Two French Tragedies of Saint Genest
Résumé
As the translator’s Introduction demonstrates, these two dramatisations
of the legend of Saint Genest (Lat. Genesius) are richly complementary
as dramatic texts, precisely by virtue of their contrasting approaches.
They are also revealing with regard to a significant, but often neglected,
strain of mid-seventeenth century French tragedy.
The fact that the plays were virtually contemporary—both created in
or around the same year (1644) for rival troupes—bears witness to the
attraction of their common subject. The legend of the actor-saint and
martyr, which Lope de Vega had previously dramatised in Lo fingido
verdadera (pub. 1620), was taking on increased importance in the
context of a defence on the Parisian dramatic scene of théâtre dévot
and theatre generally.
Yet the problematic relation between the two French tragedies also
raises provocative—and productive—questions. That Rotrou was
responding to the work of Desfontaines may (or may not) be reflected
in his title’s claim to be presenting the “veritable” (“véritable”) Saint
Genest. In any case, his play more thoroughly exploits the metadramatic
potential of the legend, according to which Genest was converted by
divine intervention during a performance. The episode is developed by
Rotrou so as to comment profoundly, from a Christian point of view, on
the relation between true and false identities.
While Desfontaines’s work is more straightforward, it features powerful
dramatic moments, especially by way of the romantic relation between
Genest and the actress Pamphilie. For their terrestrial love evolves, by
a further conversion, into a shared spiritual commitment and double
martyrdom that shake the confidence, even the pagan faith, of their
Roman persecutor.
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