Les Arts du spectacle au théâtre (1550–1700) ed. by Marie-France Wagner, Claire Le Brun-Gouanvic (review)

Abstract

190 Reviews calls 'chapelles'. Further, he contends that each block is assigned to a heavenly body (a 'planet') and ancient god, and also to one ofthe seven sacraments. The 'planets' follow a traditional order: Moon (Diana), Mercury, Venus, Sun (Apollo), Mars, Jupiter, Saturn. Overall, this view may be defensible: it appears apt, for example, to begin with Diana, goddess of childbirth, or to assign Chapters 5-9 to Mercury, god of learning. Nevertheless, problems arise from the multifarious aspects of ancient gods. Mercury, for instance, is also the great deceiver, and Martin finds him anew within the 'chapelle' of Apollo: the triumph of Panurge over Thaumaste is summarized as 'Apollon, dieu de la raison, vaincu par Hermes, dieu de l'artifice' (p. 159). As to the alleged links between 'chapelles' and sacraments, they obviously imply that each 'chapelle' conjoins the pagan and the Christian. Given the syncretic tendency of the period, such combinations are conceivable. But, while it seems sensible enough to connect, for instance, baptism with Diana in the firstblock, some other associations look wholly conjectural, e.g. the eucharist with Venus in the third (Chapters 10-14). Because Martin's interpretation emphasizes the sacraments, which, he claims, are 'remis en question' in Pantagruel (p. 17), that apparent flaw is important. Certainly, one may hesitate over some of his readings in this area, such as the suggestion that, in the 'chapelle' of Venus and the eucharist, Baisecul and Humevesne represent Catholics and Protestants debating transubstantiation (p. 153). This study does, then, invite criticisms. And one must add that it also suffersfrom repetitious and sketchy exposition: even the nature of memoria is poorly explained. However, despite its imperfections, the book deserves attention, and Daniel Martin deserves gratitude for showing the potential interest of memoria for readers of Pan? tagruel. University of Newcastle-upon-Tyne Ian R. Morrison Les Arts du spectacle au theatre (1550-1700). Ed. by Marie-France Wagner and Claire Le Brun-Gouanvic. (Colloques, congres et conferences sur la Renais? sance, 23) Paris: Champion. 2001. 273 pp. FF 290. ISBN 2-7453-0462-3 Of the ten essays collected here, all but one (Benoit Bolduc's account ofa spectacular celebration in Bologna in 1565) concern the French theatre ofthe Renaissance and the seventeenth century. Predictably, centre stage is occupied by two ofthe major drama? tists: Antoine Soare's erudite analysis of a passage in Corneille's LTllusion comique shows that the occupations attributed to Clindor reflect the career progression of a professional actor rather than, as is often maintained, the activities of a picaresque hero; Benedicte Louvat looks at the structure and tone of Moliere's comedies-ballets, showing how their component elements (verbal and non-verbal, comic and galant) are fused together; while Dominique Lafon brings the insights of both historian and structuralist to a reconsideration of the theory of the collaboration between the two playwrights, balancing evidence of a close professional relationship against dissimilarities in dramaturgical structures. Several less canonical authors are treated by other contributors. Two focus predominantly on single plays: Pierre-Louis Vaillancourt shows how, in Jephte ou le Voeu, combining ancient and biblical traditions and affecting a neutrality which anticipated Grotius, Buchanan participated in the theo? logical debate on the relation between divine beneficence and Protestant tragedy's recurrent theme of the sacrifice of innocent victims; and Jeanne Bovet usefully revisits another old controversy, using Jodelle's Cleopdtre to demonstrate that rhetoric and theatricality should not be regarded as mutually exclusive concepts for the Renais? sance dramatist, since they were reconciled in the oratorical art of actio. The other four essays range more widely: Louise Frappier examines the conception of history MLRy 99.1, 2004 191 in Renaissance tragedy, arguing that the depiction of the misfortunes of the great had a dual role, both specular and oracular, whereby imitation of the past was also prophecy ofthe future; Laurence Giavarini contributes a complex discussion of mimesis in the dramatic pastoral between 1607 and 1635; Helene Visentin shows how the pre? sentation of supernatural figures in prologues testifies to an aesthetic shift between the period of Jodelle and the 1630s, during which verbal evocations painting a vivid picture (ie spectacle du discours') gave way to...