Pierre Corneille

Pierre Corneille (French pronunciation: ​[pjɛʁ kɔʁnɛj]; Rouen, 6 June 1606 – Paris, 1 October 1684) was a French tragedian. He is generally considered one of the three great seventeenth-century French dramatists, along with Molière and Racine.

As a young man, he earned the valuable patronage of Cardinal Richelieu, who was trying to promote classical tragedy along formal lines, but later quarrelled with him, especially over his best-known play, Le Cid, about a medieval Spanish warrior, which was denounced by the newly formed Académie française for breaching the unities. He continued to write well-received tragedies for nearly forty years.

Coat of Arms Corneille - Cornielje
Coat of arms of the Corneille family, dating back to 1637
Pierre Corneille
Detail from a portrait by Charles Le Brun
Detail from a portrait by Charles Le Brun
Born6 June 1606
Rouen, Normandy
Died1 October 1684 (aged 78)
Paris
OccupationPlaywright
NationalityFrench
GenreTragedy, comedy
Notable worksLe Cid
SpouseMarie de Lampérière
RelativesThomas Corneille

Biography

Early years

Rouen - Maison natale de Pierre Corneille 03
Home of the Corneille family in Rouen, where Corneille was born. It was turned into a museum dedicated to his work in 1920.

Corneille was born in Rouen, Normandy, France, to Marthe Le Pesant and Pierre Corneille, a distinguished lawyer.[1] His younger brother, Thomas Corneille, also became a noted playwright. He was given a rigorous Jesuit education at the Collège de Bourbon (Lycée Pierre-Corneille since 1873)[2] where acting on the stage was part of the training. At 18 he began to study law but his practical legal endeavors were largely unsuccessful. Corneille’s father secured two magisterial posts for him with the Rouen department of Forests and Rivers. During his time with the department, he wrote his first play. It is unknown exactly when he wrote it, but the play, the comedy Mélite, surfaced when Corneille brought it to a group of traveling actors in 1629. The actors approved of the work and made it part of their repertoire. The play was a success in Paris and Corneille began writing plays on a regular basis. He moved to Paris in the same year and soon became one of the leading playwrights of the French stage. His early comedies, starting with Mélite, depart from the French farce tradition by reflecting the elevated language and manners of fashionable Parisian society. Corneille describes his variety of comedy as "une peinture de la conversation des honnêtes gens" ("a painting of the conversation of the gentry"). His first true tragedy is Médée, produced in 1635.

Les Cinq Auteurs

The year 1634 brought more attention to Corneille. He was selected to write verses for the Cardinal Richelieu’s visit to Rouen. The Cardinal took notice of Corneille and selected him to be among Les Cinq Auteurs ("The Five Poets"; also translated as "the society of the five authors"). The others were Guillaume Colletet, Boisrobert, Jean Rotrou, and Claude de L'Estoile.

The five were selected to realize Richelieu's vision of a new kind of drama that emphasized virtue. Richelieu would present ideas, which the writers would express in dramatic form. However, the Cardinal's demands were too restrictive for Corneille, who attempted to innovate outside the boundaries defined by Richelieu. This led to contention between playwright and employer. After his initial contract ended, Corneille left Les Cinq Auteurs and returned to Rouen.

Querelle du Cid

In the years directly following this break with Richelieu, Corneille produced what is considered his finest play. Le Cid (al sayyid in Arabic; roughly translated as "The Lord") is based on the play Mocedades del Cid (1621) by Guillem de Castro. Both plays were based on the legend of Rodrigo Díaz de Vivar (nicknamed "El Cid Campeador"), a military figure in Medieval Spain.

Corneille cour Napoleon Louvre
Corneille at the Louvre

The original 1637 edition of the play was subtitled a tragicomedy, acknowledging that it intentionally defies the classical tragedy/comedy distinction. Even though Le Cid was an enormous popular success, it was the subject of a heated argument over the norms of dramatic practice, known as the "Querelle du Cid" or "The Quarrel of Le Cid". Cardinal Richelieu's Académie française acknowledged the play's success, but determined that it was defective, in part because it did not respect the classical unities of time, place, and action (Unity of Time stipulated that all the action in a play must take place within a 24-hour time-frame; Unity of Place, that there must be only one setting for the action; and Unity of Action, that the plot must be centred on a single conflict or problem). The newly formed Académie was a body that asserted state control over cultural activity. Although it usually dealt with efforts to standardize the French language, Richelieu himself ordered an analysis of Le Cid.

