{"id":623,"date":"2015-11-15T04:01:44","date_gmt":"2015-11-15T04:01:44","guid":{"rendered":"http:\/\/repeatright.com\/engine\/?p=623"},"modified":"2018-10-08T23:01:08","modified_gmt":"2018-10-08T23:01:08","slug":"anouilh-jean","status":"publish","type":"post","link":"https:\/\/www.repeatright.com\/engine\/anouilh-jean\/","title":{"rendered":"ANOUILH, Jean"},"content":{"rendered":"
[vc_row css=”.vc_custom_1453315804311{margin-top: -40px !important;border-top-width: 0px !important;padding-top: 0px !important;}”][vc_column width=”1\/2″][vc_tta_tabs style=”modern” shape=”square” active_section=”1″][vc_tta_section i_icon_fontawesome=”fa fa-book” add_icon=”true” title=”Citation” tab_id=”1449531588223-e020d87d-f7dd094f-cf635f17-9e1f”][vc_column_text css_animation=”none”]\n

\u201cEverything ends this way in France – everything. Weddings, christenings, duels, burials, swindlings, diplomatic affairs \u2013 everything is a pretext for a good dinner.\u201d<\/p><\/blockquote>\n

~Jean Anouilh<\/strong>, French playwright<\/p>\n

C\u00e9cile, or The School for Fathers<\/em> (1951) in Jean Anouilh (Seven Plays),<\/em> Vol. III, New York: Hill & Wang, 1967, p. 120<\/p>\n[\/vc_column_text][\/vc_tta_section][vc_tta_section i_icon_fontawesome=”fa fa-plus-circle” add_icon=”true” title=”Context” tab_id=”1449531588755-96303790-852e094f-cf635f17-9e1f”][vc_column_text css_animation=”none”]Extended excerpt<\/em><\/strong> [Play dialogue \u2013 \u2018Monsieur Orlas\u2019 to companions, and taking Monsieur Damiens\u2019 arm]:<\/p>\n

\u201cCome, Monsieur Damiens, let us go and dine! \u201cEverything ends this way in France – everything. Weddings, christenings, duels, burials, swindlings, diplomatic affairs \u2013 <\/strong>everything is a pretext for a good dinner.\u201d (p. 120)<\/p>\n

French text<\/em><\/strong>\u00a0[Title: C\u00e9cile; ou L\u2019\u00e9cole des p\u00e8res<\/em>]:<\/p>\n

\u201cMonsieur Damiens, passons \u00e0 table! C\u2019est la fin naturelle en France. Noces, bapt\u00eames, duels, enterrements, escroqueries, affaires d\u2019\u00c9tat, tout est pr\u00e9texte \u00e0 cette fin-l\u00e0.\u201d<\/p>\n

[French text source<\/em>: Jean Anouilh, C\u00e9cile, ou L\u2019\u00e9cole des p\u00e8res<\/em> (1949) Paris: La Table Ronde, 1954, pp. 92-93]\n[\/vc_column_text][\/vc_tta_section][vc_tta_section i_icon_fontawesome=”fa fa-search” add_icon=”true” title=”Source OCLC” tab_id=”1449531589797-29580b31-8c50094f-cf635f17-9e1f”][vc_column_text css_animation=”none”]Source <\/em><\/strong>[Featured text<\/strong>]: Library- Jean Anouilh (Seven Plays)<\/em>, Vol. III (1967 Hill & Wang) Online Computer Library Center (OCLC) No. 55174906<\/span><\/span><\/p>\n

Source<\/em><\/strong>\u00a0[French text]<\/span>: Library – C\u00e9cile, ou L\u2019\u00e9cole des p\u00e8res<\/em> (1949|1954 La Table Ronde) Online Computer Library Center (OCLC) No. 743000895<\/p>\n[\/vc_column_text][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][vc_column width=”1\/2″][vc_tta_tabs style=”modern” shape=”square” active_section=”1″][vc_tta_section i_icon_fontawesome=”fa fa-book” add_icon=”true” title=”Citation” tab_id=”1453315829087-ce67c619-0fbc5f17-9e1f”][vc_column_text css_animation=”none”]\n

\u201cEvery man thinks God is on his side. The rich and powerful know He is.\u201d<\/p><\/blockquote>\n

~Jean Anouilh<\/strong>, French playwright, and Lillian Hellman<\/strong> (English adaptation)<\/p>\n

