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Eccles surveys notable productions and translators, comparing approaches and audience responses, and uses specific play histories to show shifts in favor and disfavor.",{"@graph":14,"@context":73},[15,34,56],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/literature/","Literature",3,{"item":32,"name":10,"@type":21,"position":33},"https://docshare.wps.com/document/racine-in-england-the-taylorian-lecture-an-essay-on-the-reception-of-racines-tragedies-in-england/441821/",4,{"url":32,"name":10,"@type":35,"image":36,"author":41,"headline":10,"publisher":44,"fileFormat":47,"inLanguage":8,"description":12,"dateModified":48,"datePublished":49,"encodingFormat":47,"isAccessibleForFree":50,"interactionStatistic":51},"DigitalDocument",{"url":37,"@type":38,"width":39,"height":40},"https://docshare.wps.com/thumbnails/racine-in-england-the-taylorian-lecture-an-essay-on-the-reception-of-racines-tragedies-in-england/441821.png","ImageObject",300,407,{"name":42,"@type":43},"moss~","Person",{"url":19,"name":45,"@type":46},"DocShare","Organization","application/pdf","2026-10-31","2026-09-29",true,{"@type":52,"interactionType":53,"userInteractionCount":55},"InteractionCounter",{"@type":54},"ViewAction",11,{"@type":57,"mainEntity":58},"FAQPage",[59,65,69],{"name":60,"@type":61,"acceptedAnswer":62},"What is the focus of this Taylorian Lecture on Racine?","Question",{"text":63,"@type":64},"It focuses on how Racine’s tragedies were received among English ancestors and how their reputation developed over several generations.","Answer",{"name":66,"@type":61,"acceptedAnswer":67},"How did English audiences first encounter Racine’s work?",{"text":68,"@type":64},"Initially, Racine was read in the original by a small group of English readers, and later by a broader public through translations and stage performances.",{"name":70,"@type":61,"acceptedAnswer":71},"Which production is discussed as an early attempt to adapt Racine for English theatre?",{"text":72,"@type":64},"The lecture highlights an Andromache produced in 1675 at the Duke’s Theatre in London, published by John Crowne, with a preface explaining the translation’s circumstances.","https://schema.org",{"og:url":32,"og:type":75,"og:title":10,"og:site_name":45,"og:description":12},"article",{"robots":77,"canonical":32},"index,follow",{"doc_id":79,"site_id":7},441821,1791053008,{"code":4,"msg":82,"data":83},"success",[84,88,91,95,100,105,110,115,120,123,127],{"id":22,"doc_module":4,"doc_module_name":25,"category_name":85,"show_sort_weight":86,"slug":87},"Story & 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French Literature in theUniversity of London  \nOXFO R D  \nAT THE CLARENDON PRESS  \nI 922  \nhttps://archive.org/details/rcineinengland0000unse  \n# RACINE IN ENGLAND\n\nI TRUST the title‘Racine in England'has led no oneto expect a startling discovery in the biographical sphere.I have none to offer.It has not yet been suggested thatJean Racine ever set foot upon our,shores,or that hewas tempted at any moment in his career (as his friendthe Fabulist undoubtedly was tempted)to cross theChannel and join the little group of French gentlemen inLondon whose exile was cheered by the wisdom ofSaint-Evremond and the grace of Madame Mazarin.Mysubject is the reception which the tragedies of Racinemet with among our ancestors,and the reputation theyhave borne during the seven or eight generations whichhave passed since they were first brought to the noticeof English people.It would be strange if it had alwaysstood at a dead level,and in any fair account of thematter several phases ought to be distinguished;but uponthe whole,let it be said at once,the fluctuations of favourand disfavour do not seem to have been considerable.It is known that Racine was read from the first,in theoriginal,by the small class of English people who,inthe age of Dryden,looked eagerly to France for noveltiesin literature.A much wider public saw English trans-lations or imitations of his plays performed upon ourstage in the last quarter of the seventeenth century andthe first of the eighteenth.Similar experiments hadbeen made much earlier,and continued to be made,with Corneille.The Cid had been played in Englishbefore Charles I and his French queen;and,in the firstyears of the Restoration,versions of La Mort de Pompee,Horace,Héraclius,Nicomede,and Le Menteur had been  \nRACINE IN ENGLAND  \nproduced with more or less applause.The most famousof these is the Pompey of Katherine Philips,'the match-less Orinda’,a faithful and spirited translation brilliantlypresented in Dublin and hyperbolically praised by herelegant and learned circle;the most popular wasprobably Heraclius,Emperor of the East,which Pepyssaw several times with much satisfaction.The firstattempt to acclimatize,or to exploit,Racine was madein 1675,when an Andromache was produced at theDuke's Theatre in London and published by the prolificplaywright John Crowne,with a preface in which hedisclaimed the authorship.The translator,‘a younggentleman,who has a great esteem of all French plays,and particularly of this’,had asked him to revise for thestage a version of Andromaque in English rhymingcouplets.Crowne thought the verse poor,and turnednearly four acts into prose,but left the rest as it was.This hybrid seems to have had very little success,inspite of an improvement on the original in the last act,where(says Crowne)‘what was only dully recited in theFrench Playe,is represented'.This is,of course,theassassination of Pyrrhus.  \nTwo years later appeared the Titus and Berenice ofThomas Otway.It has three acts for Racine's five,andthere are some important differences in the affabulation.Otway makes Antiochus confide his love for Berenice tothe Emperor before he is entrusted with the messagewhich is to destroy the Queen's hopes;and the playends upon a note of savage despair,very different fromthe sorrowful acquiescence which is that of Berenice.Weare unprepared for the final tirade in which Titusthreatens to avenge his private wound by becoming thetyrant of his people.Throughout,the logic of passionis merely obscured by merciless excisions.With all","cbCaimJVlNZwTbbC","https://ap.wps.com/l/cbCaimJVlNZwTbbC","pdf",2826905,44,"English","# RACINE IN ENGLAND\n## The lecture’s premise and scope\n## Early reading and stage performance\n## English translations and adaptations (late 17th century)\n## Case studies: Andromache (1675)","[{\"question\":\"What is the focus of this Taylorian Lecture on Racine?\",\"answer\":\"It focuses on how Racine’s tragedies were received among English ancestors and how their reputation developed over several generations.\"},{\"question\":\"How did English audiences first encounter Racine’s work?\",\"answer\":\"Initially, Racine was read in the original by a small group of English readers, and later by a broader public through translations and stage performances.\"},{\"question\":\"Which production is discussed as an early attempt to adapt Racine for English theatre?\",\"answer\":\"The lecture highlights an Andromache produced in 1675 at the Duke’s Theatre in London, published by John Crowne, with a preface explaining the translation’s circumstances.\"}]","RACINE IN ENGLAND - The Taylorian Lecture - An Essay on the Reception of Racine's Tragedies in England | PDF",1790697662,68]