OUSEION - Memorial University's Digital Archives Initiative ...
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OUSEION - Memorial University's Digital Archives Initiative ...

OUSEION - Memorial University's Digital Archives Initiative ... OUSEION - Memorial University's Digital Archives Initiative ...

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23° BOOK REVIEWS/COMPTES RENDUS had memorized it by then. Memorization was an integral part of the curriculum at the Jansenist school: "Cette seconde lec;on consiste ... a dire par C

BOOK REVIEWS/COMPTES RENDUS 231 reasonably. There is the inevitable issue of possible multiple sources. both classical and contemporary. as. for instance. when in Racine's Andromaque Pyrrus says of Andromaque. "Sans parents. sans amis. sans espoir que sur moL" Was Racine influenced by a similar passage in the play L'Eunuque by his friend La Fontaine. or was he influenced by Andromache's statement to Hector in the Iliad (6.413. and 429-430)? Phillippo argues on the basis of the verbal and non-verbal markings in Racine's extant copy of the Iliad for Racine's "peculiar concentration of interest ... on the Hector, Andromache and Astyanax episode" (5). Another issue that Phillipo must confront is whether the non-verbal markings were made by Racine himself or whether they are the legacy of a previous owner of the volumes or were made by subsequent readers. Here. too. she adopts a reasonable approach. arguing that the media used for the markings-brown-black ink. grey pencil and red pencil-are consistent with the media used in the verbal notes in Racine's handwriting (10-13). "So: what do the annotations tell us about overall patterns of interest in Racine's reading of Euripides?" (53). This, of course. is the crucial issue. Lancelot. the chief Hellenist at Racine's school. accorded a place to Euripides because he was "remply de belles sentences." Even without Lancelofs endorsement it would not be surprising for a classically educated literary figure of the seventeenth century to focus on sententious matter. Predictably. then, "between a third and a sixth of the passages highlighted appear to be marked out for their sententious content" (53). She also sets out in chapter 2 ("Racine as Reader: Patterns of Interest") the concentrations of markings of passages that are notable for their "Rhetoric. Language and Scholarship," "Stagecraft," "Dramatic Narrative" and "Character and Emotion." this last focal point attracting the largest share of Racine's attention in the form of well over 300 markings. Racine's scholarship. for instance. can be seen in the one illustration in the monograph. which also serves as the frontispiece. where he has supplied the missing TOVCCE in the Stephanus edition; but this. of course. is not non-verbal annotation. and Phillippo does not allow herself to be sidetracked from her subject. The Introduction and the first two chapters set out the context for the more systematic exploration of the relationship between the markings in the two Greek editions of Euripides and the plays of Racine that to some degree use Euripides as a source. There are in fact two degrees of relationship: (I) the less obvious links between Racine's corpus and the annotations of the plays of Euripides not directly adapted (chapter 3); and (2) Racine's markings of Euripidean plays that served directly as sources (Phoenissae. Iphigenia in Aulis and Hippolytus: chapter 4). Phillippo does not make any extravagant claims for the interpreta-

23°<br />

BOOK REVIEWS/COMPTES RENDUS<br />

had memorized it by then. Memorization was an integral part of the<br />

curriculum at the Jansenist school: "Cette seconde lec;on consiste ... a<br />

dire par C

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