If Molière is called the master of comedy in France, then Racine is a well-deserved master of tragedy If the times, society, and those in power give a little more praise and affirmation, perhaps Racine is not only satisfied with hiding his talents, but also lives in chaos as a historian at the court of Louis XIV. I believe that Racine, who has been inspired and welcomed, will certainly be able to create more rare masterpieces in the world, so that future generations of readers have the opportunity to understand the broader social picture and humanistic style of the 17th century through his brushstrokes.

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Jean-Racine ▪, a French playwright, together with Molière and Corneille, is known as the three greatest French playwrights of the seventeenth century. A few days ago, I have studied ▪ with you Larsin's theatrical works "Ondomag" and "Andro Marques". Today, we will explore "Federer" and feel ▪ the tragic charm of Racine from the aspects of language laying out, character shaping, and plot tone.

But all great playwrights have sharp insights and keen thinking about life, their judgment of human nature, the flow of aesthetic customs, and the social problems caused by class differentiation, so ▪ Racine is such a playwright.

Looking back at Jean ▪ Racine's upbringing, we can know that he is not a pampered nobleman, but a wanderer who has lost his protection at a young age. Racine was born into a small family of officials, and his parents died at an early age, and he hardly enjoyed the love of his parents. The grandmother and godmother who accompanied Racine the longest were very distressed about this poor child, and after adopting Racine, they took good care of him, which made Racine home.

Talented and quick-witted, Racine soon revealed his talent for poetry and theatre. Two important things happened that made Racine, a lonely and unknown young man, a well-known playwright.

The first was the elaborate training of Racine by the Ransonite clergy of the Royal Dock Monastery in Paris, teaching Racine to learn Latin and Greek. The accumulation of words and deeds has given Racine a comprehensive and profound understanding of ancient Western culture;

The second was that the Molière troupe rehearsed Racine's original plays DeBayette (1664) and Alexander (1665).

The rehearsal of these plays has made Racine understand the gap between drama theory and practice such as drama creation, drama playing, and repertoire articulation, so that he has gained the experience of creating stage plays, and consciously avoided many improperly handled problems in the creative stage, so that the readability and ornamentation of the plays by Racine's hand have been greatly improved.

Solid knowledge of theatrical creation, rich experience in viewing stage plays, diversified theatrical cultural vision, patient theatrical creation experiments... This little bit of effort has created the extraordinary surprise and brilliance of Racine's drama. As Racine's last masterpiece, "Feder" marks that Racine's creative methods have been perfected, and the dramatic language, structural design, character shaping, and emotional rendering have been perfected.

"Feder" is a work that depicts a series of tragedies caused by the expansion of the love desire of Queen Feder of Athens. Queen Feder of Athens fell madly in love with Hippolytus, the son of the king's ex-wife. Taking advantage of the opportunity of King Daisai's long-term conquest, Fidel confessed his heart to Hippolytus but was rejected. It turned out that Hippolytus had already fallen in love with Princess Anise.

Enraged, Federer falsely accused the triumphant king of wanting to do something wrong and insulting himself. Hippolytus was reluctant to see the king explain himself, and was bent on taking the princess away. The angry king, in a harsh rebuke, asked the sea god to appear and punish his son Hippolytus. Later, the sea god appeared to be powerful, and Hippolytos died tragically at sea. Hearing this news, Feder was remorseful and had trouble sleeping, and personally confessed his sins to the king. Feder, who felt faceless in the face of the world, drank in his belly and fell to the ground and died.

The root cause of a series of disastrous consequences was Queen Feder's unusual, rapidly inflating lust. As a queen, it is not normal and legal to fall in love with the king's son. Feder, who is obstinate and moth-fighting, obviously allows his feelings to rage, hurt his loved ones, and he himself is on the road of no return that is irredeemable. If she can restrain her lusts, set herself in the right place, calm her mind, and give up her delusions, then all tragedies will be avoided.

Racine once borrowed the words of the people in the play and said: "Leave this ominous and blasphemous place", "The era of happiness is gone, everything has changed". Such an assertion shows to a certain extent the author's helplessness and disappointment. The social quirk of "lust confuses people and distractions make people demented" also prompted Racine to issue a conscientious creator earnestly reminding that excessive self-indulgence can only lead to destruction, and that fiery feelings should be examined and restrained by reason.

It is worth mentioning that "Feder" was written in the era of the heyday and gradual decline of the absolute monarchy in France, and the chronic diseases of society have been increasingly exposed. In this regard, Racine did not blindly praise the wise monarch, beautify the torn social faults, create a heroic figure with great shores, and arrange a happy ending for everyone, as the predecessor Gow naiyi did, but maintained his calm observation and sharp attitude.

This sharp attitude is to maintain criticism of reality, expose the darkness and unbearableness in society, let people face up to tragic facts, and dispel unrealistic illusions. Understanding the difference between love and reason, abiding by the rules of moral law, not being blinded by rumors, and treating everyone who is not good at justification are the ardent expectations that Racine conveys through his works.

Viewed in "Feder", ▪ Racine's tragedies have no treacherous plots or colorful set decorations, but they are not only captivated by contemporary audiences, but also loved by future generations. The French Symbolist poet Paul ▪ Valeri once pointed out that the language of Fidel "completes the union of art and nature, it seems to be unaware of the chains of rhythm, and on the contrary, it reduces the chains into an ornament, like a tapestry over naked thought." Such a description undoubtedly highlights the linguistic characteristics of Racine's vivid, natural, delicate and appropriate play.

From the overall point of view, the drama "Feder" has a clear theme, a compact plot, full of personality, and fierce contradictions. From the clue of "the tragedy caused by Feder's lust", the author highlights the reaction of kings, princesses, princes and others when faced with the tests of love and reason, justice and evil, fairness and prejudice, tolerance and punishment, etc., and shows the evil and absurdity of the French court with the help of the language and psychological description of the characters.

In the feudal era, artists, like other craftsmen who looked up to people everywhere, did not have much status and dignity. Racine's last masterpiece, Feder, was attacked by conservative aristocrats and discontinued for "depravity". As the king intervened, Racine dropped out of writing for 12 years, which was regrettable. If artists cannot be respected, and the cause of artistic creation cannot be widely supported and recognized, how can we talk about cultural prosperity and freedom of thought?