- Fri Jul 1 2022
Starting by discussing the place of tragedy in a secular modern age, the article describes the updates that Pierre Corneille makes to the model of Aristotelian tragedy. In one central aspect, they concern the relationship of the audience to what is happening on stage. While on the one hand the poet only takes up the principle of catharsis in order to be in line with the Aristotelian camp, when in fact he only undermines it in terms of content, on the other hand he focuses on the concept of admiration – a hinge affect that mediates between fascinated interest and critical judgement and that allows a distanced view of the performed actions. By means of it, the playwright teaches the peuple in the auditorium to become a society of wonder, in other words, a mature public that knows how to judge, especially in political terms.