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Александар Македонски
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Quoi ? Vous allez combattre un roi dont la puissance semble forcer le ciel à prendre sa défense, sous qui toute l'Asie a vu tomber ses rois, et qui tient la fortune attachée à ses lois ?
Quoi ? Vous allez combattre un roi dont la puissance semble forcer le ciel à prendre sa défense, sous qui toute l'Asie a vu tomber ses rois, et qui tient la fortune attachée à ses lois ?
Paperback
First published January 1, 1665
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157 people want to read
About the author
Jean Racine
2,048 books363 followersClassical Greek and Roman themes base noted tragedies, such as
Britannicus
(1669) and
Phèdre
(1677), of French playwright Jean Baptiste Racine.
Adherents of movement of Cornelis Jansen included Jean Baptiste Racine.
This dramatist ranks alongside Molière (Jean Baptiste Poquelin) and Pierre Corneille of the "big three" of 17th century and of the most important literary figures in the western tradition. Psychological insight, the prevailing passion of characters, and the nakedness of both plot and stage mark dramaturgy of Racine. Although primarily a tragedian, Racine wrote one comedy.
Orphaned by the age of four years when his mother died in 1641 and his father died in 1643, he came into the care of his grandparents. At the death of his grandfather in 1649, his grandmother, Marie des Moulins, went to live in the convent of Port-Royal and took her grandson Jean-Baptiste. He received a classical education at the Petites écoles de Port-Royal, a religious institution that greatly influenced other contemporary figures, including Blaise Pascal.
The French bishops and the pope condemned Jansenism, a heretical theology, but its followers ran Port-Royal. Interactions of Racine with the Jansenists in his years at this academy great influenced the rest of his life. At Port-Royal, he excelled in his studies of the classics, and the themes of Greek and Roman mythology played large roles in his works.
Jean Racine died from cancer of the liver. He requested burial in Port-Royal, but after Louis XIV razed this site in 1710, people moved his body to the church of Saint-Étienne-du-Mont in Paris.
*source: https://en.wikipedia.org/wiki/Jean_Ra...
Adherents of movement of Cornelis Jansen included Jean Baptiste Racine.
This dramatist ranks alongside Molière (Jean Baptiste Poquelin) and Pierre Corneille of the "big three" of 17th century and of the most important literary figures in the western tradition. Psychological insight, the prevailing passion of characters, and the nakedness of both plot and stage mark dramaturgy of Racine. Although primarily a tragedian, Racine wrote one comedy.
Orphaned by the age of four years when his mother died in 1641 and his father died in 1643, he came into the care of his grandparents. At the death of his grandfather in 1649, his grandmother, Marie des Moulins, went to live in the convent of Port-Royal and took her grandson Jean-Baptiste. He received a classical education at the Petites écoles de Port-Royal, a religious institution that greatly influenced other contemporary figures, including Blaise Pascal.
The French bishops and the pope condemned Jansenism, a heretical theology, but its followers ran Port-Royal. Interactions of Racine with the Jansenists in his years at this academy great influenced the rest of his life. At Port-Royal, he excelled in his studies of the classics, and the themes of Greek and Roman mythology played large roles in his works.
Jean Racine died from cancer of the liver. He requested burial in Port-Royal, but after Louis XIV razed this site in 1710, people moved his body to the church of Saint-Étienne-du-Mont in Paris.
*source: https://en.wikipedia.org/wiki/Jean_Ra...
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Displaying 1 - 18 of 18 reviews
November 6, 2022
Ils parlent vraiment beaucoup pour pas beaucoup d’action mais d’accord
February 8, 2022
Lol jij bent niet waardig genoeg voor mijn masterproef merci et au revoir
neenee leuk stuk maar nutteloos voor mijn onderzoek xs
neenee leuk stuk maar nutteloos voor mijn onderzoek xs
November 4, 2023
“It’s that tranquility with its degrading safety I resent.” These words are spoken by the Indian queen Axiana. Racine is concerned with themes of glory, and how that pursuit can conflict with safety. This remains familiar nearly 400 years later in 2023, we are appealed to by politicians offering safety in return for diminished freedoms of expression and assembly.
