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Sur la demande de sa cousine Roxane, Cyrano de Bergerac s’engage à prendre Christian sous sa protection. Devenu l’ami de son protégé, il organise une supercherie : il écrit pour Christian des lettres ardentes et lui souffle des déclarations d’amour qui enflamment Roxane. Or, par dépit, un autre prétendant de la jeune fille, le ...
Comme le personnage d’Edmond Rostand, Savinien de Cyrano de Bergerac (1619-1655) était poète, militaire, bretteur, libre-penseur mais il n’est pas noble, pas plus qu’il n’est gascon. On ignore s’il savait parler aux femmes mais on sait qu’il leur préférait les hommes. De fait, la vie de Cyrano est assez peu documentée.
Hercule Savinien de Cyrano de Bergerac, a cadet (nobleman serving as a soldier) in the French Army, is a brash, strong-willed man of many talents. In addition to being a remarkable duelist, he is a gifted, joyful poet and also plays music. However, he has an obnoxiously large nose, which causes him to doubt himself.
Cyrano de Bergerac Full Book Summary. In Paris, in the year 1640, a brilliant poet and swordsman named Cyrano de Bergerac finds himself deeply in love with his beautiful, intellectual cousin Roxane. Despite Cyrano’s brilliance and charisma, a shockingly large nose afflicts his appearance, and he considers himself too ugly even to risk telling ...
Cyrano de Bergerac, a play by Edmond Rostand, is a classic work of French literature first performed in 1897. The play is a fictionalized account of the life of the real Cyrano de Bergerac, a 17th-century French playwright and duelist. Rostand’s play is a romantic comedy that follows the life of its titular character, a brilliant but self ...
Savinien Cyrano de Bergerac (born March 6, 1619, Paris—died July 28, 1655, Paris) was a French satirist and dramatist whose works combining political satire and science-fantasy inspired a number of later writers. He has been the basis of many romantic but unhistorical legends, of which the best known is Edmond Rostand’s play Cyrano de ...
8 déc. 2020 · La salle de l’Hôtel de Bourgogne, en 1640. Sorte de hangar de jeu de paume aménagé et embelli pour des représentations. La salle est un carré long ; on la voit en biais, de sorte qu’un de ses côtés forme le fond qui part du premier plan, à droite, et va au dernier plan, à gauche, faire angle avec la scène, qu’on aperçoit en pan coupé.
