Molière wrote, directed, and starred in comedies for public and court audiences in seventeenth-century France. He is perennially successful, but perennially subject to critical controversy: do his plays aim to do more than make audiences laugh? This book focuses on a group of characters in the plays, the interpretation of whose role lies at the heart of any answer to this question. For over a century critics have baptised them ''raisonneurs''. They are characterswho engage with some of Molière''s most foolish protagonists, but they have been variously interpreted as exponents of wisdom or as ridiculous bores. This book argues that new light can be shed on the words and actions of these characters, and so on the tenor of the plays as a whole, by detailed contextualanalysis of the dramaturgical and comic structures in which they operate. They have never before been treated so exhaustively. They emerge neither as the mouthpieces of common sense nor as pompous fools, but as thoughtful, witty, and resourceful friends of the foolish protagonists whom Molière himself played. The book takes into account what is known of the performance styles of Molière''s troupe of actors as well as engaging closely with the text of the plays and the critical debateto date. Some of Molière''s most teasingly problematic plays are held up to fresh scrutiny, including L''Ecole des femmes, Le Tartuffe, Le Misanthrope, and Le Malade imaginaire. The book is written with scholars, students, and interested theatre-goers in mind. This is the first book-length treatment of thetopic.

France's greatest tragedian, Jean Racine, is often admired for his poetic and tragic qualities. This book, on the other hand, explores the theatrical qualities of Racine's language and takes as its analytical tool two neglected parts of rhetoric, inventio and dispositio. How does Racine write exciting dialogue? He makes the persuasive interaction of characters a key feature of his dramatic technique and Word as Action shows how he deploys persuasion in well-defined contexts: trials, embassies, and councils; informal oratory as protagonists try to manipulate each other and their confidants in order to make their own views and wishes prevail; self-persuasion in monologues; and narrations, often used by characters with persuasive intent. The book draws illuminating and provocative comparisons with other playwrights and offers a closer and better documented description of the specific nature of Racine's theatrical language than has previously been available in any one study.

Rhetoric is the art of persuasion, whether spoken or written. In the first chapter of Rhetoric: Readings in French Literature, Michael Hawcroft sets out its principles comprehensively and lucidly, providing an easily-consulted outline of key terms and a wide range of illustrative examples. Subsequent chapters explore rhetoric at work in different genres, via close reading of texts which range from the drama of Molière, Racine, and Beckett; Montaigne, Sévigné, and Gide on the self; the prose fiction of Laclos, Zola, and Sarraute; poetry by D'Aubigné, Baudelaire, and Césaire; and the oratory of de Gaulle and Yourcenar. Rhetorical analysis uncovers subtleties and complexities in texts which emerge as exciting dramas of communication. This is at once a handbook of rhetoric and a guide to its application to French texts from the sixteenth century to the present.

Rhetoric is the art of persuasion, whether spoken or written. In the first chapter of Rhetoric: Readings in French Literature, Michael Hawcroft sets out its principles comprehensively and lucidly, providing an easily-consulted outline of key terms and a wide range of illustrative examples. Subsequent chapters explore rhetoric at work in different genres, via close reading of texts which range from the drama of Molière, Racine, and Beckett; Montaigne, Sévigné, and Gide on the self; the prose fiction of Laclos, Zola, and Sarraute; poetry by D'Aubigné, Baudelaire, and Césaire; and the oratory of de Gaulle and Yourcenar. Rhetorical analysis uncovers subtleties and complexities in texts which emerge as exciting dramas of communication. This is at once a handbook of rhetoric and a guide to its application to French texts from the sixteenth century to the present.

Molière wrote, directed, and starred in comedies for public and court audiences in seventeenth-century France. He is perennially successful, but perennially subject to critical controversy: do his plays aim to do more than make audiences laugh? This book focuses on a group of characters in the plays, the interpretation of whose role lies at the heart of any answer to this question. For over a century critics have baptised them 'raisonneurs'. They are characters who engage with some of Molière's most foolish protagonists, but they have been variously interpreted as exponents of wisdom or as ridiculous bores. This book argues that new light can be shed on the words and actions of these characters, and so on the tenor of the plays as a whole, by detailed contextual analysis of the dramaturgical and comic structures in which they operate. They have never before been treated so exhaustively. They emerge neither as the mouthpieces of common sense nor as pompous fools, but as thoughtful, witty, and resourceful friends of the foolish protagonists whom Molière himself played. The book takes into account what is known of the performance styles of Molière's troupe of actors as well as engaging closely with the text of the plays and the critical debate to date. Some of Molière's most teasingly problematic plays are held up to fresh scrutiny, including L'Ecole des femmes, Le Tartuffe, Le Misanthrope, and Le Malade imaginaire. The book is written with scholars, students, and interested theatre-goers in mind. This is the first book-length treatment of the topic.

A critical edition by Michael Hawcroft and Valerie Worth of Racine's 1665 tragedy.