An ingredient in this play, deftly used by Shakespeare in Othello (written about 50 years before Racine’s Alexander),is the theme of manipulative lies. Our susceptibility to believing the worst even of someone we love, is echoed by a character in this play, who says “alas, how weak the best defense against such doubts! Our hearts we vainly vex with reasons to suspect what most they wish.”
A final quote relates to the character, who is arguably the real hero in this play, Porus, a king of India. As one learns living in Los Angeles, celebrity has only room for a few stars, so it was for anyone appearing in Alexander the Great’s orbit, “Fame, too unjust to others’ merit.”
An ingredient in this play, deftly used by Shakespeare in Othello (written about 50 years before Racine’s Alexander),is the theme of manipulative lies. Our susceptibility to believing the worst even of someone we love, is echoed by a character in this play, who says “alas, how weak the best defense against such doubts! Our hearts we vainly vex with reasons to suspect what most they wish.”
A final quote relates to the character, who is arguably the real hero in this play, Porus, a king of India. As one learns living in Los Angeles, celebrity has only room for a few stars, so it was for anyone appearing in Alexander the Great’s orbit, “Fame, too unjust to others’ merit.”
July 19, 2019
I can't not give anything with such a glorious Alexander a 5. That said, not Racine's best work by any means. But beautiful as always and Alexander is great. Also I could read the Latin in the preface without help which was a massive victory.
December 16, 2021
Racine’s play is filled with characters who make bold declarations for state, blood, and love. He also captures the magnificence of Alexander with the elegance of his language.
July 19, 2021
Čitala sam Rasina kao studentica, sve što sam mogla naći u biblioteci (svega 4 knjige: Fedra, Berenika, Mitridat i Britanik), ali ova mi je tada promakla. Nedavno su je stavili kao lektiru za srednju školu, pa sam je našla na makedonski i odmah pročitala.
Puno je pisano o ovom velikom osvajaču, a ovde je Rasin izdvojio epizodu iz 326 g.p.n.e. kad je Aleksandar bio na vrhuncu svoje moći i kad je nakon osvajanja Grčke i Persije došao do Indije. Tu se sukobio sa jednim od kraljeva indijskih provincija, Porom. Drama je prožeta romantičnom niti: prvo je tu ljubav koja Kleofila, sestra Taksila, jednog od kraljeva indijskuh provincija, oseća za Aleksandra i zbog te ljubavi nagovara svog brata da mu se preda, zatim ljubav koju Taksil oseća za Aksijanu, kraljicu druge indijske provincije, koja se pak suprotstavlja Aleksandru i daje podršku Poru, samim tim uzvraćajući njegovu ljubav. Alksandar je prikazan kao moćan vojskovođa, ali i plemenit, razborit i pravičan. Preporuke za svakog ko voli dramska dela.
Puno je pisano o ovom velikom osvajaču, a ovde je Rasin izdvojio epizodu iz 326 g.p.n.e. kad je Aleksandar bio na vrhuncu svoje moći i kad je nakon osvajanja Grčke i Persije došao do Indije. Tu se sukobio sa jednim od kraljeva indijskih provincija, Porom. Drama je prožeta romantičnom niti: prvo je tu ljubav koja Kleofila, sestra Taksila, jednog od kraljeva indijskuh provincija, oseća za Aleksandra i zbog te ljubavi nagovara svog brata da mu se preda, zatim ljubav koju Taksil oseća za Aksijanu, kraljicu druge indijske provincije, koja se pak suprotstavlja Aleksandru i daje podršku Poru, samim tim uzvraćajući njegovu ljubav. Alksandar je prikazan kao moćan vojskovođa, ali i plemenit, razborit i pravičan. Preporuke za svakog ko voli dramska dela.
February 15, 2016
لا اعلم اهى مسرحية للاسكندر ام تنتقص منة ,هذا القائد الذى لم يقف امامه حائل ,نجده متمثل فى نفسة البشرية وواقعا فى حب اميرة هندية "كليوفل" ,صور راسين الاسكندر بالقائد المتقاعس عن اداء واجبة بارسال رسائل الحب الى محبوبتة ,وقد دفعة ذلك الى تولية اخيها ملك الهند بعد فتحها ,هذا الاخر الذى تقاعس عن نصرة الامير بروس الذى كان يدافع عن الهند من اجل صداقة الاسكندر ,بروس الامير النبيل الذى قدم حياتة بحث عن مجد بانه اخر خطوط البشرية من اجل الحرية وفك قيود الاسكندر عن الدنيا ,تراجيدية اخرى يجيد راسين فى كتابتها .
