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Articles 1 - 3 of 3
Full-Text Articles in Modern Languages
Uncertainty In Corneille's Héraclius, Nina Ekstein
Uncertainty In Corneille's Héraclius, Nina Ekstein
Modern Languages and Literatures Faculty Research
Scholars agree that Héraclius (1646) occupies the extreme point of plot complication in the Cornelian oeuvre. Numerous events have occurred prior to the action of the play, events that are necessary to the spectators' understanding of what transpires onstage. Twenty years before the play opens, Phocas assassinated the emperor Maurice as well as his sons and took his throne. Léontine, the royal governess, switched the youngest of Maurice's sons, Héraclius, with her own son, thus sacrificing the latter's life so that the royal blood of Maurice might survive. Not long after, Léontine made a second substitution, this time switching …
Artistry And Irony In María De Zayas's La Inocencia Castigada, Matthew D. Stroud
Artistry And Irony In María De Zayas's La Inocencia Castigada, Matthew D. Stroud
Modern Languages and Literatures Faculty Research
By the time Maria de Zayas published her Desengaños amorosos, the honor scenario, due in large part to the dominance of the comedia and especially of Calderón, had taken on a number of characteristics that today seem inseparable from the familiar plotlines. A noblewoman, usually innocent of adultery but loved by another man, is believed for one reason or another to have dishonored her husband. He proceeds to verify that the affront has indeed been committed, and, upon (wrongly) coming to believe that his wife is guilty, undertakes to have her killed in secret so that his honor will …
Le Change In Corneille And Racine, Nina Ekstein
Le Change In Corneille And Racine, Nina Ekstein
Modern Languages and Literatures Faculty Research
Le Change is a concept typically associated in the seventeenth century with the baroque, with the pastoral, and with comedy. In the simplest terms, a lover abandons the object of his or her affections for another. In baroque aesthetics, change is linked to the larger concepts of mobility and metamorphosis (Rousset 44). It is a common motif in the pastoral as well, both in drama and prose fiction. The classic pastoral figure of change is Hylas from Honoré d'Urfé's Astrée, who moves cavalierly from one mistress to the next. Invariably in seventeenth-century France, change is held to be a …