The Lark<\/em> (1953) Act I, adapted by Lillian Hellman, 1955; in Jean Anouilh (Five Plays)<\/em>, Vol. II, New York: Hill & Wang\/Mermaid Dramabook, 2nd printing, January 1961, p. 276; online via Open Library [free subscription service] openlibrary.org<\/a><\/p>\n[\/vc_column_text][\/vc_tta_section][vc_tta_section i_icon_fontawesome=”fa fa-ban” add_icon=”true” title=”Misquotes” tab_id=”1453315829287-33b1178b-1c815f17-9e1f”][vc_column_text css_animation=”none”]Misquote\/Re-quote note<\/em><\/strong><\/span>: Some sources include the word \u201cthat\u201d in the Anouilh\/Hellman quote. While it\u2019s possible that this appears in later editions of the Hellman adaptation, the additional word is not included in the source cited here.<\/p>\n

Hellman adaptation<\/em><\/span> \u2013 \u201cEvery man thinks God is on his side. The rich and powerful know He is<\/span>.\u201d<\/p>\n

Paraphrased version<\/em><\/span>: \u201cEvery man thinks God is on his side. The rich and powerful know that<\/strong>\u00a0He is.<\/span>\u201d[\/vc_column_text][\/vc_tta_section][vc_tta_section i_icon_fontawesome=”fa fa-plus-circle” add_icon=”true” title=”Context” tab_id=”1453315829475-7c82a017-1e625f17-9e1f”][vc_column_text css_animation=”none”]Extended excerpt<\/em><\/strong> [Play dialogue – \u2018Charles\u2019 to \u2018Joan\u2019]:<\/p>\n

Joan<\/u><\/em>. I know. It is called God. Because God is more powerful than kings.<\/p>\n

Charles<\/u><\/em>. Oh, leave God alone for a minute. It\u2019s called the ace. Are you running this game? God this and God that. You talk as if you dined with Him last night. Didn\u2019t anybody tell you that the English also say their prayers to God? Every man thinks God is on his side. The rich and powerful know He is. But we\u2019re not rich and powerful, you and I \u2013 and France.\u201d (p. 276)<\/p>\n

Source notes<\/em><\/strong>: Readers should note that the quotation cited here is from an English adaptation<\/u> of Anouilh\u2019s The Lark<\/em> \u2013 <\/em>not<\/u> a direct translation. Although your Repeat Right editor is not fluent in French, it\u2019s clear that even though the idea conveyed remains somewhat intact in Hellman\u2019s 1955 adaptation, the text was altered enough to become the work of both Anouilh & Hellman.<\/p>\n

Anouilh\u2019s original production of The Lark<\/em> debuted at the Th\u00e9\u00e2tre Montparnasse-Gaston Baty in Paris on 14 October 1953. Actor Susanne Flon played the role of Joan (Jeanne) and Michel Bouquet played Charles.<\/p>\n

French text\u00a0<\/em><\/strong>[Title: L\u2019Alouette<\/em>. \u2018Charles\u2019 au \u2018Jeanne.\u2019]:<\/p>\n

\u201cL’as pr\u00e9cis\u00e9ment. L’as, c’est Dieu si tu veux, mais dans chaque camp. Tu vois, as de c\u0153ur, as de pique, as de tr\u00e8fle, as de carreau. Il y en a un pour chacun. On n’en sait pas long, \u00e1 ce que je vois, dans ton village! Tu crois donc que les Anglais, ils ne font pas leurs pri\u00e8res aussi bien que nous? Tu crois donc qu’ils n’ont pas Dieu, eux aussi, qui les prot\u00e8ge et qui les fait vaincre? Et mon cousin, le duc de Bourgogne, il a son petit Dieu tr\u00e8s entreprenant et tr\u00e8s malin qui lui tire toujours son \u00e9pingle de jeu. Dieu est avec tout le monde, ma fille. C’est l’arbitre et il marque les points. Et, en fin de compte, il est toujours avec ceux qui ont beaucoup d’argent et de grosses arm\u00e9es. Pourquoi voudrais-tu que Dieu soit avec la France, maintenant qu’elle n’a plus rien du tout?\u201d (pp. 100-101)<\/p>\n

[French text source<\/em>: Jean Anouilh, L\u2019alouette<\/em> (1953) Paris: La Table Ronde, 1953, pp. 100-101; online via Open Library [free subscription service] openlibrary.org]\n[\/vc_column_text][\/vc_tta_section][vc_tta_section i_icon_fontawesome=”fa fa-search” add_icon=”true” title=”Source Links” tab_id=”1453315829682-63e8fade-cf4c5f17-9e1f”][vc_column_text css_animation=”none”]Source link<\/em><\/strong> [Featured source<\/strong>]<\/span>: Library- Jean Anouilh (Five Plays)<\/em>, Vol. II (Feb. 1959|Jan. 1961 Hill & Wang) online via Open Library [free subscription service]: https:\/\/archive.org\/stream\/jeananouilhfivep00anou#page\/276\/search\/rich+and+powerful<\/a><\/p>\n

