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Le personnage théâtral dans les approches « poétique » et « pratique » du texte dramatique à l'époque classique en France

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Bajer M.
Studia Romanica Posnaniensia
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2009
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vol. 36
139-153
EN
The idea of the dramatis persona posited by the first French theatre theorists of the Richelieu circle, Jean Chapelain and Jules de la Mesnardiere, emerges as a quite literał implementation of the Aristotelian concepts unfolded in the sixth and fifteenth chapter of his Poetics. In a later period, the third of the aforementioned group of authors, François Hédelin d’Aubignac, dismisses the Aristotelian categories, erecting his theory upon the elements adopted from the Roman theory of rhetoric. The analysis of the Persona in classical drama theory allows to reconstruct the relation between these two 17th century dramatic approaches. The former is the traditional perspective relying on the postulations of the Aristotelian theory. The latter, which is a practical grasp, is new to the 17th century’s dramatic mindset, and was formulated by abbé d’Aubignac. Whereas the axis of poetics is the structural analysis of a work of art, it is the functioning of that work of art in the theatrical process of communication between the stage and the audience that remains the core interest of the practical approach. In this process, the rhetorical effect of presence of the dramatis persona should by created in the imagination of the spectator-auditor. The subject of analysis is common to both perspectives and the discrepancies concem merely aspects of its description. Therefore poetics and practice are neither competitive nor mutually exclusive, but can both legitimately coexist in the description of the very same work of art.
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Językowe obrazowanie w klasycystycznej poetyce dramatu we Francji na przykładzie Praktyki teatru François Hédelina d'Aubignac (1657)

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Bajer M.
Terminus
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2014
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vol. 16
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issue 4(33)
PL
The Linguistic Imaging in the Classical Poetics of Drama in France Illustrated with an Example of La Pratique du Théâtre by François Hédelin d’Aubignac (1657)Linguistic imaging in old literature is the subject of many studies, among which we list books recently released in Poland by Barbara Niebelska-Rajca (“Enargeia” i “energeia” w teoriach literackich renesansu i baroku, Warszawa 2012) or by Roman Krzywy (Wędrówki z Mnemosyne: stadium o topice dawnego podróżopisarstwa, Warszawa 2013). These studies, however, either gloss over the problem of linguistic imaging in drama, or treat drama as a marginal province of this phenomenon. Among texts devoted to drama and theatre (e.g. Françoise Siguret, L’Oeil surpris, Paris 1993; Emmanuelle Hénin, Ut pictura teatrum, Genève 2003), relatively little space is dedicated to the question of how drama theoreticians look upon linguistic imaging. The aim of this paper is, therefore, to fill this gap in the research to date. It presents an analysis of those parts of La Pratique du Théâtre (Paris 1657), a treatise by François Hédelin d’Aubignac (1604–1676), that concern description and imaging. The first part of the paper focuses on showing the tension intrinsic to d’Aubignac’s reflection on the place of descriptions in drama. While this 17th-century theoretician calls for permeating the text of a drama with utterances of a descriptive character, he also warns against excessive elaboration of such parts, as they could harm the dramatic action. The aim of further parts of the study is to reconstruct the basic ways of relieving this tension as proposed in La Pratique du Théâtre. In the second part of the paper, the author distinguishes three fundamental forms of imaging words discussed in d’Aubignac’s treatise: narration, description and pathetic speech. They appear to be three paradigmatic structures that focus on a broader spectrum of issues related to linguistic imaging in classical drama. At the same time, the theoretician’s reflection contains a distinct valorization of conciseness, thanks to which a limited number of short utterances perform as many functions as possible (namely, they are a description of a thing or event, and convey an expression of emotions at the same time). Further in the paper, the author concentrates on how to put together dramatic descriptions and a character’s mental life. Embedded both in a situation as well as in a character’s mind state, and expressed using appropriate linguistic figures, images have several functions: not only does their pictorial dimension allow the audience to reconstruct certain elements of the narrative world, but they also express the characters’ emotions and thoughts, thus facilitating understanding of the dramatis personae and plot. In this, d’Aubignac combines his reflection on dramatic description with some aspects of the rhetorical theory of figures, also elaborated on in La Pratique du Théâtre. Following Cicero and Quintilian, d’Aubignac says that figures have an expressive function too. Their presence in the descriptive parts of drama is, therefore, inscribed in the strategy of creating a character. Regardless of its specific function, the illustrative ability of dramatic language comes from the rhetorical theory of evidentia. To support this hypothesis the author analyses analogies between part of La Pratique du Théâtre containing a description of a ransacked city, and a fragment of Institutio oratoria, where a similar image illustrates Quintilian’s deliberations on evidentia. Dramatic texts must simultaneously comply with rhetorical criteria (they must convey enough information about various circumstances of the action) as well as dramatic criteria (they must be concise and embedded in the characters’ mental lives). Hence achieving a technically spotless merger of descriptive parts into the tissue of a drama seems to be nearly impossible. This proves that, despite its normative character, one of the fundamental assumptions of classical theory of drama is the acceptance of tiny compositional imperfections, given that they appear in a structure whose general silhouette remains in keeping with the requirement of rational poetics.
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Les stratégies d’adaptation de quelques tragédies de Pierre Corneille dans le courant classiciste en Pologne (XVIIIe et XIXe siècles)