Accusations of immorality were leveled at the play in the form of a famous pamphlet campaign. These attacks were founded on the classical theory that the theatre was a site of moral instruction. The Académie's recommendations concerning the play are articulated in Jean Chapelain's Sentiments de l'Académie française sur la tragi-comédie du Cid (1638). Even the prominent writer Georges de Scudéry harshly criticized the play in his Observations sur le Cid (1637). The intensity of this "war of pamphlets" was heightened severely by Corneille's boastful poem Excuse À Ariste, in which he rambled and boasted about his talents, while Corneille claimed no other author could be a rival. These poems and pamphlets were made public, one after the other, as once "esteemed" playwrights traded slanderous blows. At one point, Corneille took several shots at criticizing author Jean Mairet's family and lineage. Scudéry, a close friend of Mairet at the time, did not stoop to Corneille's level of "distastefulness", but instead continued to pillory Le Cid and its violations. Scudéry even stated of Le Cid that, "almost all of the beauty which the play contains is plagiarized."

This "war of pamphlets" eventually influenced Richelieu to call upon the Académie française to analyze the play. In their final conclusions, the Academy ruled that even though Corneille had attempted to remain loyal to the unity of time, "Le Cid" broke too many of the unities to be a valued piece of work.

The controversy, coupled with the Academy's ruling proved too much for Corneille, who decided to return to Rouen. When one of his plays was reviewed unfavorably, Corneille was known to withdraw from public life. He remained publicly silent for some time; privately, however, he was said to be "troubled and obsessed by the issues, making numerous revisions to the play."

Response to the Querelle du Cid

After a hiatus from the theater, Corneille returned in 1640. The Querelle du Cid caused Corneille to pay closer attention to classical dramatic rules. This was evident in his next plays, which were classical tragedies, Horace (1640, dedicated to Richelieu), Cinna (1643), and Polyeucte (1643). These three plays and Le Cid are collectively known as Corneille's "Classical Tetralogy". Corneille also responded to the criticisms of the Académie by making multiple revisions to Le Cid to make it closer to the conventions of classical tragedy. The 1648, 1660, and 1682 editions were no longer subtitled "tragicomedy", but "tragedy".

Corneille’s popularity grew and by the mid 1640s, the first collection of his plays was published. Corneille married Marie de Lampérière in 1641. They had seven children together. In the mid to late 1640s, Corneille produced mostly tragedies, La Mort de Pompée (The Death of Pompey, performed 1644), Rodogune (performed 1645), Théodore (performed 1646), and Héraclius (performed 1647). He also wrote one comedy in this period, Le Menteur (The Liar, 1644).

In 1652, the play Pertharite met with poor critical reviews and a disheartened Corneille decided to quit the theatre. He began to focus on an influential verse translation of the Imitation of Christ by Thomas à Kempis, which he completed in 1656. After an absence of nearly eight years, Corneille was persuaded to return to the stage in 1659. He wrote the play Oedipe, which was favored by Louis XIV. In the next year, Corneille published Trois discours sur le poème dramatique (Three Discourses on Dramatic Poetry), which were, in part, defenses of his style. These writings can be seen as Corneille’s response to the Querelle du Cid. He simultaneously maintained the importance of classical dramatic rules and justified his own transgressions of those rules in Le Cid. Corneille argued the Aristotelian dramatic guidelines were not meant to be subject to a strict literal reading. Instead, he suggested that they were open to interpretation. Although the relevance of classical rules was maintained, Corneille suggested that the rules should not be so tyrannical that they stifle innovation.

Later plays

Even though Corneille was prolific after his return to the stage, writing one play a year for the 14 years after 1659, his later plays did not have the same success as those of his earlier career. Other writers were beginning to gain popularity. In 1670 Corneille and Jean Racine, one of his dramatic rivals, were challenged to write plays on the same incident. Each playwright was unaware that the challenge had also been issued to the other. When both plays were completed, it was generally acknowledged that Corneille’s Tite et Bérénice (1671) was inferior to Racine’s play (Bérénice). Molière was also prominent at the time and Corneille even composed the comedy Psyché (1671) in collaboration with him (and Philippe Quinault). Most of the plays that Corneille wrote after his return to the stage were tragedies. They included La Toison d'or (The Golden Fleece, 1660), Sertorius (1662), Othon (1664), Agésilas (1666), and Attila (1667).

He wrote his last piece Suréna in 1674 : it was a complete failure. After this, he retired from the stage for the final time and died at his home in Paris in 1684. His grave in the Église Saint-Roch went without a monument until 1821.

