Esther | Page 3

St. Cyr; she concluded it was better to
train the _reason_[1] by the _solid_[1] truths of philosophy than the
imagination by the unrealities of dramatic literature.
4. THE PLAY OF "ESTHER."
The subject of Esther is admirably chosen for the purpose Racine had
in view. The story of Esther, owing mainly to the noble character of the
queen, is as touching as it is lofty. The poet found it entirely in the
Bible, which should be read side by side with the play from beginning
to end. Several inspirations, notably that of the beautiful prayer in the
first act, are drawn from the "Rest of the Book of Esther," i.e., those
chapters which being found only in the Greek, and neither in the
Hebrew nor in the Chaldee MSS., are relegated to the Apocrypha.
Racine follows the theory of the Abbé de Saci, and takes the Ahasuerus
of Scripture to be the Darius of secular history. Modern criticism,
however, inclines to see in him neither Darius, nor, as has been
proposed on the authority of the "Rest of the Book of Esther" (xii. 2),
Artaxerxes Longimanus, but Xerxes, the immediate successor of
Darius.
The idea of a Chorus is borrowed from the Greeks, as Racine expressly
declared in his preface. In this play, as in Greek tragedy, the Chorus
comments upon the action as it unfolds itself, and the great interests at
stake lift the poet to lofty heights of lyrical inspiration. The lyrics of the
chorus, far from being a relapse into the pernicious practice, prevalent
before the time of Corneille, of providing such passages for the mere
display of the actor's ability, are pure chants and hymns, like the
Cantiques Spirituels which Racine composed subsequently in detached
form, and are a highly appropriate ornament to religious plays such as
Esther and Athalie.
Of the form into which the poet has cast his materials, it is impossible
to speak too highly. It is adequate praise to say that the language, in its

perfect simplicity and exquisite beauty, is in keeping with the elevation
of the thought, which is that of the Scriptures themselves. Nor should
the constructive skill be unnoticed with which the dramatist has filled
in the characters sketched by the Bible; the humility and grace of
Esther's account of her own triumph (ll. 31-80), the art with which
Haman betrays his cruel nature by the very offer of services he makes
to the queen (ll. 1151-4), the adroitness of the court he pays to the king
(ll. 593-7), and his readiness of resource in adversity (ll. 1142-67).
The subjoined chronological table will enable the student to follow the
events referred to in the play.
B. C. 718 Shalmaneser takes the kingdom of Israel captive. 606
Nebuchadnezzar takes the kingdom of Juda captive. 606-536 Captivity
of the Jews under the Assyrians. 587 Nebuchadnezzar captures
Jerusalem and destroys the temple. 536 Cyrus, King of Persia, conquers
Balthasar, King of Babylon, and suffers the Jews to return to their own
country. 529-522 Cambyses II. reigns over Persia. 522-521
Pseudo-Smerdis " " 521-485 Darius " " 485-465 Xerxes " " 465-425
Artaxerxes Longimanus "
[1]These words recur most frequently in her later correspondence with
St. Cyr.

PROLOGUE.
LA PIETE.
Du séjour bienheureux de la Divinité Je descends dans ce lieu, par la
Grace habité. L'Innocence s'y plaît, ma compagne éternelle, Et n'a point
sous les cieux d'asile plus fidèle. Ici, loin du tumulte, aux devoirs les
plus saints 5 Tout un peuple naissant est formé par mes mains. Je
nourris dans son coeur la semence féconde Des vertus dont il doit
sanctifier le monde. Un roi qui me protége, un roi victorieux, A
commis à mes soins ce dépôt précieux. 10 C'est lui qui rassembla ces
colombes timides, Éparses en cent lieux, sans secours et sans guides.
Pour elles à sa porte élevant ce palais, Il leur y fit trouver l'abondance
et la paix.
Grand Dieu, que cet ouvrage ait place en ta mémoire. 15 Que tous les
soins qu'il prend pour soutenir la gloire Soient gravés de ta main au
livre où sont écrits Les noms prédestinés des rois que tu chéris. Tu
m'écoutes. Ma voix ne t'est point étrangère. Je suis la Piété, cette fille si

chère, 20 Qui t'offre de ce roi les plus tendres soupirs. Du feu de ton
amour j'allume ses desirs. Du zèle qui pour toi l'enflamme et le dévore
La chaleur se répand du couchant à l'aurore. Tu le vois tous les jours,
devant toi prosterné, 25 Humilier ce front de splendeur couronné, Et
confondant l'orgueil par d'augustes exemples, Baiser avec respect le
pavé de tes temples. De ta gloire animé, lui seul de tant de rois S'arme
pour ta querelle, et combat pour tes droits. 30 Le perfide intérêt,
l'aveugle jalousie S'unissent centre toi