• 한국프랑스학논집
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• v.108
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• pp.1-45
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• 2019

The objective of this work is to study the rebirth of the French baroque opera and to analyze Atys of Quinault and Lully. Accordingly, it can appear interesting to take into account not only the reception of Atys in the 17th century in France, but also its representations in 1987. Then, it seems important to us to examine the studies on the modification of the myth in Atys, while questioning the legitimacy of the Fasti of Ovid as a primary source. Lastly, we will endeavor to emphasize the influence of Natale Conti's Mythologies on Atys, and that of Michel de Marolles's the Tableaux du Temple des Muses on the scene of the sleep of the hero. In a general way, in regard to the influence of the sources in Atys, these two works drew until now only very little the attention of criticism. The difficulties which Louis XIV crosses at the time of the genesis of Atys, such as the death of the marshal of Turenne or the departure of Louise de La Vallière to the convent, seem to have nourished the choices of Quinault and Lully. Atys is an admirable spectacle with the changes at sight of the decorations, the varied machines and the splendid costumes, but in spite of the immense success of this opera, he is forgotten after the representation given at Fontainebleau in 1753. Two centuries later, les Arts Florissants' production of Atys in 1987 - with its triumph which one knows - seems to announce a rebirth of the French baroque opera. William Christie and Jean-Marie Villégier still succeed in presenting their production in 2011 thanks to Ronald Stanton, American fortunate who was impressed by the representation of Atys in 1987. Villégier and his artistic team choose a single decoration and remove the machines in order to place work at the court plunged into mourning of Louis XIV twenty years after the premiere of Atys. The "classicism" of their dramatic presentation emphasizes the classical dramaturgy and the tragic side of this opera. Criticisms often stress the importance of Ovid's Fasti as a primary source, while adding his Metamorphoses as a secondary source (the metamorphosis of Atys in pine and the scene of his sleep). Quinault borrows indeed from the Fasti some elements : in love with Atys, Cybele entrusts the responsibility to him of keep her temple ; the reciprocal love between Atys and Sangaride causes the revenge on the goddess. However he borrows more from the French translation of Natale Conti's Mythologies which present the Phrygian version of the myth of Atys. In the first three accounts of this version, one finds common points with the opera : 1) Atys refuses the physical desire of Cybele ; the goddess makes Atys insane instead of making die Sangaride ; 2) the lover of the hero is daughter of the river of Sangar ; Cybele makes change into pine Atys who committed suicide (or ready to commit suicide) ; 3) the goddess discovers the physical relation of the young couple. Natale Conti's Mythologies also present the Lydian version of the myth : a furious wild boar sent by irritated Zeus kill Atys and several people. One can suppose that this part undoubtedly influences the "monster" and its "dreadful howls" evoked by Atys in a fit of insanity. Moreover, the dreams make discover in Atys the intentions of Cybele, which is not without relationship with the translated text of Natale Conti : the Mythologies indicate that sweet Sleep reveals "the intentions & the plans of the Gods." To manufacture the famous scene of the sleep of the hero, Quinault and Lully make use of the annotations of the "Palace of the Sleep" located at the end of the Tableaux du Temple des Muses : Michel de Marolles translates and explains the texts of Catullus (the sleep of Atys), of Ovid (the Sleep and his three sons), and of Ausonius (good dreams / bad dreams). In spite of the important influence of these sources, Quinault and Lully modify some elements of the myth : the theme of castration is removed because of the proprieties ; the suicide of Atys is at the same time an act of love and an act of revolt against Cybele ; the cruel goddess is also a desperate and weak lover; the invention of the character of Celenus returns the love of the young prohibited and tragic. Quinault fascinate the contemporary public with the interior movements of complex characters and the music of Lully emphasizes this quality of the libretto.