Molière wrote, directed, and starred in comedies for public and court audiences in seventeenth-century France. He is perennially successful, but perennially subject to critical controversy: do his plays aim to do more than make audiences laugh? This book focuses on a group of characters in the plays, the interpretation of whose role lies at the heart of any answer to this question. For over a century critics have baptised them ''raisonneurs''. They are characterswho engage with some of Molière''s most foolish protagonists, but they have been variously interpreted as exponents of wisdom or as ridiculous bores. This book argues that new light can be shed on the words and actions of these characters, and so on the tenor of the plays as a whole, by detailed contextualanalysis of the dramaturgical and comic structures in which they operate. They have never before been treated so exhaustively. They emerge neither as the mouthpieces of common sense nor as pompous fools, but as thoughtful, witty, and resourceful friends of the foolish protagonists whom Molière himself played. The book takes into account what is known of the performance styles of Molière''s troupe of actors as well as engaging closely with the text of the plays and the critical debateto date. Some of Molière''s most teasingly problematic plays are held up to fresh scrutiny, including L''Ecole des femmes, Le Tartuffe, Le Misanthrope, and Le Malade imaginaire. The book is written with scholars, students, and interested theatre-goers in mind. This is the first book-length treatment of thetopic.

France's greatest tragedian, Jean Racine, is often admired for his poetic and tragic qualities. This book, on the other hand, explores the theatrical qualities of Racine's language and takes as its analytical tool two neglected parts of rhetoric, inventio and dispositio. How does Racine write exciting dialogue? He makes the persuasive interaction of characters a key feature of his dramatic technique and Word as Action shows how he deploys persuasion in well-defined contexts: trials, embassies, and councils; informal oratory as protagonists try to manipulate each other and their confidants in order to make their own views and wishes prevail; self-persuasion in monologues; and narrations, often used by characters with persuasive intent. The book draws illuminating and provocative comparisons with other playwrights and offers a closer and better documented description of the specific nature of Racine's theatrical language than has previously been available in any one study.

Rhetoric is the art of persuasion, whether spoken or written. In the first chapter of Rhetoric: Readings in French Literature, Michael Hawcroft sets out its principles comprehensively and lucidly, providing an easily-consulted outline of key terms and a wide range of illustrative examples. Subsequent chapters explore rhetoric at work in different genres, via close reading of texts which range from the drama of Molière, Racine, and Beckett; Montaigne, Sévigné, and Gide on the self; the prose fiction of Laclos, Zola, and Sarraute; poetry by D'Aubigné, Baudelaire, and Césaire; and the oratory of de Gaulle and Yourcenar. Rhetorical analysis uncovers subtleties and complexities in texts which emerge as exciting dramas of communication. This is at once a handbook of rhetoric and a guide to its application to French texts from the sixteenth century to the present.

Rhetoric is the art of persuasion, whether spoken or written. In the first chapter of Rhetoric: Readings in French Literature, Michael Hawcroft sets out its principles comprehensively and lucidly, providing an easily-consulted outline of key terms and a wide range of illustrative examples. Subsequent chapters explore rhetoric at work in different genres, via close reading of texts which range from the drama of Molière, Racine, and Beckett; Montaigne, Sévigné, and Gide on the self; the prose fiction of Laclos, Zola, and Sarraute; poetry by D'Aubigné, Baudelaire, and Césaire; and the oratory of de Gaulle and Yourcenar. Rhetorical analysis uncovers subtleties and complexities in texts which emerge as exciting dramas of communication. This is at once a handbook of rhetoric and a guide to its application to French texts from the sixteenth century to the present.

Molière wrote, directed, and starred in comedies for public and court audiences in seventeenth-century France. He is perennially successful, but perennially subject to critical controversy: do his plays aim to do more than make audiences laugh? This book focuses on a group of characters in the plays, the interpretation of whose role lies at the heart of any answer to this question. For over a century critics have baptised them 'raisonneurs'. They are characters who engage with some of Molière's most foolish protagonists, but they have been variously interpreted as exponents of wisdom or as ridiculous bores. This book argues that new light can be shed on the words and actions of these characters, and so on the tenor of the plays as a whole, by detailed contextual analysis of the dramaturgical and comic structures in which they operate. They have never before been treated so exhaustively. They emerge neither as the mouthpieces of common sense nor as pompous fools, but as thoughtful, witty, and resourceful friends of the foolish protagonists whom Molière himself played. The book takes into account what is known of the performance styles of Molière's troupe of actors as well as engaging closely with the text of the plays and the critical debate to date. Some of Molière's most teasingly problematic plays are held up to fresh scrutiny, including L'Ecole des femmes, Le Tartuffe, Le Misanthrope, and Le Malade imaginaire. The book is written with scholars, students, and interested theatre-goers in mind. This is the first book-length treatment of the topic.

A critical edition by Michael Hawcroft and Valerie Worth of Racine's 1665 tragedy.