November 11, 2025
One of the lesser known plays of Racine, ‘Alexander the Great’ (1665) seems to have become more famous for being the cause of a quarrel between Racine and Molière as a result of Racine’s decision to change the venue to a more prestigious theatre, rather than for any intrinsic merit in the play’s content. (Since I read this in translation, naturally the beauty of the original poetry escaped me.)
The play is a glorified account of the reconciliation that took place between Alexander and the kings of India after the Battle of Hydaspes. It is also a three cornered (four cornered, if one took into account the presence of Hephaestion) love story.
Alexander is mostly a Presence off-stage, though he is always present as an enemy, a threat and a possible ally throughout the speeches. The play is really about Porus, who stands out as the defiant and heroic defender of his country and people. Nothing he or the independent Queen Axiana of an unnamed part of India can say to Taxiles to persuade him to join forces against Alexander has any effect. Taxiles would rather listen to the honeyed words of Hephaestion, and ponder over the invitation sent to him by Alexander to join him as an ally. His instincts are torn between accepting this offer and betraying Porus, or defying the Macedonian and winning the love of the brave Queen Axiana. Taxiles is urged by his sister Cleophila to join forces with Alexander, and she eventually prevails. Alexander claims to be in love with Cleophila and promises to lay the world at her feet, if she will consent to accept him, and as a token of good faith, he allows Taxiles his kingdom.
The actual battle is offstage, and though Porus is defeated after a gallant defence, he escapes downriver, while Axiana is captured and given to Taxiles as a further token of favour. Taxiles promises her her liberty and a tranquil rule, as well as his heart. Axiana scorns both:
`Tis that tranquillity
With that degrading servitude I resent,
is her reply, at which Taxiles behaves like a tyrant and warns the Queen of dire consequences if she does not immediately fall in line.
In the search for Porus, led by Taxiles at Alexander’s command, another battle is fought, in which Porus kills Taxiles by a sword thrust to the heart, but he himself is captured and brought to Alexander in chains. Alexander is determined that Porus should be made an example and punished strictly, to serve as an example to future rebels. Nevertheless, Porus defiant reply disarms Alexander, who treats him as an honoured king.
While the principal theme is honour, the duty of kings and the rights of conquerors, love is also a motive here. At one point, Cleophile has doubts about Alexander, and the reaction that is sure to set in when his initial passion is satisfied and he goes on to the next conquest. Axiana has no such doubts: she loves Porus, and her only regret is that she didn't admit it to him earlier, when he was pleading with her. However, the right lovers are paired off happily, while the faint-hearted Taxiles is given a better death than he deserves.
Historically, only the great defiance of Porus to Alexander is agreed upon by both ancient Indian and Western historians. Both women in the tragedy are fictional, and Taxiles was killed by another of Alexander's generals after Alexander had left India.
Perhaps Racine decided that happy endings were unworthy of him, since it was only after he turned to serious tragedy that his real genius shone through, and his plays received the acclaim due to their greatness.
The play is a glorified account of the reconciliation that took place between Alexander and the kings of India after the Battle of Hydaspes. It is also a three cornered (four cornered, if one took into account the presence of Hephaestion) love story.
Alexander is mostly a Presence off-stage, though he is always present as an enemy, a threat and a possible ally throughout the speeches. The play is really about Porus, who stands out as the defiant and heroic defender of his country and people. Nothing he or the independent Queen Axiana of an unnamed part of India can say to Taxiles to persuade him to join forces against Alexander has any effect. Taxiles would rather listen to the honeyed words of Hephaestion, and ponder over the invitation sent to him by Alexander to join him as an ally. His instincts are torn between accepting this offer and betraying Porus, or defying the Macedonian and winning the love of the brave Queen Axiana. Taxiles is urged by his sister Cleophila to join forces with Alexander, and she eventually prevails. Alexander claims to be in love with Cleophila and promises to lay the world at her feet, if she will consent to accept him, and as a token of good faith, he allows Taxiles his kingdom.