Source link<\/em><\/strong> [French text]<\/span>: L\u2019alouette<\/em> (1953) online via Open Library [free subscription service]: https:\/\/archive.org\/stream\/lalouette00anou#page\/100\/search\/Dieu+est+avec+tout+le+monde+<\/a>[\/vc_column_text][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1453316221301{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 0px !important;}”][vc_column width=”1\/2″][vc_tta_tabs style=”modern” shape=”square” active_section=”1″][vc_tta_section i_icon_fontawesome=”fa fa-book” add_icon=”true” title=”Citation” tab_id=”1453315828001-b5e2e52e-ea1e5f17-9e1f”][vc_column_text css_animation=”none”]\n

\u201cLife isn\u2019t what you think it is. It\u2019s like water, and the young let it trickle away between their fingers without even noticing. Cup your hands, keep it safe. Life eventually becomes something else, something hard, something simple, something you can hold in your hand and nibble on contentedly as you sit in the sun.\u201d<\/p><\/blockquote>\n

~Jean Anouilh<\/strong>, French playwright<\/p>\n

Antigone<\/em> (1943) trans. Jeremy Sams, 2002; in Antigone,<\/em> New York: Samuel French, 2002, p. 91<\/p>\n[\/vc_column_text][\/vc_tta_section][vc_tta_section i_icon_fontawesome=”fa fa-plus-circle” add_icon=”true” title=”Context” tab_id=”1453315828385-86abfac4-79bf5f17-9e1f”][vc_column_text css_animation=”none”]Extended excerpt<\/em><\/strong> [Play dialogue \u2013 \u2018Creon\u2019 to \u2018Antigone\u2019]:<\/p>\n

\u201cGet married, Antigone, and quickly. Be happy. \u201cLife isn\u2019t what you think it is. It\u2019s like water, and the young let it trickle away between their fingers without even noticing. Cup your hands, keep it safe. Life eventually becomes something else, something hard, something simple, something you can hold in your hand and nibble on contentedly as you sit in the sun.<\/span>\u201d (p. 36)<\/p>\n

French text<\/em><\/strong>: [Title: Antigone<\/em>]: \u201cLa vie n\u2019est pas ce que tu crois. C’est une eau que les jeunes gens laissent couler sans le savoir, entre leurs doigts ouverts. Ferme tes mains, ferme tes mains, vite. Retiens-la. Tu verras, cela deviendra une petite chose dure et simple qu’on grignote, assis au soleil.\u201d (p. 91)<\/p>\n

[French text source<\/em>: Jean Anouilh, Antigone<\/em> (1943) Premi\u00e8re fois \u00e0 Paris 4 f\u00e8vrier 1944, Paris: La Table Ronde, 1946, p. 91; online via Open Library [free subscription service] openlibrary.org]<\/span><\/p>\n

Source notes<\/em><\/strong>: Anouilh\u2019s Antigone<\/em> was based upon the original work by Sophocles<\/strong><\/span>, who had also based his work on earlier tales from Greek mythology. The Anouilh production of Antigone<\/em> was written in 1943 and first performed at the Th\u00e9\u00e2tre de l\u2019Atelier in Nazi-occupied Paris on 4 February 1944.<\/p>\n

[Source note source<\/em>: \u201cJean Anouilh: A Brief Chronology,\u201d and \u201cInterpreting Antigone\u201d by Errol Durbach, Department of Theatre, University of British Columbia; in University of British Columbia, Frederic Wood Theatre presents Antigon<\/em>e, theatre playbill, 11-15 October 1988, .pdf pages 4-5]<\/span><\/p>\n[\/vc_column_text][\/vc_tta_section][vc_tta_section i_icon_fontawesome=”fa fa-search” add_icon=”true” title=”Source Links” tab_id=”1453315828572-dac97b48-68e05f17-9e1f”][vc_column_text css_animation=”none”]Source <\/em><\/strong>[Featured source<\/strong>]<\/span>: Library- Antigone<\/em> (2002) International Standard Book Number (ISBN) 0-573-62891-X<\/p>\n

Source link <\/em><\/strong>[French text]<\/span>: Library \u2013 Antigone (1943|1946 La Table Ronde) online via Open Library [free subscription service]: https:\/\/archive.org\/details\/antigone00anou\/page\/90<\/a><\/p>\n

