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Ze Slovníku středověké latiny: balatro

100%

Vršecká K.

Listy filologické (Folia philologica)

2018

vol. 141

issue 1-2

201-219

The main aim of the article is to analyse the meaning of a rather uncommon word balatro in Medieval Latin within the context of Medieval Latin sources of Bohemia and with regard to Latin acting terminology of the day. The meaning of the word in classical Latin and its etymology are discussed first. The second part of the article presents various interpretations of the etymology and meaning of the word in the Middle Ages, which also drew on late ancient commentaries and scholia on Horace’s poems. The definition of the word balatro by wellknown Medieval Latin lexicographers (Papias, Hugutio of Pisa, Osbern of Gloucester, Iohannes Ianuensis) and celebrated lexicographical works (Vocabularius Ex Quo) is briefly discussed. Attention is further shifted to the interpretation of the word in lexicographical sources of Czech origin. The Medieval Latin and Latin-Czech glossaries mostly define balatro as a profligate, a rouge, or as a jester, a buffoon, a clamorous actor. Several bilingual glossaries also provide interesting old Czech translations of balatro, e.g. hrdlak, požěrač (denoting a “glutton”), etc. In one Latin-German dictionary containing Czech glosses one can find a German equivalent of balatro – rueffer: this could mean a precursor, that is, an actor who used to present and introduce the medieval play at the beginning. Apart from the lexicographical sources, the word balatro also appears in a medieval formula collection from the fourteenth century together with buffoons (scurrae), goliards (goliardi), gluttons (epulae) and profligate people (deguli). Latin or bilingual sources of Bohemia containing the word balatro clearly indicate that the name could imply several meanings and that there was not always a strict border between “jester” and “actor” and even “glutton”, “profligate” or “vile fellow”: like other acting terms, the word balatro had pejorative connotations stemming from the negative and unfavourable role and status of actors in medieval society in general. The use of the word balatro within Medieval Latin in the Czech Lands, in contrast, may have a close connection with the growing role of the courtly jester in the fourteenth and fifteenth centuries.

La nuit : fabrique et mise en scène des fantasmes dans “Le Cocu magnifique” de Fernand Crommelynck

84%

Bombard F.

e-Scripta Romanica

2023

vol. 11

51-60

In Crommelynck's Le Cocu magnifique, the night is not merely an external detail as for many pieces whose most important actions are set in a nocturnal setting. Paradoxically, this work, which takes place mainly in daytime settings, gives the night an unexpected importance. We must therefore question the dramatic and aesthetic stakes of this omnipresence. The carnival festival of Saint-Géraud and the strange serenade given by Bruno in disguise to his wife Stella arouse both laughter and concern. But above all, the night invests the speech of the characters and inspires their actions. In addition, sleep, dreams, desire, fantasies, everything relates to the night. In addition, sleep and dreams are the subject of divergent interpretations by the characters. The question of absence and desire, feeding their fantasies, is at the heart of the relationships between the characters. As for Bruno, he feeds his jealousy by his exaltation of Stella's body, by poetry and by the imagination in which he delights to the point of sinking into madness: the night darkens the love relationship to the point of making the two protagonists pass from heaven to hell into a buffoon nightmare.

Dans "Le Cocu magnifique" de Crommelynck, la nuit n’est pas seulement une donnée extérieure comme pour nombre de pièces dont les actions les plus importantes ont pour cadre un décor nocturne. Paradoxalement, cette œuvre qui se déroule pour l’essentiel dans des décors diurnes accorde à la nuit une importance inattendue. Il faut donc s’interroger sur les enjeux dramatiques et esthétiques de cette omniprésence. La fête carnavalesque nocturne de la Saint Géraud et l’étrange sérénade donnée par Bruno déguisé à son épouse Stella suscitent à la fois le rire et l’inquiétude. Mais surtout la nuit investit le discours des personnages et inspire leurs actes. En outre, sommeil, rêves, désir, fantasmes, tout se rapporte à la nuit. De surcroît, sommeil et rêves sont l’objet d’interprétations divergentes par les personnages. La question du manque et du désir, nourrissant leurs fantasmes, est au cœur des relations entre les personnages. Quant à Bruno, il nourrit sa jalousie par son exaltation du corps de Stella, par la poésie et par l’imaginaire dans lequel il se complaît au point de sombrer dans la folie : la nuit assombrit le rapport amoureux au point de faire passer les deux protagonistes du paradis à l’enfer dans un cauchemar bouffon.

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1 Listy filologické (Folia philologica)

1 e-Scripta Romanica

1 Bombard F.

1 Vršecká K.

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1 2018

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Ze Slovníku středověké latiny: balatro

La nuit : fabrique et mise en scène des fantasmes dans “Le Cocu magnifique” de Fernand Crommelynck