Abstract
It is strange what different impressions Racine makes on either side of the Rhine. Whereas the predominant mood in French audiences, from the start, is surprised shock at the untamed wildness of his heroes, German audiences see the same poetic figures as the embodiment of reserve, self-control and cool social restraint. Vossler’s masterly little book (Racine, Munich, 1926) sums up the entirety of Racine’s form in a single gesture of renunciation. Spitzer’s sensitive and lavishly documented study indicates its main theme in the title: ‘The Muting EfFect of Classical Style in Racine’ (see p. 117). ‘In Racine’s work passion is vital and irrepressible,’ says on the other hand a new French interpreter of Racine, Jean Giraudoux. ‘Racine has discovered the ideal altitude for tragedy … black souls flying at full speed, at full height.’
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