Th. complémentaire doct.--Lettres--Paris, 1954. / Bibliogr. p. 131-134. Index.

Les Sophonisbe du XVIe siècle : la première tragédie régulière, œuvre d’un théoricien italien (Trissino), une traduction en prose opérée par le maître incontesté de la versification (Mellin de Saint-Gelais) et par celui qui est considéré comme le modèle de la prose élégante (Jacques Amyot), une seconde traduction en vers alexandrins qui est le fait d’un grammairien (Claude Mermet), voilà un corpus qui ne peut qu’aiguiser la curiosité et susciter l' intérêt. Ces œuvres sont ici réunies sur le modèle des éditions bilingues et suivies d’un glossaire raisonné. L’étude linguistique est centrée sur les variantes et les variations, qu’elles soient graphiques et morphologiques lorsqu’il est question de confronter les deux traductions françaises ou lexicales et stylistiques quand texte-source et textes-cibles sont comparés. Cette étude comparative rend possible le dialogue entre ces textes et entre ces deux rives. Les va-et-vient entre la France et l’Italie semblent aller de pair avec une réflexion linguistique qui se fait par rencontres (officielles ou non), par « combats », par interpénétration du monde de l’autre, de la culture de l’autre.Traduire pour surpasser les modèles et pour illustrer « nostre vulgaire », élaborer une langue pour ne rien avoir à envier aux autres et offrir des œuvres dont le style tente d’égaler Virgile, Homère ou Cicéron, avoir une ̎belle langue̎ et une littérature aux qualités stylistiques incontestables, telle fut l’ambition de ces traducteurs ? / The Sophonisbe of the sixteenth century, the first regular tragedy, work of an Italian theorist (Trissino), a translation in prose made by the undisputed master of versification (Mellin de Saint-Gelais) and by the one who is regarded as the best representative of elegant prose (Jacques Amyot), a second translation in alexandrine verse which is the artefact of a grammarian (Claude Mermet), is a corpus which can only sharpen the curiosity and arouse the interest. These works will be joined together here on the model of bilingual editions and followed by a glossary The linguistic study is centred on the alternatives and the variations, whether graphic and morphological when comparing the two French translations, and the lexical and the stylistic when source and target texts are compared. These analyses show to what extent the evolution of these authors, both in the proper and figurative meanings, influences a language which is still in need of elaboration and codification. The constant moves between France and Italy are paralleled by a linguistic reflexion which is done by meetings (official or not), "fights ", and the inter-penetration of the world of the other and the culture of the other. Translating to exceed the models and to illustrate "Vulgar Latin", to develop a language so that we have nothing to envy the others, to offer works whose style competes with that of Virgil, Homers or Cicero and to have a ̎beautiful language̎ and a literature with undeniable stylistics qualities, was undeniably the ambition of our translators.

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214 Abstract Conceptualization of Mores in Seventeenth-Century French Tragedy This thesis is devoted to the study of interpretations of how tragic characters should be portrayed ("mores", "ethos", "mœurs") in French seventeenth-century theories on Tragedy. The theoretical writings of Jean Chapelain, La Mesnardière, Pierre Corneille, d'Aubignac, René Le Bossu, Rapin, Saint-Évremond, Jean Racine and André Dacier are examined in detail. Their findings are compared with the Latin and Italian commentaries on how the Aristotelian notion "character" ("éthé", "éthos") ought to be perceived and understood and what its impact is on dramatic action. The main focus is paid to the detailed analysis of very divergent and often incompatible interpretations of the four Aristotelian conditions outlined briefly in Chapter XV of Poetics and on how the French theorists and dramatists responded to Aristotle's requirements. The first condition requires dramatic character to be "good of its kind" ("chrestos", "ethos" "chreston", "ethe chresta"). The detailed study of contemporary criticism draws us to a conclusion that there are schematically two approaches on how the French theorists conceptualized this very elusive criterion. Whereas Chapelain in his Préface à l'Adone explicitely rejects the moral meaning of "chrestos" and thus...