By Pierre Corneille
Un père à los angeles recherche de son fils consulte un magicien qui lui offre los angeles imaginative and prescient des aventures du jeune égaré, faites d'amour, de duels, mais aussi d'impostures et de trahisons... Mêlant éloquence tragique, emprunts au répertoire de los angeles comédie italienne et récit d'initiation, L'Illusion comique (1635), œuvre de jeunesse, est un " étrange monstre ", au dire de Corneille lui-même. Identité fuyante des personnages, invraisemblances de l'intrigue et subtilité du montage illusionniste font de cette pièce baroque et capricieuse une vibrante apologie du théâtre.
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Extra resources for L'Illusion comique
Example text
These records have to be defined as such, their trustworthiness has to be assessed, they have to be interpreted, and need to be brought into some kind of (narrative and argumentative) connection. This is surely cause for much manipulation, and it cannot be otherwise. Although manipulation may be well known for its negative connotations, originally it means nothing more or less than handling a matter, or the skilful treatment of some matter. Such handling does always take place in a present. Caught in History or Opening it Up: Pain and Love One of the most famous plays written by Vondel is Gysbreght van Aemstel (1637).
Instead of choosing to become martyrs, a band of survivors escapes through the one opening left to them: the harbour and the sea, at the other side of which there lies a new land, and a new history. Narrativism and Nomadic Thought When Frank Ankersmit developed his controversial notion of narrativism in the early nineties of the twentieth century, his idea was to present an alternative to what he called historism. He was not alone in this endeavour. 33 Both argued against the option that it would somehow be possible to approach history by assuming that it is possible (a) to have access to a history that exists independently and (b) to represent that access in such a way to historians and other readers that this access is ‘transferred’.
This is strongly reminiscent of Milton’s ‘to justify the ways of God to men’, the stated purpose of Paradise Lost (1667) (I, 26). Yet the difference in emphasis should not be overlooked. In Vondel’s view God does not need to be ‘justified’ to men; his intention is to demonstrate God’s just and merciful rule. Each volume of the study closes with an ‘overview’ in which the defining characteristics of the tragedy under discussion are set out schematically, a didactic aid that made the book significantly more persuasive.