Search

Après une introduction replaçant le théâtre sacré de George Buchanan dans le contexte culturel du xvie siècle, et la présentation de chaque tragédie, le texte latin de Baptistes siue Calumnia et Iephthes siue Votum est accompagné d’une traduction en français moderne, d’apparats, d’une bibliographie et d’index., After an introduction placing George Buchanan’s sacred theater in the cultural context of the sixteenth century, and an overview of each tragedy, the Latin versions of Baptistes siue Calumnia and Iephthes siue Votum are accompanied by a translation into modern French, along with concordances, a bibliography, and an index.

La figure de Sénèque mise en lumière par le titre agit comme un trompe-l’œil : le précepteur stoïcien de Néron masque le dramaturge, dont la présence se révèle dans un subtil jeu de miroirs. C’est la question de la relation de La Mort de Sénèque à la tragédie latine et humaniste qui se trouve donc au cœur de cette contribution. Il semble que ce soit sous la forme réflexive d’un tombeau tragique que Tristan rende hommage au dramaturge antique, dont il représente précisément la disparition., The figure of Seneca spotlighted by the title acts as a trompe-l’oeil: Nero’s Stoic tutor disguises the playwright, whose presence is revealed in a subtle play of mirrors. At the heart of this contribution is the question of the relationship of La Mort de Sénèque to Latin and humanist tragedy. It would seem that it is in the reflexive form of a tragic tombeau that Tristan pays homage to the ancient playwright, whose death he represents faithfully.

International audience; This volume gathers together for the first time Mary Sidney Herbert’s Antonius (1592) and Thomas Kyd’s Cornelia (1594), two significant and inter-related responses to Robert Garnier’s Roman plays, Marc Antoine (1578) and Cornélie (1574). As a unique diptych the translated plays offer invaluable insight into the often ghostly presence of French literature in Elizabethan culture. They also mark an important chapter in the development of early modern neoclassical drama, with Sidney Herbert and Kyd creatively engaging, each in their own way, with Garnier’s learned, Senecan tragedies.This edition offers a critical introduction situating the plays in the rapidly shifting context of the 1590s and discussing their critical reception as translations. The footnotes aim to illuminate Sidney Herbert’s and Kyd’s distinctive translation practices by signaling significant amendments to Garnier’s text and by tracing the web of intertextual allusions that connects each translation, not only with Elizabethan practices of patronage, readership, and text circulation, but also with the wider intellectual and political debates of the late European Renaissance. Also featuring textual notes, a list of neologisms, and a glossary, this edition documents each text’s material and editorial history, as well as their joint contribution to the linguistic creativity of the Elizabethan age.

International audience

International audience