Natalie ROULON Music and Gender in All's Well That Ends WellAll's Well That Ends Well may not be the most musical of Shakespeare's works, but the music performed or referred to in the play is important in that it contributes to constructing the strict gender divide which prevailed in the society whose tensions this "problem comedy" reflects. Masculine music is martial, self-centred, and tends to reveal the principal male characters' anxieties about feminine desire. Although the female characters are not presented as musicians, in many productions they are accompanied by soft stringed instruments when they appear onstage. Helen is associated with music in male discourse and is cast as the play's main, albeit paradoxical, harmonising figure. Whereas the King of France's male physicians have failed to restore his health, Helen successfully devises a musical cure for him and is therefore granted her request to choose Bertram for her husband. However, in spite of the immense power Shakespeare has endowed her with, this Orphic woman comes up against a patriarchal structure which leaves limited scope for female agency and gender reversal, hence the lingering doubts, even once the play has ended, as to her ability to attain unalloyed marital bliss.Bien que All's Well That Ends Well ne soit pas la plus musicale des oeuvres de Shakespeare, la musique qui y est interpretee ou a laquelle il est fait reference est importante dans la mesure ou elle contribue a la construction de la division des genres qui prevalait dans la societe dont les tensions se trouvent refletees dans cette problem comedy. La musique des hommes est martiale et narcissique et tend a -mettre au jour l'angoisse qu'eprouvent les principaux personnages masculins a l'endroit du desir feminin. Bien que les figures feminines ne soient pas presentees sous les traits de musiciennes, leur presence est accompagnee d'une suave musique pour cordes dans bien des mises en scene. Helen est associee a la musique dans le discours masculin et son role, quoique paradoxal, est celui de la grande figure harmonisante de la piece. Tandis que les medecins du roi de France ont echoue a le guerir, Helen met au point une therapie musicale qui atteint son but, aussi se voit-elle accorder sa requete de faire de Bertram son epoux. Cependant, en depit des immenses prerogatives que Shakespeare lui a conferees, cette femme orphique se heurte a une structure patriarcale qui ne s'accommode vraiment ni du pouvoir feminin ni de l'inversion des roles sexuels, d'ou une incertitude persistante, une fois la piece achevee, quant a sa capacite a acceder a une parfaite felicite conjugale.Anne-Marie MILLER-BLAISE Ardelia's Voice: Anne Kingsmill Finch and the (Female) Lyrical MomentAnne Kingsmill Finch's most probable authorship of the libretto to the first through-sung English opera, John Blow's Venus and Adonis, does not only elucidate one of the mysteries of the history of music. Considered alongside Finch's other dramatic works, it reverberates on the way the Countess of Winchilsea shapes her own voice in her lyric poetry, thought of in terms of performance. Finch's engagement with Restoration music helps to account for the tension later at work in her poems between gendered song and speech. It may also explain why she has often been misconstrued as a pre-Romantic poet.L'attribution probable du livret du premier veritable opera anglais, le Venus et Adonis de John Blow, a Anne Kingsmill Finch ne resout pas seulement l'un des petits mysteres de l'histoire de la musique. Ce texte, lorsque lu parallelement aux autres oeuvres dramatiques de Finch, eclaire d'un nouveau jour la maniere particuliere dont la comtesse de Winchilsea faconne sa voix, pensee comme performance, dans sa poesie lyrique. L'implication de Finch dans le domaine musical a la Restauration permet de mettre en lumiere la tension qui existe plus tard dans sa poesie entre la parole et le chant, tous deux sexues. Elle elucide peut-etre aussi les raisons pour lesquelles Finch a souvent ete consideree a tort comme un poete preromantique.Pierre DEGOTT Variations on a Reflexive Theme: the Musical Adaptations of A Midsummer Night's Dream (1692-1763)This paper focuses on the many rewritings of A Midsummer Night's Dream in the long eighteenth century. It mainly analyses the way reflexive discourse on drama gave way, in a whole spectrum of generic hybrids, to a form of "meta-operatic" discourse dealing with the place of opera on the English stage. If Purcell's The Fairy Queen (1692) celebrates the all-powerful place of music to the point that it actually stages the symbolic dismissal of the poet, Richard Leveridge's adaptations of the play-within-the-play (1716, 1745) signal the generic upheavals brought about by the advent of Italian opera in the 1710s. David Garrick's later adaptations testify to the difficulty of restoring Shakespeare's text by purging it from the Italian influences still pervading native genres.Cet article se penche sur les multiples reecritures du Songe du nuit d'ete au cours du long XVIIIe siecle. Il s'interesse notamment a la maniere dont le discours reflexif sur le theatre a ete transforme, dans une serie d'adaptations toutes hybrides generiquement, en un discours meta-operatique traitant a un degre ou un autre de la place de l'opera sur la scene theatrale britannique. Ainsi, si The Fairy Queen (1692) de Purcell semble thematiser la toute puissance de la musique, jusqu'a mettre en scene la disparition du poete, l'adaptation par Richard Leveridge de la celebre piece-dans-la-piece (1716, 1745) signale, dans un contexte marque par l'apparition de l'opera italien a Londres, un profond bouleversement dans les categories theatrales. Plus tard, les reecritures de David Garrick attestent la difficulte a restaurer le texte shakespearien et a purger le texte des influences italiennes qui continuent a s'infiltrer dans les repertoires dits autochtones.Sabine VOLK-BIRKE Context as Text: Milton's