their internal conflicts, heart experiences, the soul of passion, weakness and temptations.

All this was close and understood by the contemporaries of Rasin. Because of his poetic creations enjoyed great love and popularity in the XVII century. As a result, his creative heritage is alive and in a timely manner and today.