Download L'invention des classiques : Le siècle de Louis XIV by Stéphane Zékian PDF

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By Stéphane Zékian

Le « Siècle de Louis XIV » s’est imposé dans notre mémoire collective comme celui des classiques par excellence. Mais quel fut le prix de cette consécration ? Qu’a-t-on fait dire aux classiques ? Pourquoi a-t-on dressé leur héritage contre celui des Lumières ? Sous quelles bannières ont-ils été enrôlés ?

En répondant à ces questions, l’auteur retrace les grandes manœuvres, au lendemain de los angeles Révolution, autour d’une culture littéraire semée de malentendus et de distorsions. Héritiers des Lumières et apôtres de l. a. reconquête catholique s’affrontent violemment, mais tous revendiquent los angeles référence aux classiques. S’engage alors une guerre des mémoires dont nous ne sommes peut-être pas sortis. À leur corpus défendant, on verra ainsi Corneille, l. a. Fontaine, Madame de Sévigné, Molière ou los angeles Bruyère intervenir dans les débats politiques de los angeles France postrévolutionnaire, Racine érigé en chantre des valeurs familiales, Rotrou enrôlé au provider de l. a. propagande napoléonienne ou encore le duel entre Fénelon et Bossuet se poursuivre dans les débats parlementaires de l. a. Restauration.

À qui appartiennent les classiques ? Oscillant entre los angeles légende et l’histoire, leur vie posthume constitue une projection des passions françaises. Elle attise, dès le XIXe siècle, les controverses sur l’identité nationale.

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Shoulder your duds,3 and I will mine, and let us hasten forth; Wonderful cities and free nations we shall fetch as we go. If you tire, give me both burdens, and rest the chuff of your hand on my hip, And in due time you shall repay the same service to me; For after we start we never lie by again. [lines 1197, 1212–1216; p. 705 ] The marks of physical mutuality here—the bodily contact, the reciprocity of physical gestures given and received, the “duds,” and the promise of first-person-plural perpetuity on the open road— appear throughout “Song of Myself,” as does the fiction of one person confiding in another.

Each stanza of “Unkindnesse” ends with the poet’s disgrace, as he not only treats God worse than he does his friends, he treats Him—in the shamefaced last line—worse than he treats his foes: I would not use a friend, as I use Thee. . I could not use a friend, as I use Thee. . I cannot use a friend, as I use Thee. . Nor would I use a friend, as I use Thee. . 7 [93–94] It is not surprising, then, that Herbert—who finds in Jesusthe-friend a model of what could be his own best self—in certain 16 George Herbert moments of writing encounters God with no hint of distance.

Echo. Leaves. What leaves are they? impart the matter wholly. Echo. Holy. 21 CHAPTER ONE Are holy leaves the Echo then of blisse? Echo. Yes. Then tell me, what is that supreme delight? Echo. Light. Light to the minde: what shall the will enjoy? Echo. Joy. But are there cares and businesse with the pleasure? Echo. Leisure. Light, joy, and leisure; but shall they persever? Echo. 9 [188] This exquisite poem incarnates a fantasy of perfect intimacy, in which the celestial Friend’s mind musically echoes our own.

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