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Osman: Tragedie (Classic Reprint)
Excerpt from Tragedie
Le Theatre est la façade du Palais ou Serail, où il y a vue Porte au milieu qui s'ouure et se ferme, à costé vnc fenestre, où l'on pourra tirer vn rideau, lors qu'osman reçoit les plaintes des Ianissaires.
About the Publisher
Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Le Theatre est la façade du Palais ou Serail, où il y a vue Porte au milieu qui s'ouure et se ferme, à costé vnc fenestre, où l'on pourra tirer vn rideau, lors qu'osman reçoit les plaintes des Ianissaires.
About the Publisher
Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
314 pages, Hardcover
Published March 1, 2018
1 person want to read
About the author
Tristan L'Hermite
53 books2 followersFrançois L'Hermite du Solier, called Tristan L'Hermite, was a French nobleman and writer: dramatist, poet, and novelist.
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Displaying 1 of 1 review
August 11, 2024
It is interesting to me that the themes in Osman are so similar to the themes in La Mort de Sénèque, i.e. the overthrow of an all-powerful emperor and the emperor's response to the complaints of his people. I am fascinated by thinking of both of these plays as responses to the absolute monarchy in France.
Osman is not well plotted (as Lacy Lockert and others have pointed out), but it has some really great sequences, especially 4.2, with the Janissaries on the deck and the emperor on (maybe?) a balcony.
One also can't help comparing this (at least a little bit) to Racine's Bajazet, since the source material is the same. Osman does partially have the structure of a Racinean tragedy—where the person with the power is also the person who loves someone who does not love him/her in return—but it lacks almost everything else that is central to Racinean tragedy. This is a surprising play in that it lacks the claustrophobia of Racine's dramas and it lacks the tension that Racine creates so finely. It also never manages to convince us to care about the Mufti's daughter (the female protagonist), though the tragedy seems invested in her death in act five as an emotional event. Still Osman has its virtues: it's invested in politics in a way that Racine's tragedies never are, and it has at least one sparkling cliffhanger (as does La Mort de Sénèque).
PS I read this in English, not in the original French, despite what I entered into GoodReads.
Osman is not well plotted (as Lacy Lockert and others have pointed out), but it has some really great sequences, especially 4.2, with the Janissaries on the deck and the emperor on (maybe?) a balcony.
One also can't help comparing this (at least a little bit) to Racine's Bajazet, since the source material is the same. Osman does partially have the structure of a Racinean tragedy—where the person with the power is also the person who loves someone who does not love him/her in return—but it lacks almost everything else that is central to Racinean tragedy. This is a surprising play in that it lacks the claustrophobia of Racine's dramas and it lacks the tension that Racine creates so finely. It also never manages to convince us to care about the Mufti's daughter (the female protagonist), though the tragedy seems invested in her death in act five as an emotional event. Still Osman has its virtues: it's invested in politics in a way that Racine's tragedies never are, and it has at least one sparkling cliffhanger (as does La Mort de Sénèque).
PS I read this in English, not in the original French, despite what I entered into GoodReads.
Displaying 1 of 1 review