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The Psycho-Structure ofBritannicus: Néron's Artistic Duperie GERALD S. GIAUQUE "For die reader and play-goer of today . . . die most interesting and compelling character is Nero." No contemporary critics will dispute diis judgment of Harold AuIt.1 Such has not always been die case, however . For any French critic of the seventeendi century, it was Britannicus , radier dian Néron, who was die principal character. The play was not well received at first, and Racine, who was very proud of diis play, experienced a feeling of disappointment at die initial coldness of the public: Voici celle de mes tragédies que je puis dire que j'ai le plus travaillée. Cependant j'avoue que le succès ne répondit pas d'abord à mes espérances. Mais enfin il est arrivé de cette pièce ce qui arrivera toujours des ouvrages qui auront quelque bonté. Les critiques se sont évanouies; la pièce est demeurée. C'est maintenant celle des miennes que la cour et le public revoient le plus volontiers. Et si j'ai fait quelque chose de solide, et qui mérite quelque louange, la plupart des connaisseurs demeurent d'accord que c'est ce même Britannicus. (Seconde Préface. Italics added.) The very careful style of the prefaces of Bntannicus suggests diat Racine gready desired diat his play be understood. The fact diat Racine's contemporaries came to accept Britannicus does not necessarily mean, however , that they understood it as he did. In fact die second preface may be a subtle hint diat Racine still did not feel, as late as 1676, diat die critics fully appreciated his tragedy. Maurice Descotes sees in die second preface an apology, even a veiled confession; he notes diat Racine Gerald S. Giauque is Associate Professor of Languages at Northern Arizona University. '"The Tragic Protagonist and the Tragic Subject in Britannicus!' French Studies, 9(1955), 18-29. ROCKY MOUNTAIN REVIEW39 "au fond de lui-même, a été plus attiré par le monstre naissant" (dian by Britannicus or even Agrippine). This declaration, which would have bodiered Racine's contemporaries, seems less incredible when one examines in detail die form of the play and die tone of die dialogues. The aim of diis paper is to show (1) diat Néron dominates die odier characters of die play to a much greater extent than is generally supposed and (2) diat die play is constructed in such a way diat even die spectator is drawn into it and is tricked by Néron. A brief synopsis of die play will make the analysis more meaningful . In Act I, Junie, die fiancée of the young Roman noble Britannicus, has been abducted on die orders of the emperor Néron. The emperor's modier Agrippine is outraged because this action reflects Néron's attempts to free himself from her influence. In Act II, Néron discusses his fascination for Junie widi his evil confident, Narcisse, and dien forces Junie to feign indifference to Britannicus by direatening the younger man's life should Junie encourage his love. The gravity of his threat becomes apparent as he informs Junie that he will be secretly watching her and judging her attitude toward Britannicus. Junie, in despair, plays her role in order to save Britannicus' life. But in Act III, she finds herself alone with her fiancé, informs him of Néron's jealousy and reassures him of her love; Britannicus immediately renews his vows, but Néron suddenly appears. His jealousy reveals itself, not in anger, but in sarcasm, after which Britannicus is arrested. In Act IV, Agrippine, who favors the alliance of Junie and Britannicus for political reasons, harangues Néron in an unsuccessful attempt to obtain Britannicus ' release and renew her own influence. Two odier members of the court, Burrhus, Néron's tutor and an exponent of virtue, and Narcisse , each try separately to influence die emperor, who appears to vacillate, dien falls silent. In Act V, Burrhus reports diat at a banquet ostensibly held to celebrate die reconciliation of Néron and Britannicus the young prince is assassinated by poison, and that Néron watches his agony...

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