The actual battle is offstage, and though Porus is defeated after a gallant defence, he escapes downriver, while Axiana is captured and given to Taxiles as a further token of favour. Taxiles promises her her liberty and a tranquil rule, as well as his heart. Axiana scorns both:
`Tis that tranquillity
With that degrading servitude I resent,
is her reply, at which Taxiles behaves like a tyrant and warns the Queen of dire consequences if she does not immediately fall in line.
In the search for Porus, led by Taxiles at Alexander’s command, another battle is fought, in which Porus kills Taxiles by a sword thrust to the heart, but he himself is captured and brought to Alexander in chains. Alexander is determined that Porus should be made an example and punished strictly, to serve as an example to future rebels. Nevertheless, Porus defiant reply disarms Alexander, who treats him as an honoured king.
While the principal theme is honour, the duty of kings and the rights of conquerors, love is also a motive here. At one point, Cleophile has doubts about Alexander, and the reaction that is sure to set in when his initial passion is satisfied and he goes on to the next conquest. Axiana has no such doubts: she loves Porus, and her only regret is that she didn't admit it to him earlier, when he was pleading with her. However, the right lovers are paired off happily, while the faint-hearted Taxiles is given a better death than he deserves.
Historically, only the great defiance of Porus to Alexander is agreed upon by both ancient Indian and Western historians. Both women in the tragedy are fictional, and Taxiles was killed by another of Alexander's generals after Alexander had left India.
Perhaps Racine decided that happy endings were unworthy of him, since it was only after he turned to serious tragedy that his real genius shone through, and his plays received the acclaim due to their greatness.
September 6, 2019
Charmante tragi-comédie livrée en cinq actes et en vers évoquant les épopées teintées de cette touche romanesque joliment représentée en théâtre, à laquelle on retrouve goût des fois.
Elle se trouve assez bancale dans sa construction par effet trop apparent de galanteries, manque de force émotionnelle et est confuse par le choix insolite de "l'Inde" comme lieu des faits ainsi que de la nature des dialogues allant éperdument dans le sens du poil.
Noble sujet auquel s'intéressa Racine dans cette pièce théâtrale, rien qu'à la simple évocation du nom d'Alexandre le Grand, elle s'y référa pour produire une tragédie romanesque et galante truffée d'attributs liés aux conquêtes, en vue de renouer plaisamment avec les grands exploits historiques et d'y redonner goût au lecteur.
Alexandre, Taxile, Porus, Cléofile et Axiane en sont les principaux héros, réunis dans l'engrenage classique et bancal mettant en avant de tendres amants dévoués à leurs maîtresses.
La force de la plume de Racine dans cette oeuvre trouve plutôt son essence dans les vers romantiques : Seule véritable source d'inspiration qui lui permît de réussir quelques beaux passages, tel celui-ci :
CLÉOFILE : Ah ! quittez cette ingrate princesse,
Dont la haine a juré de nous troubler sans cesse,
Qui met tout son plaisir à vous désespérer.
Oubliez...
TAXILE : Non, ma sœur, je la veux adorer.
Je l'aime ; et quand les vœux que je pousse pour elle
N'en obtiendraient jamais qu'une haine immortelle,
Malgré tous ses mépris, malgré tous vos discours,
Malgré moi-même, il faut que je l'aime toujours.
Sa colère après tout n'a rien qui me surprenne :
C'est à vous, c'est à moi qu'il faut que je m'en prenne.
Sans vous, sans vos conseils, ma sœur, qui m'ont trahi,
Si je n'étais aimé, je serais moins haï.
Acte IV, Scène 4
Le potentiel tragique de celle-ci n'en est point moins intéressant à étudier : Deux parties aux prises pour la conquête des terres, un timide héroïsme et déchirements sentimentaux très éparpillés et parfois incohérents.
Alexandre n'a rien du conquérant sanguinaire auquel on s'attendrait dans telle pièce, qui se lit avec une pointe d'enthousiasme.
J'avouerai que "Bajazet" et "Andromaque" lui sont bien supérieures en force émotionnelle.
