Note publique d'information : RACINE EST CONSIDERE SOUVENT COMME UN VIRTUOSE DU STYLE "NATUREL" QUI EST L'IDEAL
MEME DU LANGAGE A L'EPOQUE CLASSIQUE. OR, EN REALITE, CE CARACTERE DE STYLE EST BIEN
LIMITE CHEZ LUI POUR DECRIRE L'ACTION DRAMATIQUE, FONDEE SUR UN ENCHAINEMENT VRAISEMBLABLE
DES MOTIFS HUMAINS, TANDIS QUE LE SENS TRAGIQUE FAIT IRRUPTION POETIQUEMENT DANS CE
QUI TRANSGRESSE CE "NATUREL" DANS LES PIECES MYTHOLOGIQUE ET BIBLIQUES DE RACINE,
CE SENS TRAGIQUE SE MANIFESTE A TRAVERS L'IMAGE CRUELLE DE LA TRANSCENDANCE. NOTRE
ETUDE CONSISTE PRECISEMENT A DEGAGER, A PARTIR DE L'ANALYSE CONCRETE DES AGENCEMENTS
LANGAGIERS DANS LES PIECES AYANT TRAIT A LA FABLE OU A LA BIBLE, LA POETIQUE DE RACINE;
LAQUELLE, FONDEE SUR CE QUE L'ON PEUT APPELER LA RHETORIQUE DU "NATUREL" A POUR FONCTION
ESSENTIELLE DE FAIRE RESSORTIR L'ASPECT TRAGIQUE DE SES PIECES. AINSI, ON S'APERCOIT
A L'EXAMEN QUE L'IMAGE "IMPITOYABLE" DE DIEU DANS ATHALIE, MISE AU JOUR PAR LA LECTURE
POETIQUE DE LA DERNIERE PIECE DE RACINE, CORRESPOND PARFAITEMENT A LA CONCEPTION CRUELLE
ET DEMONIAQUE DE LA TRANSCENDANCE, AVANCEE PAR LE POETE DEJA DANS SA PREMIERE PIECE,
LA THEBAIDE, DEVELOPPEE DAVANTAGE DE FACON POETIQUE DANS ANDROMAQUE, IPHIGENIE ET
PHEDRE.
Note publique d'information : RACINE HAS OFTEN BEEN CONSIDERED AS A MASTER OF THE "NATURAL" STYLE, THE LANGUAGE
IDEAL OF CLASSICAL TIMES. IN FACT, THIS CHARACTERISTIC OF STYLE IS LIMITED IN RACINE'S
WORKS TO THE DESCRIPTION OF DRAMATIC ACTIONS WHICH ARE BASED UPON PROGRESSIONS OF
HUMAN MOTIFS, WHEREAS A TRAGIC MEANING CAN BE SEEN TO BREAK THROUGH POETICALLY IN
TRANSGRESSIONS OF THIS "NATURALNESS". IN RACINE'S MYTHOLOGICAL AND BIBLICAL PLAYS
THE TRAGIC MEANING IS SHOWN THROUGH THE CRUELTY OF TRANSCENDENCY IMAGERY. THIS STUDY
WILL ILLUSTRATE RACINE'S POETICS THROUGH CONCRETE ANALYSIS OF LANGUAGE ORGANIZATION
IN PLAYS RELATING TO THE FABLE OR TO BIBLE. RACINE'S POETICS IS BASED UPON WHAT MAY
BE CALLED THE RHETORIC OF "NATURALNESS" AND SERVES THE ESSENTIAL FUNCTION OF BRINGING
OUT THE TRAGIC ASPECT OF THESE PLAYS. THUS , IT CAN BE SEEN THAT THE IMAGE OF THE
MERCILESS GOD IN ATHALIE, BROUGHT TO LIGHT BY THE POETIC READING OF RACINE'S LAST
PLAY, CORRESPONDS PERFECTLY TO THE CRUEL AND DEMONIACAL CONCEPTION OF TRANSCENDY AS
EARLIER PRESENTED BY THE PLAYWRIGHT IN HIS FIRST PLAY LA THEBAIDE AND FURTHER DEVELOPED
POETICALLY IN ANDROMAQUE, IPHIGENIE AND PHEDRE.
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