Psalms in Handel's and Hamilton's Occasional OratorioThe relation between music and text in Handel's oratorios is a complex one, in which religion and politics interact with each other. This is particularly the case in the Occasional Oratorio, which was written while the Duke of Cumberland was fighting the Jacobite Rebellion of 1745/46, as the English believed the Hanoverian succession, the Anglican Church, and the constitution to be in grave danger. A significant part of Newburgh Hamilton's libretto consists of Milton's metrical translations of selected psalms. This paper looks at the politics and the aesthetics of Milton's psalms 1-8, comparing 1653, the date of their composition, with the political situation in 1746. It analyses the way in which Hamilton dealt with Milton's poetry/prayers, choosing, re-arranging and combining them into a new (dramatic) genre, which served as the basis for Handel's music. I argue that the contexts of the libretto and the occasion of the composition constitute an integral part of the whole multi-layered aesthetic and emotional experience of the performance, so that all these elements need to be taken into account when we want to understand what a contemporary audience may have heard and read, remembered and associated.Les liens entre musique et texte dans les oratorios de Haendel est complexe car religion et politique y interagissent de facon reciproque. C'est tout particulierement le cas dans le Occasional Oratorio (Oratorio "de circonstance"), ecrit alors que le duc de Cumberland combattait la rebellion jacobite de 1745-46 et que les Anglais craignaient que la succession de Hanovre, l'Eglise d'Angleterre et la constitution ne fussent serieusement menaces. Une partie importante du livret de Newburgh Hamilton est fondee sur la traduction metrique par Milton de psaumes choisis. Le present article etudie les aspects politiques et esthetiques des psaumes 1-8 de Milton en effectuant une comparaison entre la date de leur composition, 1653, et la situation politique de 1746. Il analyse la facon selon laquelle Hamilton s'attacha a traiter la poesie ou les prieres de Milton en les choisissant, les rearrangeant et les combinant afin de constituer un nouveau genre (dramatique) qui servit de support a la musique de Haendel. Le contexte du livret et les circonstances de la composition constituent une partie integrante de l'experience complexe, emotive et esthetique, de la representation de l'oeuvre de sorte que tous ces elements doivent etre pris en compte si l'on veut essayer de comprendre ce que le public de l'epoque pouvait entendre, lire, se rappeler et mettre en relation.Pierre DUBOIS Music and the Feminine Sublime in Ann Radcliffe's Mysteries of UdolphoIn The Mysteries of Udolpho (1794), by Ann Radcliffe, music performs a crucial role to represent psychological states. This paper argues that Radcliffe did not pit the beautiful against the sublime as radically and systematically as Edmund Burke had done in his Enquiry. The sublime cannot be restricted to the feeling of terror: one also finds a positive form of sublime resulting from what it is impossible for the mind to grasp. In Radcliffe's novels, music often appears in conjunction with the perception by the heroine of particularly intense natural beauties; it also intervenes in scenes of perfect bliss and harmony, or in scenes of revelation, where the mind is overwhelmed by a sense of something almost sacred. Thus if music belongs to the (feminine) category of the beautiful as it reveals the sensibility of the heroine who plays and sings gracefully, yet it paradoxically partakes of the sublime as well, as it is closely associated with nature and the unknowable. The article suggests therefore that Radcliffe used music in order to define a feminine form of the sublimeDans The Mysteries of Udolpho (1794), d'Ann Radcliffe, la musique joue un role crucial dans l'evocation d'etats psychologiques. Cet article essaie de montrer que Radcliffe n'oppose pas le sublime au beau de facon aussi radicale et systematique que l'avait fait Edmund Burke dans sa celebre Enquiry. Le sublime ne peut se reduire au sentiment de terreur: on trouve aussi une forme de sublime positive qui provient de ce que l'esprit n'arrive pas a comprendre. Dans les romans de Radcliffe, la musique se manifeste souvent de facon concomitante a la perception par l'heroine de la beaute intense de scene naturelles. Elle intervient aussi dans des scenes de plenitude et d'harmonie, ou dans des scenes de revelation ou l'ame est submergee par un sentiment quasiment sacre. Ainsi la musique appartient a la categorie (feminine) du beau en ce qu'elle revele la sensibilite de l'heroine qui joue et chante avec delicatesse, mais paradoxalement elle participe aussi du sublime en ce qu'elle est associee a la nature et a l'ineffable. L'article suggere donc que Radcliffe a recours a la musique afin de definir une forme feminine du sublime.Claire TECHENE Musical Descriptions and Sensations: the Presence of Music in English Romantic PoetryThis paper examines a few characteristic examples of how the musical lexical field and auditory sensations at large are treated by the main English Romantic poets in the context of a renewed confidence in subjective perception. It aims at showing that musical sensations are part of the Romantic vision of the world (nostalgia for a forsaken harmony, quest for a transparent meaning) and that music stands both as a paradigm and a counter-model for poetic expression.Cet article se propose d'etudier les modalites de l'utilisation du champ lexical de la musique et des sensations auditives a travers quelques exemples de l'oeuvre des principaux poetes romantiques anglais. Il s'agit de montrer que le traitement de la sensation musicale temoigne du rapport romantique au monde (nostalgie de l'harmonie, confiance accordee a la subjectivite) ainsi que d'une vision de la musique comme double a la fois envie et repousse de l'expression poetique.