By Edmond Rostand, Évelyne Amon
Cyrano de Bergerac est un mousquetaire, capitaine de l. a. compagnie des Cadets de Gascogne, malheureusement affublé d'un trop lengthy nez. Il aime en mystery sa cousine Roxane. Mais celle-ci lui demande de protéger un autre mousquetaire des Cadets de Gascogne, le beau Christian, dont elle est amoureuse. Cyrano, par amour pour elle et par amitié pour lui, accepte de favoriser leur liaison. Il va vivre son amour par procuration en aidant Christian à épouser Roxane, sur fond d''une épopée de cape et d'épée, en pleine guerre d'Espagne.
Rostand a signé avec cette comédie héroïque un chef-d'oeuvre de l. a. littérature universelle.
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9–11, 13–16). Sidney’s description of the power of poetry’s pictures, their enargeia in Greek terms, echoes the Stoics’ characterization of a kataleptic impression, an image that testifies to its own truthfulness. 257). Sidney’s perfect pictures “strike” in just this way. It is revealing that the Stoics regularly illustrate their concept of kataleptic impressions using scenes from tragedy, which constitute the same kind of “perfect pictures” that Sidney associates with effective poetry, poetry that offers an image of truth.
When his servant makes just this point (207–208), Atreus brushes it aside: Quod nolunt velint [Let them learn to like what they don’t like] (212). This seems to be Seneca’s version of a similar and more famous line spoken by Atreus in a play by Accius, performed in 140 bc: Oderint dum metuant [Let them hate me as long as they fear me]. ” In Atreus’ “play,” however, there is no poetic justice, no ruin for tyrants. Alessandro Schiesaro has argued that Atreus embodies the pleasures, not the moral reservations, associated with poetry that indulges violence: “[W]e must also be prepared to recognise that Atreus, the playwright with hands drenched in blood, stands out in the play as the embodiment of a victory against the constraints of moral repression that is inextricably connected with the force and pleasure of poetry” (1994, 207).
I aim both to confirm Sidney’s reading of Seneca and to examine the somewhat surprising ways in which Aristotle’s ideas shaped Stoic thinking about poetry. Along the way I also demonstrate that Sidney’s conception of poetry bears traces of this Stoic tradition. ” It is a perfect picture because it constitutes a vivid revelation, as Sidney’s metaphor of the ulcer suggests. Tragedy’s power “to open wounds” is epistemological rather than therapeutic; as D. W. Robertson argued (1941, 61), Sidney uses the ulcer to characterize the content of tragedy rather than its effect.