Source link <\/em><\/strong>[Source notes]<\/span>: University of British Columbia, Frederic Wood Theatre presents Antigone<\/em> (1988) online via University of British Columbia (UBC) Library: http:\/\/www.library.ubc.ca\/archives\/pdfs\/theatre\/fw8810.pdf<\/a>[\/vc_column_text][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][vc_column width=”1\/2″][vc_tta_tabs style=”modern” shape=”square” active_section=”1″][vc_tta_section i_icon_fontawesome=”fa fa-book” add_icon=”true” title=”Citation” tab_id=”1449531591105-7edf5f39-feaa094f-cf635f17-9e1f”][vc_column_text css_animation=”none”]\n

\u201cL<\/strong>ove is, above all, the gift of oneself.\u201d<\/p><\/blockquote>\n

~Jean Anouilh<\/strong>, French playwright<\/p>\n

Ard\u00e8le<\/em> (1948) Act II, trans. Lucienne Hill, 1959; in Jean Anouilh (Five Plays)<\/em>, Vol. II, New York: Hill & Wang\/Mermaid Dramabook, 2nd printing, January 1961, p. 161; online via Open Library [free subscription service] openlibrary.org<\/a><\/p>\n[\/vc_column_text][\/vc_tta_section][vc_tta_section i_icon_fontawesome=”fa fa-plus-circle” add_icon=”true” title=”Context” tab_id=”1449531591631-43861bc7-da28094f-cf635f17-9e1f”][vc_column_text css_animation=”none”]Extended excerpt<\/em><\/strong> [Play dialogue \u2013 \u2018Countess\u2019 to \u2018Count,\u2019 \u2018Villardieu,\u2019 and the \u2018General\u2019]:<\/p>\n

Count<\/u><\/em>.<\/em> This is war, General. You are in favor of humane warfare, is that it? Prohibition of barbs on the bayonet? International control of the design of the bullet, so that it makes a nice clean little hold when it kills you? No, the thing once started, all means are equally good. Each is out for the other\u2019s skin, that\u2019s all.\u201d<\/p>\n

Countess<\/em>. Your cynicism is overdone, Gaston. In your efforts to dazzle us your reasoning has gone awry. You know very well that love is, above all, the gift of oneself.<\/span>\u201d (p. 161)<\/p>\n

French text<\/em><\/strong>: [Title: Ard\u00e8le, ou la Margu\u00e9rite<\/em>]: \u201cVous savez bien que l\u2019amour c\u2019est avant tout le don de soi!<\/span>.\u201d<\/p>\n

[French text source: Jean Anouilh, Ard\u00e8le ou La Marguerite<\/em> (1948) Paris: La Table Ronde, 1949, p. 79]<\/span><\/p>\n

Source notes<\/em><\/strong>: The source cited here, Jean Anouilh (Five Plays)<\/em>, also includes the following works: Restless Heart<\/em> (La Sauvage<\/em>, 1934), Time Remembered <\/em>(L\u00e9ocadia<\/em>, 1939), Ard\u00e8le<\/em> (Ard\u00e8le, ou la Margu\u00e9rite<\/em>, 1948), Mademoiselle Colombe<\/em> (1950), and The Lark<\/em> (L\u2019Alouette<\/em>, 1953).<\/p>\n

\u00a0\u00a0 <\/em><\/strong>A 1962 French-language sound recording of Jean Anouilh reading Ard\u00e8le ou la Marguerite<\/em> can be heard via the French National Library (Biblioth\u00e8que nationale de France | BnF): https:\/\/gallica.bnf.fr\/ark:\/12148\/bpt6k8844183h.media<\/a>[\/vc_column_text][\/vc_tta_section][vc_tta_section i_icon_fontawesome=”fa fa-search” add_icon=”true” title=”Source Link” tab_id=”1449531592891-f39e055b-a66e094f-cf635f17-9e1f”][vc_column_text css_animation=”none”]Source link<\/em><\/strong> [Featured source<\/strong>]<\/span>: Library- Jean Anouilh (Five Plays)<\/em>, Vol. II (Feb. 1959|Jan. 1961 Hill & Wang) online via Open Library [free subscription service]: https:\/\/archive.org\/stream\/jeananouilhfivep00anou#page\/160\/search\/gift+of+oneself<\/a><\/p>\n

Source <\/em><\/strong>[French text]<\/span>: Library \u2013 Ard\u00e8le ou La Marguerite<\/em> (1948) Paris: La Table Ronde, 1949, p. 79; Online Computer Library Center (OCLC) No. 367576049<\/p>\n

