Abstract
Ultimately it is repetition that destroys the characters of Jean Anouilh. Mask and ritual are merely the accessories of a force of displacement as tragic as it is inexorable. Its names are various: society, religion, language. It is a movement never sensed as liberating, never affirmed, and its discovery is the single peripeteia of Anouilh's drama. The self comes to be seen as doubled, exported beyond itself, dispersed; the moment Orpheus and Eurydice's, for example is found to be itself a repetition that will be repeated by yet other moments, with a resultant hollowing out and draining away of apparent
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