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Bajer M.
Studia Romanica Posnaniensia
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2014
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vol. 41
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issue 2
125-139
EN
The study discusses general rules of transforming Pierre Corneille’s texts in the transposition process, so as to fit the linguistic and cultural context of Polish classicism. The analysis concerns translations and adaptations following the first reception period of Corneille’s works in seventeenth-century Poland. These include: “Otto” by Stanisław Konarski, “Herakliusz” by Tomasz Aleksandrowicz from the years 1744-1749 (the second Polish reception period of Corneille’s works), “Cynna” by Franciszek Godlewski, as well as “Cynna” and “Horacjusze” by Ludwik Osiński from the years 1802-1808 (the third reception period). In the 18th century, the strategy of emphasizing didactic elements of texts is dominant. In 19th century, the authors strengthen suspense and the element of surprise; Aleksandrowicz uses prose and Osiński simplifies classical rhetoric. All of the translators share the ambition of enriching the Polish language and creating the tragic canon.
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„Słowa moich ust będą, ale Greków chcenie” Reprezentacja poselstwa w III akcie Troas Łukasza Górnickiego

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Bajer M.
Odrodzenie i Reformacja w Polsce
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2015
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vol. 59
PL
Artykuł proponuje analizę i interpretację sceny z tragedii Łukasza Górnickiego Troas (1589), będącej przekładem Troades Seneki. Porównanie z oryginałem i opis zmian wprowadzonych przez tłumacza mają na celu uchwycenie szczególnego zjawiska, jakim jest zaakcentowanie w przekładzie analogii postępowania Ulissesa z działalnością dyplomaty: od pierwszej kwestii bohatera, słowa „durae minister sortis” przetłumaczone zostały jako „ja, co poselstwo niosę”. Analiza tego zagadnienia pokazuje zarazem, że rola Ulissesa (pertraktującego nie z przedstawicielem suwerennego państwa, ale z branką) nie może zostać utożsamiona z funkcją ambasadora, lecz łączy w sobie cechy właściwe personelowi dyplomatycznemu różnego szczebla, w tym postaci działających na krawędzi legalności. Przypisane Ulissesowi consilium umożliwia przeniknięcie tajemnicy Andromachy za pomocą obserwacji cielesnych symptomów emocji. Pozwala to Górnickiemu określić przemyślność bohatera jako „dowcip odwrócony na nice”, co stanowi – niezależne od oryginału Seneki – na wiązanie do terminologii użytej wcześniej w Dworzaninie polskim, gdzie dowcip jest odpowiednikiem ingegno. Wśród etycznych elementów mów Ulissesa wymienić należy przede wszystkim jego pragnienie przekonania Andromachy do słuszności racji Greków. Zjawisko to stanowi ramę dla wystąpienia paralelizmu z Nowym Testamentem (Łk 2, 35). Ostatnia część, poświęcona pathos, podejmuje problem nieprzystawalności roli Ulissesa do kodów dyplomacji epoki Górnickiego. Bohater nie ogranicza się do prowadzenia przemyślnych negocjacji, ale posługuje się również przemocą bezpośrednią. Podobna niespójność kreacji postaci wydaje się wpisywać problematyczną reprezentację praktyk dyplomacji w przekładzie Górnickiego w polityczne i społeczne napięcia drugiej połowy XVI w.
EN
The study is an analysis and interpretation of a scene from Łukasz Górnicki’s tragedy Troas (1589), a translation of Seneca’s Troades. A comparison to the original as well as the description of changes introduced by the translator serve to capture a special phenomenon of emphasising the analogy between Ulysses’s and a diplomat’s activity. Starting with the main character’s first line, the words: “durae minister sortis” were translated as “Ja, co poselstwo niosę”. The analysis of this issue shows that the role of Ulysses (who does not negotiate with a representative of a sovereign country, but with a captive woman) cannot be equated with the role of an ambassador. Conversely, it combines in itself the features characteristic of diplomatic staff of various ranks, including characters operating on the edge of the law. The consilium ascribed to Ulysses enables to explore the secret of Andromacha by observing physical symptoms of emotions. This makes it possible for Górnicki to define the main character’s ingenuity as “dowcip odwrócony na nice” which, irrespective of Seneca’s original, refers to the terminology used earlier in Dworzanin polski, where dowcip (wit) is the equivalent of ingegno. Among the ethical elements of Ulysses’s speeches one should name, above all, his desire to convince Andromacha to accept the Greek’s line of argumentation. This, in turn, provides good framework for parallelism with the New Testament (Lk 2:35). The last part of the work, devoted to pathos, addresses the problem of a mismatch between the role of Ulysses and diplomacy codes in Górnicki’s times. The main character does not limit himself to conducting well thought-out negotiations, but he also uses direct violence. Similar dissonance in character construction seems to make the representation of diplomatic practices in Górnicki’s translation a problematic task, given the socio-political tensions in Europe in the second half of 16th century.
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La Pitié (1803) et La Conversation (1812) de Jacques Delille par rapport aux recherches sur la voix humaine et la parole