Alexandre, à Taxile.
Seigneur, est-il donc vrai qu’une reine aveuglée
Vous préfère d’un roi la valeur déréglée ?
Mais ne le craignez point : son empire est à vous ;
D’une ingrate à ce prix fléchissez le courroux.
Maître de deux États, arbitre des siens mêmes,
Allez avec vos vœux offrir trois diadèmes.
Taxile
Ah ! c’en est trop, Seigneur ! Prodiguez un peu moins…
Alexandre
Vous pourrez à loisir reconnaître mes soins.
Ne tardez point, allez où l’amour vous appelle,
Et couronnez vos feux d’une palme si belle.
(Acte III – Scène 5)
Elle se trouve assez bancale dans sa construction par effet trop apparent de galanteries, manque de force émotionnelle et est confuse par le choix insolite de "l'Inde" comme lieu des faits ainsi que de la nature des dialogues allant éperdument dans le sens du poil.
Noble sujet auquel s'intéressa Racine dans cette pièce théâtrale, rien qu'à la simple évocation du nom d'Alexandre le Grand, elle s'y référa pour produire une tragédie romanesque et galante truffée d'attributs liés aux conquêtes, en vue de renouer plaisamment avec les grands exploits historiques et d'y redonner goût au lecteur.
Alexandre, Taxile, Porus, Cléofile et Axiane en sont les principaux héros, réunis dans l'engrenage classique et bancal mettant en avant de tendres amants dévoués à leurs maîtresses.
La force de la plume de Racine dans cette oeuvre trouve plutôt son essence dans les vers romantiques : Seule véritable source d'inspiration qui lui permît de réussir quelques beaux passages, tel celui-ci :
CLÉOFILE : Ah ! quittez cette ingrate princesse,
Dont la haine a juré de nous troubler sans cesse,
Qui met tout son plaisir à vous désespérer.
Oubliez...
TAXILE : Non, ma sœur, je la veux adorer.
Je l'aime ; et quand les vœux que je pousse pour elle
N'en obtiendraient jamais qu'une haine immortelle,
Malgré tous ses mépris, malgré tous vos discours,
Malgré moi-même, il faut que je l'aime toujours.
Sa colère après tout n'a rien qui me surprenne :
C'est à vous, c'est à moi qu'il faut que je m'en prenne.
Sans vous, sans vos conseils, ma sœur, qui m'ont trahi,
Si je n'étais aimé, je serais moins haï.
Acte IV, Scène 4
Le potentiel tragique de celle-ci n'en est point moins intéressant à étudier : Deux parties aux prises pour la conquête des terres, un timide héroïsme et déchirements sentimentaux très éparpillés et parfois incohérents.
Alexandre n'a rien du conquérant sanguinaire auquel on s'attendrait dans telle pièce, qui se lit avec une pointe d'enthousiasme.
J'avouerai que "Bajazet" et "Andromaque" lui sont bien supérieures en force émotionnelle.
Alexandre, à Taxile.
Seigneur, est-il donc vrai qu’une reine aveuglée
Vous préfère d’un roi la valeur déréglée ?
Mais ne le craignez point : son empire est à vous ;
D’une ingrate à ce prix fléchissez le courroux.
Maître de deux États, arbitre des siens mêmes,
Allez avec vos vœux offrir trois diadèmes.
Taxile
Ah ! c’en est trop, Seigneur ! Prodiguez un peu moins…
Alexandre
Vous pourrez à loisir reconnaître mes soins.
Ne tardez point, allez où l’amour vous appelle,
Et couronnez vos feux d’une palme si belle.
(Acte III – Scène 5)
April 23, 2025
ποιος είμαι εγώ για να σχολιάζω τον Ρακίνα αλλά το έργο είναι της πλάκας.
σχεδόν μηδενική πλοκή, καθόλου δράση και
ο Μέγας Αλέξανδρος εμφανίστηκε στο τέλος ενώ υποτίθεται είναι πρωταγωνιστής (λογικα φαινομενικά πρωταγωνιστής για να γλείψει τον Λουδοβίκο ΙΔ).
δηλαδή στα σοβαρά έχαναν τα βασίλεια τους και τους ένοιαζε ο έρωτας ?
