Andromaque by Jean Racine

By Jean Racine

Optimum chef-d uvre de Racine, qui lui valut, à vingt-sept ans, d être comparé au grand Corneille, Andromaque fut à sa création un véritable triomphe. En réinventant l histoire de l. a. veuve d Hector captive de Pyrrhus, roi d Épire, il inaugurait une nouvelle forme de tragédie, où l amour devenait resource de tous les périls et de tous les égarements. Dans cette pièce aux puissants effets pathétiques, marquée par le désordre extrême des sentiments, les personnages, emportés par leurs passions, se livrent aux pires excès sans jamais cesser d être d authentiques héros.

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The growth of advertising was a major factor in the flourishing of magazines in which Runyon’s work appeared. 10 With the increasing dominance of New York in literary culture, it is not surprising that a great many of the major American magazines were published in New York. ”11 Although these magazines were national and international in coverage, they often stressed the glamour of New York, where celebrities, particularly those in the theater, resided. ”12 Many factors, of course, went into the making of the world Runyon describes.

The pugnacious Winchell varied his content from day to day to satisfy his diverse audience—Mondays were for gossip, Tuesdays and Thursdays he focused on anecdotes and jokes, and Saturdays he wrote about obscure facts. While in his columns Winchell did take on somewhat different personae, he did not do so in the wildly inventive way that Runyon did. The growth of advertising was a major factor in the flourishing of magazines in which Runyon’s work appeared. 10 With the increasing dominance of New York in literary culture, it is not surprising that a great many of the major American magazines were published in New York.

Runyon’s view was not too different; he at once celebrated and condemned promiscuity. Evergood and Marsh were patronized by highbrow critics for similar reasons as Runyon. On first encounter, all three seemed more interested in subject matter than technique and used popular forms and seemingly unsophisticated techniques to communicate viscerally with a larger audience. Moreover, they relied on exaggerations and even grotesque and distorted perspectives. Another painter who helps us understand Runyon is John Marin (1870–1953), especially his 1936 series of watercolors, including “City Movement, Downtown Manhattan #2” (1936), which had much in common with Runyon’s rendering of the city’s vitality and energy.

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