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Bajer M.
Studia Romanica Posnaniensia
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2020
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vol. 47
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issue 4
39-52
EN
The studies of Jacques Delille’s work put an emphasis on the relations between a group of poetic texts (L’homme des champs, L’Imagination, Les Trois Règnes de la nature) and their scientific intertexts. The aim of this paper is to study the scientific connotations of lesser known poems, stressing the problem of the physiological and anatomical reflections on the human voice and the speech. Is there a relation between Delille’s observations on the voice (La Pitié, p. 40, 151-152 ; La Conversation, p. 141-142, 146-147) and the terminology used by physicians or philosophers of his time? What is the impact of Rousseau’s Essai sur l’origine des langues on Delille? Is it inspiring to use the medical distinction between the physiology and the pathology to understand Delilles’s conception of the human voice?
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Sur certains aspects de la crise des valeurs héroìques dans les tragédies en musique de Philippe Quinault

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Bajer M.
Studia Romanica Posnaniensia
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2004
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vol. 31
3-22
EN
The French music tragedy, created in the 70. of the 17th century, may be considered against a background of the tradition of the heroic literature of the first half of the century. However, the appearance of opera coincides with a general crisis of consciousness and one of the features of the crisis was the fall of the heroic myth. The aim of the dissertation is to take a closer look at the mechanisms of destruction of the hero, used in Philippe Quinault's music tragedies. Opera gradually eliminates the traditional vision of love, replacing it with the conception of a devastating passion. In taking the pattern of the hero's choice, appropriate for the heroic vision, it changes the configuration of accents by creating the type of the "pathological hero".
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Pierre Dalicourt i Sekret opóźniania starości (1668). Zarys lektury w kontekście translatio studii [Pierre Dalicourt and Le secret de retarder la vieillesse (1668). Prolegomena to the lecture in the context of translatio studii]

