Newly Found Letters of St. Ignatius (Brianchaninov) to the Optina Monk Yuvenaly (Polovtsov)

Theological Herald ◽

10.31802/gb.2021.41.2.014 ◽

2021 ◽

pp. 297-316

Author(s):

Варвара Викторовна Каширина

Keyword(s):

The Trinity ◽

Historical Nature

В статье проанализированы обнаруженные в рукописном архиве два письма святителя Игнатия (Брянчанинова) к монаху Оптиной пустыни Ювеналию (Половцову) от 9 июля и 7 августа 1856 г. Архимандрит Троице-Сергиевой пустыни Игнатий (Брянчанинов) посетил Оптину пустынь в мае-июне 1856 г., имея желание поселиться в скиту Оптиной пустыни на покое. В письмах архимандрита Игнатия приводятся сведения о его переписке с епископом Калужским и Боровским Григорием (Миткевичем) относительно возможного перехода в Оптину пустынь, а также рассматриваются другие вопросы церковно-исторического характера. В конце статьи публикуются сами письма. The article analyzes two handwritten letters of St. Ignatius (Bryanchaninov) to the monk of the Optina Desert, Yuvenali (Polovtsov), dated July 9 and August 7, 1856. Archimandrite Ignatius (Bryanchaninov) of the Trinity-Sergius Desert visited the Optina Desert in May-June 1856, wishing to settle in the hermitage in peace. The letters of Archimandrite Ignatius contain information about his correspondence with Bishop Grigory (Mitkevich) of Kaluga and Borovsk regarding the possible transfer to Optina of the Deserts. In addition, other issues of a church-historical nature are considered. At the end of the article is the publication of the letters.

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Racine Lighting Beckett

Journal of Beckett Studies ◽

10.3366/jobs.2016.0172 ◽

2016 ◽

Vol 25 (2) ◽

pp. 225-242

Author(s):

Cal Revely-Calder

Keyword(s):

Samuel Beckett ◽

Trinity College ◽

Trinity College Dublin ◽

The Trinity

Critics have recently begun to pay attention to the influence Jean Racine's plays had on the work of Samuel Beckett, noting his 1930–31 lectures at Trinity College Dublin, and echoes of Racine in early texts such as Murphy (1938). This essay suggests that as well as the Trinity lectures, Beckett's later re-reading of Racine (in 1956) can be seen as fundamentally influential on his drama. There are moments of direct allusion to Racine's work, as in Oh les beaux jours (1963), where the echoes are easily discernible; but I suggest that soon, in particular with Come and Go (1965), the characteristics of a distinctly Racinian stagecraft become more subtly apparent, in what Danièle de Ruyter has called ‘choix plus spécifiquement théâtraux’: pared-down lighting, carefully-crafted entries and exits, and visual tableaux made increasingly difficult to read. Through an account of Racine's dramaturgy, and the ways in which he structures bodily motion and theatrical talk, I suggest that Beckett's post-1956 drama can be better understood, as stage-spectacles, in the light of Racine's plays; both writers give us, in Myriam Jeantroux's phrase, the complicated spectacle of ‘un lieu à la fois désert et clôturé’. As spectators to Beckett's drama, by keeping Racine in mind we can come to understand better the limitations of that spectatorship, and how the later plays trouble our ability to see – and interpret – the figures that move before us.

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