Source <\/em><\/strong>[Source note – Recording of Anouilh reading excerpts of play]<\/span>: Library – Ard\u00e8le ou la Marguerite<\/em> (1962 voice recording) Collection: Les chefs d\u2019oeuvre du th\u00e9\u00e2tre; via Biblioth\u00e8que nationale de France, Gallica archives: https:\/\/gallica.bnf.fr\/ark:\/12148\/bpt6k8844183h.media<\/a>[\/vc_column_text][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1453316221301{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 0px !important;}”][vc_column width=”1\/2″][vc_tta_tabs style=”modern” shape=”square” active_section=”1″][vc_tta_section i_icon_fontawesome=”fa fa-book” add_icon=”true” title=”Citation” tab_id=”1538610026944-72f252ca-4afe”][vc_column_text css_animation=”none”]\n

\u201cPropaganda is a soft weapon: hold it in your hands too long, and it will move about like a snake, and strike the other way.\u201d<\/p><\/blockquote>\n

~Jean Anouilh<\/strong>, French playwright, and Lillian Hellman<\/strong> (English adaptation)<\/p>\n

The Lark<\/em> (1952) Act I, Hellman English adaptation, 1955; in Jean Anouilh (Five Plays)<\/em>, Vol. II, New York: Hill & Wang\/Mermaid Dramabook, 2nd printing, January 1961, p. 257; online via Open Library [free subscription service] openlibrary.org<\/a><\/p>\n[\/vc_column_text][\/vc_tta_section][vc_tta_section i_icon_fontawesome=”fa fa-plus-circle” add_icon=”true” title=”Context” tab_id=”1538610027030-169c67e3-1039″][vc_column_text css_animation=”none”]Extended excerpt<\/em><\/strong> [Play dialogue \u2013 Excerpt of response from \u2018Warwick\u2019 to \u2018Cauchon\u2019 and other members of the group]:<\/p>\n

Cauchon<\/em>. And I remind you each day that this is a court of the Church. We are here to judge the charge of heresy. Our considerations are not yours.<\/p>\n

Warwick<\/em>. My dear Bishop. I know that. But the fine points of ecclesiastic judgments may be a little too distinguished for my soldiers \u2013 and for the rest of the world. Propaganda is a soft weapon: hold it in your hands too long, and it will move about like a snake, and strike the other way.\u201d (p. 257)<\/p><\/blockquote>\n

Source notes<\/em><\/strong>: Readers should note that the quotation cited here is from Lillian Hellman’s English adaptation<\/u> of Anouilh\u2019s The Lark<\/em> \u2013<\/em>\u00a0it is\u00a0not<\/u> a direct translation. Although your Repeat Right editor is not fluent in French, it\u2019s clear that even though the idea conveyed remains somewhat intact in Hellman\u2019s 1955 adaptation, the text was altered enough to become the work of both Anouilh & Hellman.<\/p>\n

\u00a0\u00a0 Jean Anouilh (Five Plays)<\/em> includes the following works: Restless Heart<\/em> (La Sauvage<\/em>, 1934), Time Remembered <\/em>(L\u00e9ocadia<\/em>, 1939), Ard\u00e8le<\/em> (Ard\u00e8le, ou la Margu\u00e9rite<\/em>, 1948), Mademoiselle Colombe<\/em> (1950), and The Lark<\/em> (L\u2019Alouette<\/em>, 1953).<\/p>\n

French text<\/em><\/strong>: [Title: L\u2019Alouette<\/em>. \u2018Charles\u2019 au \u2018Jeanne.\u2019]: \u201cJe le sais, mais moi, je suis oblig\u00e9 d’en remettre, pour mes troupes. Je crains que les attendus de votre jugement ne soient un peu trop distingu\u00e9s pour mes soldats. La propagande est une chose sommaire, Seigneur \u00c9v\u00eaque, apprenez-le. L’essentiel est de dire quelque chose de tr\u00e8s gros et de le r\u00e9p\u00e9ter souvent, c’est comme cela qu’on fait une v\u00e9rit\u00e9. Je vous dis l\u00e0 une id\u00e9e neuve, mas je suis persuad\u00e9 qu’elle fera son chemin…Pour moi, il est urgent de faire une rien du tout de cette fille…Qui qu’elle soit.\u201d<\/p>\n

[French text source<\/em>: Jean Anouilh, L\u2019alouette<\/em> (1953) Paris: La Table Ronde, 1953, pp. 100-101; online via Open Library [free subscription service] openlibrary.org]<\/span><\/p>\n[\/vc_column_text][\/vc_tta_section][vc_tta_section i_icon_fontawesome=”fa fa-search” add_icon=”true” title=”Source Links” tab_id=”1538610027118-114233ef-05bc”][vc_column_text css_animation=”none”]\n

Source <\/em><\/strong>[Featured source<\/strong>]<\/span>: Library- Jean Anouilh (Five Plays)<\/em>, Vol. II (Feb. 1959|Jan. 1961 Hill & Wang) online via Open Library [free subscription service]: https:\/\/archive.org\/stream\/jeananouilhfivep00anou#page\/256\/search\/propaganda+is+a+soft+weapo<\/a>n<\/p>\n