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Bajer M.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2014
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vol. 24
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issue 1
147-161
PL
In this article, an attempt is made to describe the way of ancient text elements in Frenchlanguage medical writing, prior to the publication of Dalicourt’s work. It enables to reconstruct three channels of antique medical knowledge transfer: physiological thought reflection (whose important documents in France are: the treatise On old age by Pierre du Lauriers and the textbook of surgery by Ambroise Paré), philosophical thought (Christian Neostoicism inspired by works of Seneca, Erasmus and Lipsius) and theology (which combines Judeo-Christian motifs with Greek-Roman ones through the Bible exegesis). Further, at the end of the work, a political dimension of Dalicourt’s discussion is signalled. The author, who dedicates his text to the chancellor Pierre Séguier, makes in a way reference to the antique discussions on gerontocracy.
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“The Words of My Mouth Shall They Be, Yet the Will of the Greeks”. A Representation of the “Diplomatic Mission” in Act III of Troas by Łukasz Górnicki

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Bajer M.
Odrodzenie i Reformacja w Polsce
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2016
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vol. 60
PL
The study is an analysis and interpretation of a scene from Łukasz Górnicki’s tragedy Troas (1589), a translation of Seneca’s Troades. A comparison to the original as well as the description of changes introduced by the translator serve to capture a special phenomenon of emphasising the analogy between Ulysses’s and a diplomat’s activity. Starting with the main character’s first line, the words: “durae minister sortis” were translated as “Ja, co poselstwo niosę”. The analysis of this issue shows that the role of Ulysses (who does not negotiate with a representative of a sovereign country, but with a captive woman) cannot be equated with the role of an ambassador. Conversely, it combines in itself the features characteristic of diplomatic staff of various ranks, including characters operating on the edge of the law. The consilium ascribed to Ulysses enables to explore the secret of Andromacha by observing physical symptoms of emotions. This makes it possible for Górnicki to define the main character’s ingenuity as “dowcip odwrócony na nice” which, irrespective of Seneca’s original, refers to the terminology used earlier in Dworzanin polski, where dowcip (wit) is the equivalent of ingegno. Among the ethical elements of Ulysses’s speeches one should name, above all, his desire to convince Andromacha to accept the Greek’s line of argumentation. This, in turn, provides good framework for parallelism with the New Testament (Lk 2:35). The last part of the work, devoted to pathos, addresses the problem of a mismatch between the role of Ulysses and diplomacy codes in Górnicki’s times. The main character does not limit himself to conducting well thought-out negotiations, but he also uses direct violence. Similar dissonance in character construction seems to make the representation of diplomatic practices in Górnicki’s translation a problematic task, given the socio-political tensions in Europe in the second half of sixteenth century.
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Problem spójności tekstu w staropolskim przekładzie tragedii. Stanisław Morsztyn i „Andromacha” z Racine’a

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Bajer M.
Pamiętnik Literacki
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2015
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vol. 106
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issue 1
99-128
EN
"Andromacha" by Stanisław Morsztyn is the first Polish translation of the tragedy by Jean Racine, which dates back to the 1690s. The study describes a clash of two artistic strategies present in the text: the first strategy aims at highlighting the whole tragedy outlined by the translator while the second one emphasizes smaller text units. The first part of the text concerns Morsztyn’s application of intertextual strategies. The translator aptly interprets Racine’s references to ancient literature and adds some of his own (he quotes, for example, verses 63–64 from the second "Heroid" by Ovid – omitted by the author in his rendering of this fragment in verses 455–462). Within the scope of Polish literature, he introduces references to the works of Jan Kochanowski ("Songs", I 17) and Łukasz Górnicki ("Troas", II 281–282, 515–516) among many others. Moreover, Morsztyn imparts a dramatic sense to intertextual references, which is in accordance with the strategy employed in the original text. The second part of the text is devoted to the translator’s use of rhetorical devices. One may note here the reinforcement of a logical and ethical dimension of the character’s dialogues, which sometimes takes place at the cost of pathetic dimension (omission of syntactic disorders as a marker of strong emotions). The last part addresses the problem of dramatic insertion of oratorical and lyrical passages, such as tirades and monologues. A slight tendency to emphasize the autonomy of declamatory parts is noticeable – at the cost of organic unity of the drama. In the whole of the translation, one may identify moments of the translator’s weakening control over tragedy structure looked at as a whole. However, this can be regarded as internally conditioned by the literary system of classicism.
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Andromacha de Stanisław Morsztyn: pour une analyse dramaturgique d’une traduction baroque de Racine

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Bajer M.
Kwartalnik Neofilologiczny
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2013
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issue 4
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