Les métamorphoses du monstre. Le satyre dans l’Aminta et ses traductions françaises jusqu’au milieu du XVIIe siècle
The originality of Aminta’s Satyr in relation to his predecessors on the Italian stage goes without question. The genealogy of its speech (in the monologue of act II, scene 1) and the farcical scene of the nymph being attacked (told by Tirsi in act III, scene 1) reveals Theocritus’ influence, which...
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Institut du Monde Anglophone
2004-12-01
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| Series: | Etudes Epistémè |
| Online Access: | https://journals.openedition.org/episteme/3853 |
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| author | Françoise Lavocat |
| author_facet | Françoise Lavocat |
| author_sort | Françoise Lavocat |
| collection | DOAJ |
| description | The originality of Aminta’s Satyr in relation to his predecessors on the Italian stage goes without question. The genealogy of its speech (in the monologue of act II, scene 1) and the farcical scene of the nymph being attacked (told by Tirsi in act III, scene 1) reveals Theocritus’ influence, which is ambivalent: the imitation of the fourth eclogue of Theocritus’ Idylles has the Satyr speaking the lines of a monster figure, the Cyclops. But the discourse on love and bees which constitutes the opening lines of the Satyr’s monologue, also situate its amorous wail as universal (which also confirms the use of this motif in the illustrations of the play’s Aldina editions).The Satyr’s role is then examined in several French translations and imitations of the Aminta towards the end of the sixteenth and seventeenth centuries. It appears that satyr-like speech can be entirely relegated to the shepherd (as is the case in Trage-Comédie pastorale by Bassencourt, 1594), or to another monster (such as the centaur in Du Mas’ Lidie, 1609).These transformations are interpreted as indicating an intense questioning of the hybrid status. Moreover, the article examines the stakes of the choice made by Aminta’s translators, Rayssiguier (1631) and Toussaint Quinet (1638), in depicting the near rape of Silvia. A study of engravings by Daniel Rabel confirms the main hypothesis, which is that the role of the satyr makes a dramatic turn toward the unequivocal farce (which dispels the pastoral’s troubling game of mirrors between satyrs and shepherds). Similarly, the spectacular mode tones down the scene’s eroticism and considerably simplifies ambiguities. |
| format | Article |
| id | doaj-art-5272d6644f164aecb06ca2e709c2020d |
| institution | OA Journals |
| issn | 1634-0450 |
| language | English |
| publishDate | 2004-12-01 |
| publisher | Institut du Monde Anglophone |
| record_format | Article |
| series | Etudes Epistémè |
| spelling | doaj-art-5272d6644f164aecb06ca2e709c2020d2025-08-20T01:55:04ZengInstitut du Monde AnglophoneEtudes Epistémè1634-04502004-12-01610.4000/episteme.3853Les métamorphoses du monstre. Le satyre dans l’Aminta et ses traductions françaises jusqu’au milieu du XVIIe siècleFrançoise LavocatThe originality of Aminta’s Satyr in relation to his predecessors on the Italian stage goes without question. The genealogy of its speech (in the monologue of act II, scene 1) and the farcical scene of the nymph being attacked (told by Tirsi in act III, scene 1) reveals Theocritus’ influence, which is ambivalent: the imitation of the fourth eclogue of Theocritus’ Idylles has the Satyr speaking the lines of a monster figure, the Cyclops. But the discourse on love and bees which constitutes the opening lines of the Satyr’s monologue, also situate its amorous wail as universal (which also confirms the use of this motif in the illustrations of the play’s Aldina editions).The Satyr’s role is then examined in several French translations and imitations of the Aminta towards the end of the sixteenth and seventeenth centuries. It appears that satyr-like speech can be entirely relegated to the shepherd (as is the case in Trage-Comédie pastorale by Bassencourt, 1594), or to another monster (such as the centaur in Du Mas’ Lidie, 1609).These transformations are interpreted as indicating an intense questioning of the hybrid status. Moreover, the article examines the stakes of the choice made by Aminta’s translators, Rayssiguier (1631) and Toussaint Quinet (1638), in depicting the near rape of Silvia. A study of engravings by Daniel Rabel confirms the main hypothesis, which is that the role of the satyr makes a dramatic turn toward the unequivocal farce (which dispels the pastoral’s troubling game of mirrors between satyrs and shepherds). Similarly, the spectacular mode tones down the scene’s eroticism and considerably simplifies ambiguities.https://journals.openedition.org/episteme/3853 |
| spellingShingle | Françoise Lavocat Les métamorphoses du monstre. Le satyre dans l’Aminta et ses traductions françaises jusqu’au milieu du XVIIe siècle Etudes Epistémè |
| title | Les métamorphoses du monstre. Le satyre dans l’Aminta et ses traductions françaises jusqu’au milieu du XVIIe siècle |
| title_full | Les métamorphoses du monstre. Le satyre dans l’Aminta et ses traductions françaises jusqu’au milieu du XVIIe siècle |
| title_fullStr | Les métamorphoses du monstre. Le satyre dans l’Aminta et ses traductions françaises jusqu’au milieu du XVIIe siècle |
| title_full_unstemmed | Les métamorphoses du monstre. Le satyre dans l’Aminta et ses traductions françaises jusqu’au milieu du XVIIe siècle |
| title_short | Les métamorphoses du monstre. Le satyre dans l’Aminta et ses traductions françaises jusqu’au milieu du XVIIe siècle |
| title_sort | les metamorphoses du monstre le satyre dans l aminta et ses traductions francaises jusqu au milieu du xviie siecle |
| url | https://journals.openedition.org/episteme/3853 |
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