This study brings to light the significant and long-obscured influence of the Roman dramatist and philosopher, Seneca, on the works of Racine. After describing the positive characteristics of Senecan tragedy and the crucial role it played in French drama from Jodelle through Corneille, Ronald W. Tobin analyzes Racine's unique adoption and absorption of Senecan material into his own plays, thereby extending the dimensions of his dramatic art. In the book's Conclusion, some theories are advanced for Racine's well-known silence about his debt to Seneca.

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An English translation, in rhyming couplets, of the French playwright Jean Racine's Iphigenia. Includes critical notes and commentary.

Were you ever a member, instructor or a fan of the Racine Kilties Junior Drum and Bugle Corps? If so, then "We Winna Be Dauntit! The History of the Racine Kilties Drum and Bugle Corps 1934 - 1992" is for you! Through deep and extensive research this remarkable book chronicles the history of the Kilties during all three phases of their existence: the parade corps years from 1934 through 1947, the competitive years from 1948 through 1982 and the alumni corps years of 1986 and 1992. Inside you will find: 133 photographs How and when the Kilties were organized Rosters for every year from 1947 through 1986 Repertoires for every year from 1952 through 1992 Parent's Club Officers listed for nearly all years Schedules and turn-out information for all years Scores or placements for most of the contests entered Details about every Kiltie Kapers and every "Drum Corps Day" Fund raising methods used by the Parent's Club to support the Kilties How, when and why the Kilties disbanded

Literary historians and critics who have written on the influence of Racine in England during the neoclassical period apparently have assumed that the English translators and adapters of Racine’s plays in general succeeded in presenting the real Racine to the English public. Katherine Wheatley here reveals the wide discrepancy between avowed intentions and actual results. Among the English plays she compares with their French originals are Otway’s Titus and Berenice, Congreve’s The Mourning Bride, and Philips’s The Distrest Mother. These comparisons, fully supported by quoted passages, reveal that those among the English public and contemporary critics who could not themselves read French had no chance whatever to know the real Racine: “The adapters and translators, so-called, had eliminated Racine from his tragedies before presenting them to the public.” Unacknowledged excisions and additions, shifts in plot, changes in dénouement, and frequent mistranslation turned Racine’s plays into “wretched travesties.” Two translations of Britannicus, intended for reading rather than for acting, are especially revealing in that they show which Racinian qualities eluded the British translators even when they were not trying to please an English theatergoing audience. Why it is, asks the author, that no English dramatist could or would present Racine as he is to the English public of the neoclassical period? To answer this question she traces the development of Aristotelian formalism in England, showing the relation of the English theory of tragedy to French classical doctrine and the relation of the English adaptations of Racine to the English neoclassical theory of tragedy. She concludes that “deliberate alterations made by the English, far from violating classical tenets, bring Racine’s tragedies closer to the English neoclassical ideal than they were to begin with, and this despite the fact that some tenets of English doctrine came from parallel tenets widely accepted in France.” She finds that “in the last analysis, French classical doctrine was itself a barrier to the understanding of Racinian tragedy in England and an incentive to the sort of change English translators and adapters made in Racine.” This paradox she explains by the fact that Racine himself had broken with the classical tradition as represented by Corneille.