ο έρωτας ξεπερνάει την αθανασία αλλά όχι και έτσι.
η μετάφραση του Αριστείδη Λαυρεντζου ήταν οκει αλλά δεν καταλαβαίνω ούτε το η ανόητη εισαγωγή που συγκρίνει τον εαυτό του με τον Ρακίνα και αυτοεκθειαζει την μετάφραση του ότι είναι η μοναδική με ομοιοκαταληξία και ότι όλους τους συνεπήρε.
εμένα δεν με συνεπήρε αλλά δεν ξέρω γαλλικά όπως δεν έχω άποψη.
επίσης αυτή η κάθετη γραμμή στην μέση του κειμένου είναι άκρως εκνευριστικη γιατί σου αποσπάει την προσοχή , οποίος δεν μπορεί να διαβάσει με ομοιο��αταληξία είναι πρόβλημα του.
σχεδόν μηδενική πλοκή, καθόλου δράση και
ο Μέγας Αλέξανδρος εμφανίστηκε στο τέλος ενώ υποτίθεται είναι πρωταγωνιστής (λογικα φαινομενικά πρωταγωνιστής για να γλείψει τον Λουδοβίκο ΙΔ).
δηλαδή στα σοβαρά έχαναν τα βασίλεια τους και τους ένοιαζε ο έρωτας ?
ο έρωτας ξεπερνάει την αθανασία αλλά όχι και έτσι.
η μετάφραση του Αριστείδη Λαυρεντζου ήταν οκει αλλά δεν καταλαβαίνω ούτε το η ανόητη εισαγωγή που συγκρίνει τον εαυτό του με τον Ρακίνα και αυτοεκθειαζει την μετάφραση του ότι είναι η μοναδική με ομοιοκαταληξία και ότι όλους τους συνεπήρε.
εμένα δεν με συνεπήρε αλλά δεν ξέρω γαλλικά όπως δεν έχω άποψη.
επίσης αυτή η κάθετη γραμμή στην μέση του κειμένου είναι άκρως εκνευριστικη γιατί σου αποσπάει την προσοχή , οποίος δεν μπορεί να διαβάσει με ομοιο��αταληξία είναι πρόβλημα του.
December 12, 2023
Easily the "happiest" of Racine's tragedies, which isn't a criticism but definitely surprised me. I just couldn't believe the ending was happening as I read it lol. This definitely reads like an early work of Racine, but I still enjoyed it. This is more of a 3.5 stars review, but I can't say "I really liked it" so I decided to settle for 3.
November 15, 2021
j’adore racine et je voulais aimer cette pièce. mais les personnages n’étaient juste pas là, il manquait la réalité et la violence des passions qui pourtant est si caractéristique de racine et du classicisme.
July 21, 2023
Enjoyed a lot. You can see Racine's development. Whereas his Thebaid had a lot of short scenes and few long monologues, here you find more sophisticated characterization and plotting. This seems to continue in the Andromache, which I'm working on now.
September 13, 2023
In the play, kings battle to win the empire of a woman’s heart. However, Taxile is far too subservient to ever win the heart of prideful Axiane and her likeminded soul mate, Porus, so the love triangle is one-sided. Taxile ends up charging into a battle where he has no chance of winning.
July 11, 2025
2eme pièce de ma lecture intégrale de Racine 🌟
Ça commençait pas très bien, je venais de finir la Thébaïde et j’avais tellement aimé que j’ai été directement déçu pour le début. Mais en continuant j’ai adoré les 3 derniers actes et je m’attendais pas à cette fin !
Ça commençait pas très bien, je venais de finir la Thébaïde et j’avais tellement aimé que j’ai été directement déçu pour le début. Mais en continuant j’ai adoré les 3 derniers actes et je m’attendais pas à cette fin !
March 17, 2024
Boring fucking dialogs. I thought it would be cool as shit considering this is alexander the great, basically the greatest leader in history.
Read
April 9, 2014Read it for school... not very special. It was just okay I guess.
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July 30, 2018اسلوب رائع يتميز بالبساطة والقدرة على جذب القاريء ودفعه للإستمرار فى القراءة
Displaying 1 - 18 of 18 reviews