Source link <\/em><\/strong>[French text]<\/span>:\u00a0Library – L\u2019alouette<\/em> (1953) online via Open Library [free subscription service]: https:\/\/archive.org\/stream\/lalouette00anou#page\/30\/search\/La+propagande<\/a>[\/vc_column_text][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][vc_column width=”1\/2″][vc_tta_tabs style=”modern” shape=”square” active_section=”1″][vc_tta_section i_icon_fontawesome=”fa fa-book” add_icon=”true” title=”Citation” tab_id=”1538610027303-9ee61e96-71dd”][vc_column_text css_animation=”none”]\n

\u201cSincerity is a form of strategy, just like any other.\u201d<\/p><\/blockquote>\n

~Jean Anouilh<\/strong>, French playwright<\/p>\n

Becket or the Honor of God<\/em> (1959) trans. Lucienne Hill, New York: Coward, McCann & Geoghegan, 1960 [18th impression], p. 100; online via Open Library [free subscription service] openlibrary.org<\/a><\/p>\n[\/vc_column_text][\/vc_tta_section][vc_tta_section i_icon_fontawesome=”fa fa-plus-circle” add_icon=”true” title=”Context” tab_id=”1538610027399-4e076839-a461″][vc_column_text css_animation=”none”]Extended excerpt<\/em><\/strong> [Play dialogue \u2013 \u2018The Cardinal\u2019 to \u2018The Pope\u2019]:<\/p>\n

\u201cSincerity is a form of strategy, just like any other<\/span>, Holy Father. In certain very difficult negotiations, when matters are not going ahead and the usual tactics cease to work, I have been known to use it myself. The great pitfall, of course, is if your opponent starts being sincere at the same time as you. Then the game becomes horribly confusing.\u201d (p. 100)<\/p><\/blockquote>\n

French text<\/em><\/strong>: [Title: Becket ou l\u2019honneur de Dieu<\/em>]: \u201cLa sinc\u00e9rit\u00e9 est un calcul comme un autre<\/span>, Tr\u00e8s Saint-P\u00e8re. Il suffit d\u2019\u00eatre bien p\u00e9n\u00e9tr\u00e9 de ce pincipe et la sinc\u00e9rit\u00e9 ne gene plus. Dans certaines n\u00e9gociations tr\u00e8s difficiles quand on pi\u00e9tine et que la man\u0153uvre ne rend plus, il m\u2019arrive m\u00eame de m\u2019en servir \u00e0 l\u2019occasion. Mon adversaire donne g\u00e9n\u00e9ralement dans le panneau; il m\u2019imagine un plan extr\u00eamement subtil, fait fausse route et se trouve pris. L\u2019\u00e9cueil, \u00e9videmment, c\u2019est si votre adversaire se met \u00e0 \u00eatre sincere en m\u00eame temps que vous. Le jeu se trouve alors terriblement embrouill\u00e9.\u201d<\/p>\n

[French source<\/em>: Jean Anouilh, Becket ou l\u2019honneur de Dieu<\/em> (1959) Acte II, Paris: La Table Ronde, 1990, p. 112; online via Open Library [free subscription service] openlibrary.org]<\/span><\/p>\n

Source note<\/em><\/strong>: Becket or The Honor of God<\/em> (Becket ou lhonneur de Dieu<\/em>) opened in the Montparnasse-Gaston Baty theatre in Paris on 8 October 1959, and at the St. James Theatre in New York City on 5 October 1960.<\/p>\n

[Source note source<\/em>: Jean Anouilh, Becket ou l\u2019honneur de Dieu<\/em> (1959) Acte II, Paris: La Table Ronde, 1990, p. 112; online via Open Library [free subscription service] openlibrary.org]<\/span><\/p>\n[\/vc_column_text][\/vc_tta_section][vc_tta_section i_icon_fontawesome=”fa fa-search” add_icon=”true” title=”Source Links” tab_id=”1538610027510-c03b664b-adb0″][vc_column_text css_animation=”none”]Source link<\/em><\/strong> [Featured source<\/strong>]<\/span>: Library – Becket or the Honor of God<\/em> (1959|1960 Coward, McCann & Geoghegan) online via Open Library [free subscription service]: https:\/\/archive.org\/stream\/becket00anou#page\/100\/search\/sincerity+is<\/a><\/p>\n

