MLRy 99.2, 2004 489 The whole enterprise is characterized by the thoroughness of its scholarship. The texts are meticulously edited with close reproduction ofseventeenth-century spellings and punctuation. Unfamiliar words and obscure references are explained in footnotes, always well judged in their scope. A detailed account ofthe royal tours ofthe provinces between the years 1615 and 1660, a chronological classification of all the entries inventoried , and a comprehensive bibliography complete this well-illustrated volume. Notwithstanding the decision only to reproduce extracts, this is a useful book which offersvaluable insights into political ritual in the Ancien Regime, and should provide the stimulus for furtherresearch in the field. Goldsmiths, University of London Marie-Claude Canova-Green Metre et rythmes du vers classique: Corneille et Racine. By Valerie Beaudouin. (LettresNumeriques, ii) Paris: Champion. 2002. 620pp. ?80. ISBN 2-74530509 -3. As Valerie Beaudouin observes in her introduction, previous formal studies ofthe clas? sical alexandrine have been limited to corpora of no more than 1,000 lines. With this, the published version of her doctoral thesis (2000), supervised by Jacques Roubaud, Beaudouin studies the complete dramatic works of Corneille and Racine, a corpus of 77,000 lines. An empirical study of such unprecedented magnitude is possible thanks to the metrometre,a computer program which is as much Beaudouin's focus as le vers itself. Following a useful overview of differentrhythmic theories and analytical approaches to the alexandrine (Chapter 1), Chapters 4-6 deal at considerable length with the 'mecanisation des regles', the painstaking task of creating the metrometre itself. Although this concentration on technical matters teaches the informed reader little new about fundamental versificatory rules, the results explored elsewhere give many fresh insights into the alexandrine's essential rhythmic characteristics. Beaudouin effectivelyproves that the alexandrine represents the concatenation of two hexasyllabic metrical segments, almost identical on many vocalic, syntactic, and prosodic levels. Chapter 7 provides extensive evidence ofthe similarities between each hemistich, clearly presented in numerous graphs charting accurately and exhaustively the most subtle rhythmic details. For example, Beaudouin demonstrates that certain vowel combinations are more 'rhythmic' than others, with noyaux vocaliques of sev? eral graphemes often closing the hemistich. Giving the dominant accentual patterns 001001 and 010101 as the two most regular structures, she also highlights a tendency to make the second hemistich more regular than the first. This is particularly in? teresting when Racine and Corneille are compared with nineteenth-century poets, confirming many of our suspicions with empirical evidence, such as Baudelaire's fondness for a 3/3 structure, and Rimbaud's sustained accentuation of syllables 1,5, 7, and 11. Chapter 3 argues that there can be no absolute definition of rhyme quality, suggesting instead a contextual, relative nomenclature according to the frequency of a rhyme unit (rimeme) in the corpus. Thus, for Beaudouin, the rime suffisante'desir/ soupir' is merely pauvre, and although such a system raises questions as to its practical implementation, or its relevance in terms of aural rhyme harmony, the 170-page ap? pendix catalogues all rimemessystematically in order to allow useful future research. For readers with only a passing interest in versificatoryminutiae, Chapter 8 demon? strates the value of the metrometrebeyond the prosodic. Beaudouin investigates the relationship between verse rhythm and semantic content, and highlights two princi? pal semantic fields: love and death. Within these, eight subcategories are charted to provide a precise overview of each play's thematic texture, and several close read? ings explore the relationship between the rhythm and content of individual lines. 49? Reviews Furthermore, the 'love' field is characterized by a greater frequency of irregular lines, with the 'death' field, more regular, representing the calm anticipated afterthe turbulent passions of tragedy. Occasionally, Beaudouin's thematic interpretations are unconvincing, with only perfunctory comment on some surprising examples of trans? gressive versification, and a rather simplistic view ofthe characteristics of tragedy and comedy. On the whole, however, this clearly presented work paves the way forsimilar statistical analyses, allowing us both to chart the history of alexandrine rhythm and to compare in exhaustive detail the works of other poets and playwrights on formal and thematic levels. University of Edinburgh David Evans Le Comte d'Essex. By Thomas Corneille. Ed. by Wendy Gibson...
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