Literary Research/Recherche littéraire 17.34 (Fall - Winter / automne - hiver, 2000) 494-5
Ronald W. Tobin, Jean Racine Revisited. New York: Twayne, 1999; 195pp.; ISNB: 0805746056; LC call no.: PQ1905.T63 (pbk.);
US$32
This slim volume contains a biography of Racine, an
introduction to the concept of tragedy in seventeenth-century France, a
critical analysis of Racine’s twelve plays, good notes, and an index.
Jean Racine Revisited is unusual in that it includes
chapters on Racine’s less known plays such as the comedy Les Plaideurs. It
is also unusual for the language and tone which are suitable both for undergraduate
readers and for their professors. The
analyses are clear and logical with a classical simplicity which is nonetheless
profound. For example, Dr. Tobin declares,
with his habitual elegance and precision, “drama is speech between two silences
and speech is the medium between two spaces: the visible and the invisible,
the action on stage and the events conjured up the characters’ dreams and
desires” (163).
Another refreshing characteristic of this book is the
fact that, although each chapter can be read exclusively and individually, each
chapter contains references to other plays, the work of other critics, and to
previous comments so that the whole is greater than the sum of its parts. In addition, the transition from chapter to
chapter is gracefully executed so that the reader is encouraged to continue.
Dr. Tobin, the professor, is visible behind the Socratic
method of including questions. Indeed,
each chapter could constitute an off-print in the MLA “how to teach” series. However,
unlike the monographs in that series, this one contains some personal references
which humanize both the author and his topic. For
example, Tobin indicates his personal preference for Bérénice, the
tragedy of two lovers “separated by history” (89).
At the outset Professor Tobin sees the weakness of translation
when dealing with the pure poetry of Racine. In his conclusion he manages to make a sense
of that poetry comprehensible and real to his readers, including those who
must rely solely on the translations. This
is indeed the key to understanding the beauty of Racine’s text. It is something that all professors strive
to achieve. It is an art in which Tobin excels. His well-chosen examples aptly demonstrate his
sensitivity both to Racine’s verse and to his audience.
Author of Racine and Seneca, Tobin was the obvious
choice as author of this work and he does not disappoint his readers. He
develops Racine’s Latin and Greek sources and carefully explains divergences. For example, he notes Racine’s defense of his portrayal of Junie
in Britannicus, demonstrating the true reason for which Racine risked
the criticism of his enemies in inventing a supposedly historical figure.
Tobin masterfully situates each play in its social-political
context, providing inciteful analysis of relevant factors which had an impact
on the creation of the drama or on which the play may have had an influence.
In particular, Tobin draws [end of page 494] a parallel between political fragmentation and Racine’s
choice of subject, figures and occasional voluntary destruction of dramatic
illusion.
Rich in detail, delivered with a deft and light hand,
this book is a pleasure to read and will constitute an exceedingly fine
resource for young scholars and their professors alike.
Roseann
Runte
Victoria
University, Toronto