Source link\u00a0<\/em><\/strong>[French text]<\/span>: Library \u2013 Becket ou l\u2019honneur de Dieu<\/em> (1959|1990 La Table Ronde) online via Open Library [free subscription service]: https:\/\/archive.org\/details\/becketoulhonneur00anou_0\/page\/112<\/a><\/p>\n

Source link\u00a0<\/em><\/strong>[Source note]<\/span>: Library \u2013 Becket ou l\u2019honneur de Dieu<\/em> (1959|1990 La Table Ronde) online via Open Library [free subscription service]: https:\/\/archive.org\/details\/becketoulhonneur00anou_0\/page\/n7 <\/a>[\/vc_column_text][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1453316221301{margin-top: 0px !important;border-top-width: 0px !important;padding-top: 0px !important;}”][vc_column width=”1\/2″][vc_tta_tabs style=”modern” shape=”square” active_section=”1″][vc_tta_section i_icon_fontawesome=”fa fa-book” add_icon=”true” title=”Citation” tab_id=”1538614975753-cad541c9-3e41″][vc_column_text css_animation=”none”]\n

\u201cThe object of art is to give life a shape, and to do it by every conceivable artifice.\u201d<\/p><\/blockquote>\n

~Jean Anouilh<\/strong>, French playwright<\/p>\n

The Rehearsal: A Play<\/em> (1950) trans. Pamela Hansford Johnson & Kitty Black, New York, NY: Samuel French, Inc., 1989 English edition, character \u2018The Count\u2019,\u2019 addressing \u2018Hortensia,\u2019 Act I, scene 2, p. 17<\/p>\n[\/vc_column_text][\/vc_tta_section][vc_tta_section i_icon_fontawesome=”fa fa-plus-circle” add_icon=”true” title=”Context” tab_id=”1538614975870-6d243273-0404″][vc_column_text css_animation=”none”]Extended excerpt<\/em><\/strong>: [The Count, discussing Hortensia\u2019s reading of a play]:<\/p>\n

\u201cHortensia, it fits you like a glove. I am merely asking for a trifle more subtlety. (He crosses to<\/em> Right) Actors are the most impossible people.\u201d<\/p>\n

(Hortensia sits in the armchair<\/em>)<\/p>\n

\u201cDon\u2019t make the mistake of believing it\u2019s enough to reproduce the realities of life. (He collects his script from the sofa<\/em>)<\/p>\n

(Hero moves to the table up C, refills his glass then stands up LC. The<\/em> Footman moves the settee to Right<\/em>)<\/p>\n

\u201cThe object of art is to give life a shape, and to do it by every conceivable artifice.\u201d<\/p><\/blockquote>\n

French text<\/em><\/strong>: [Title: La R\u00e9p\u00e9tition, ou, L\u2019Amour Puni<\/em>]:<\/p>\n

Le Comte: […] \u201cC’est tr\u00e8s joli la vie, mais cela n’a pas de forme. L\u2019art a pour objet de lui en donner une pr\u00e9cis\u00e9ment et de faire par tous les artifices possibles \u2013 plus vrai que le vrai.\u201d (p. 47)<\/p>\n

[French text source<\/em>: Jean Anouilh, La R\u00e9p\u00e9tition, ou, L\u2019Amour Puni<\/em> (1950) Acte II, Paris: Librairie Larousse, Nouveaux Classiques Larousse, 1957, p. 47; online via Open Library [free subscription service] openlibrary.org]<\/span><\/p>\n[\/vc_column_text][\/vc_tta_section][vc_tta_section i_icon_fontawesome=”fa fa-search” add_icon=”true” title=”Source Links” tab_id=”1538614976008-672ee19a-5c67″][vc_column_text css_animation=”none”]Source <\/em><\/strong>[Featured source<\/strong>]<\/span>:\u00a0Library – The Rehearsal: A Play<\/em> (1950) 1989 edition, International Book Sellers Number (ISBN) 0-573-61503-9<\/p>\n

Source link <\/em><\/strong>[French text]<\/span>:Library –La R\u00e9p\u00e9tition, ou, L\u2019Amour Puni<\/em> (1950) online via Open Library [free subscription service]: https:\/\/archive.org\/stream\/larepetitionoula00anou#page\/46\/search\/l’art+a+pour+objet<\/a>[\/vc_column_text][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][vc_column width=”1\/2″][vc_tta_tabs style=”modern” shape=”square” active_section=”1″][vc_tta_section i_icon_fontawesome=”fa fa-book” add_icon=”true” title=”Citation” tab_id=”1538614976248-5501f2de-5157″][vc_column_text css_animation=”none”]\n

\u201cTragedy is restful: and the reason is that hope, that foul, deceitful thing, has no part in it.\u201d<\/p><\/blockquote>\n

