The Written World: Space, Literature, and the Chorological Imagination in Early Modern France

Yet Peters also affirms Boileau would undoubtedly agree with the importance Bouhours attaches to the sublime, the "je ne sais quoi" (48) that comes into being with "chora." [...]Boileau emphasizes "the rule of breaking the rules" (45) so as to move poets' audiences...

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Bibliographic Details
Published in:Seventeenth-century news 2019-10, Vol.77 (3/4), p.106-110
Main Author: Finn, Thomas P
Format: Article
Language:English
Subjects:
17th century
Early modern period
French literature
Novels
Psychology
Writers
Online Access:Get full text
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Summary:Yet Peters also affirms Boileau would undoubtedly agree with the importance Bouhours attaches to the sublime, the "je ne sais quoi" (48) that comes into being with "chora." [...]Boileau emphasizes "the rule of breaking the rules" (45) so as to move poets' audiences while eschewing an overly rules-based style. Peters claims Corneille's "dramatic invention" comes forth from the "seams and sutures" between the multiple genres that make up the play (104-105) while authorial origin is disguised in the characters dialogue. [...]Llllusion comique generates a "'hidden art'" that, much like "chora," "locates [Corneille's] art without itself having location" (111). [...]he analyzes the scene where the princess gazes at the portrait of Nemours, probably Le siege de Metz par les troupes imperiales by Antoine Caron, ca. 1560 (186). [...]she privileges her characters' actions and interior psychology-the novel's real plot-over the geography they occupy.