~Jean Anouilh<\/strong>, French playwright<\/p>\n

Antigone<\/em> (1943) trans. Lewis Galanti\u00e8re, 1946; in Jean Anouilh (Five Plays)<\/em>, Vol. I, New York: Hill & Wang\/Mermaid Dramabook, May 1965 (10th printing), p. 24; online via Open Library [free subscription service]\u00a0openlibrary.org<\/a><\/p>\n[\/vc_column_text][\/vc_tta_section][vc_tta_section i_icon_fontawesome=”fa fa-plus-circle” add_icon=”true” title=”Context” tab_id=”1538614976366-505f4470-6ebf”][vc_column_text css_animation=”none”]Extended excerpt<\/em><\/strong> [Play \u2013 The Chorus]:<\/p>\n

\u201cIn a tragedy, nothing is in doubt and everyone\u2019s destiny is known. That makes for tranquility. There is a sort of fellow-feeling among characters in a tragedy: he who kills is as innocent as he who gets killed: it\u2019s all a matter of what part you are playing. Tragedy is restful; and the reason is that hope, that foul, deceitful thing, has no part in it.\u201d (p. 24)<\/p><\/blockquote>\n

French text<\/em><\/strong> [Title: Antigone<\/em>]:<\/p>\n

\u201cDans la trag\u00e9die on est tranquille. D’abord, on est entre soi. On est tous innocents en somme! Ce n’est pas parce qu’il y en a un que tue et l’autre qui est tu\u00e9. C’est une question de distribution. Et puis, surtout, c’est reposant, la trag\u00e9die, parce qu’on sait qu’il n’y a plus d’espoir, le sale espoir; qu’on est pris, qu’on est enfin pris comme un rat, avec tout la ciel sur son dos, et qu’on n’a plus qu’\u00e0 crier, – pas \u00e0 g\u00e9mir, non, pas \u00e0 se plaindre, – \u00e0 gueuler \u00e0 pleine voix ce qu’on avait \u00e0 dire, qu’on n’avait jamais dit et qu’on ne savait peut-\u00eatre m\u00eame pas encore.\u201d<\/p>\n

[French source<\/em>: Jean Anouilh, Antigone<\/em> (1943) Premi\u00e8re fois \u00e0 Paris 4 f\u00e8vrier 1944, Paris: La Table Ronde, 1946, p. 54; online via Open Library [free subscription service] openlibrary.org]<\/span><\/p>\n

Source notes<\/em><\/strong>: Anouilh\u2019s Antigone<\/em> was based upon the original work by the Greek playwright Sophocles<\/span><\/strong>, who in turn based his tale on earlier Greek mythology. The Anouilh production was written in 1943 and first performed at the Th\u00e9\u00e2tre de l\u2019Atelier in Nazi-occupied Paris on 4 February 1944.<\/p>\n

[Source note source<\/em>: \u201cJean Anouilh: A Brief Chronology,\u201d and \u201cInterpreting Antigone\u201d by Errol Durbach, Department of Theatre, University of British Columbia; in University of British Columbia, Frederic Wood Theatre presents Antigon<\/em>e, theatre playbill, 11-15 October 1988, .pdf pages 4-5]<\/span><\/p>\n[\/vc_column_text][\/vc_tta_section][vc_tta_section i_icon_fontawesome=”fa fa-search” add_icon=”true” title=”Source Links” tab_id=”1538614976503-0f77150f-9647″][vc_column_text css_animation=”none”]Source link<\/em><\/strong> [Featured source<\/strong>]<\/span>:\u00a0Library – Jean Anouilh (Five Plays)<\/em>, Vol. I (1958|May 1965 Hill & Wang) online via Open Library [free subscription service]: https:\/\/archive.org\/stream\/fiveplays00anou#page\/24\/search\/foul<\/a><\/p>\n

Source link\u00a0<\/em><\/strong>[French text]<\/span>:\u00a0Library \u2013 Antigone<\/em> (1943|1946 La Table Ronde) online via Open Library [free subscription service]: https:\/\/archive.org\/details\/antigone00anou\/page\/54<\/a><\/p>\n

Source link\u00a0<\/em><\/strong>[Source notes]<\/span>:\u00a0University of British Columbia, Frederic Wood Theatre presents Antigone<\/em> (1988) online via University of British Columbia (UBC) Library: http:\/\/www.library.ubc.ca\/archives\/pdfs\/theatre\/fw8810.pdf<\/a>[\/vc_column_text][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]\n

Resources<\/h4>\n[\/vc_column_text][vc_column_text css_animation=”none” el_class=”Wrapper-Author-Resources”]Learn more about Jean Anouilh<\/strong><\/span> | Here are a few good places to find out more –<\/p>\n