Legacy

The dramatist, author and philosopher Voltaire created, with the support of the Académie française, a twelve-volume annotated set of Corneille's dramatic works, the Commentaires sur Corneille.[3][4] It was Voltaire's largest ever work of literary criticism.[5] Voltaire's proposal to the Académie described Corneille as doing for the French language what Homer had done for Greek: showing the world that it could be a medium for great art.[3] Voltaire was driven to defend classic French literature in the face of increasingly popular foreign influences such as William Shakespeare. This is reflected in the first edition of the Commentaires, published in 1764, which focused on Corneille's better works and had relatively muted criticisms. By the second edition, published ten years later, Voltaire had come to a more negative assessment of Corneille and a stronger view on the need for objective criticism. He added five hundred critical notes, covering more works and taking a more negative tone.[6] Critics' opinions of Corneille were already highly polarised. Voltaire's intervention polarised the debate further and some critics saw his criticisms as pedantic and driven by envy.[5][7] In the 19th century, the tide of opinion turned against Voltaire. Napoleon expressed a preference for Corneille over Voltaire, reviving the former's reputation as a dramatist while diminishing the latter's.[7]

List of works

CorneilleMelite

Mélite, 1633 edition

La place royale corneille

La Place royale, 1637 edition

Illusion comique corneille

L'Illusion comique, 1639 edition

3402440-Le Cid performed in Paris 1637-Burgos

Le Cid, 1637 edition

Cinna corneille

Cinna, 1643 edition

SophonisbeCorneille

Sophonisbe, 1663 edition

See also

  • Portal-puzzle.svg Pierre Corneille portal

References

  1. ^ Corneille and His Times, François M. Guizot; 1852, Harper & Bros., NY; p.130: "His [Corneille's] father was a royal advocate at the marble table in Normandy...."
  2. ^ Lycée Pierre Corneille de Rouen – History
  3. ^ a b "Introduction" in Commentaires sur Corneille Critical edition by David Williams, in Œuvres complètes de Voltaire Volume 53 (Voltaire Foundation, Oxford)
  4. ^ Caplan, Jay (1999). In the King's Wake: Post-Absolutist Culture in France. University of Chicago Press. p. 181. ISBN 9780226093116.
  5. ^ a b Williams, David (1976). "The Role of the Foreign Theatre in Voltaire's "Corneille"". The Modern Language Review. 71 (2): 282–293. doi:10.2307/3724782. JSTOR 3724782.
  6. ^ "The commentary" in Commentaires sur Corneille Critical edition by David Williams, in Œuvres complètes de Voltaire Volume 53 p. 192 (Voltaire Foundation, Oxford)
  7. ^ a b "Preface" in Commentaires sur Corneille Critical edition by David Williams, in Œuvres complètes de Voltaire Volume 53 (Voltaire Foundation, Oxford)

Further reading

  • Ekstein, Nina. Corneille's Irony. Charlottesville: Rookwood Press, 2007.
  • Harrison, Helen. Pistoles/Paroles: Money and Language in Seventeenth-Century French Comedy. Charlottesville: Rookwood Press, 1996.
  • Hubert, J. D. Corneille's Performative Metaphors. Charlottesville: Rookwood Press, 1997.
  • Nelson, Robert J. Corneille: His Heroes and Their Worlds. Philadelphia: University of Pennsylvania Press, 1963.
  • Yarrow, P.J. Corneille. London: Macmillan & Co., 1963.

External links

Works by Corneille online

Bernard Le Bovier de Fontenelle

Bernard Le Bovier de Fontenelle (French: [fɔ̃tənɛl]; 11 February 1657 – 9 January 1757), also called Bernard Le Bouyer de Fontenelle, was a French author and an influential member of three of the academies of the Institut de France, noted especially for his accessible treatment of scientific topics during the unfolding of the Age of Enlightenment.

Charles Nicolle

Charles Jules Henry Nicolle (21 September 1866 Rouen – 28 February 1936 Tunis) was a French bacteriologist who received the Nobel Prize in Medicine for his identification of lice as the transmitter of epidemic typhus.

Claude Chappe

Claude Chappe (25 December 1763 – 23 January 1805) was a French inventor who in 1792 demonstrated a practical semaphore system that eventually spanned all of France. His system consisted of a series of towers, each within line of sight of others, each supporting a wooden mast with two crossarms on pivots that could be placed in various positions. The operator in a tower moved the arms to a sequence of positions, spelling out text messages in semaphore code. The operator in the next tower read the message through a telescope, then passed it on to the next tower. This was the first practical telecommunications system of the industrial age, and was used until the 1850s when electric telegraph systems replaced it.

Commentaires sur Corneille

The Commentaires sur Corneille is a work of literary criticism by the French Enlightenment writer and philosopher Voltaire, collecting and analysing the dramatic works of Pierre Corneille (1608–1684). It was first published in 1764, printed in Geneva in twelve volumes. A second edition, published ten years later, added extensive critical commentary, reflecting changes in Voltaire's attitude to Corneille and to criticism. It was Voltaire's largest ever work of critical commentary, described by the author as a distillation of his fifty years of experience in theatre. Though very influential in the late eighteenth century, it was seen more negatively from 1800 onwards, as critics questioned the fairness of Voltaire's commentary and his motives.

Karin Viard

Karin Viard (French: [ka.ʁin vjaʁ]; born 24 January 1966) is a multi-award-winning French actress. She made her film debut in Tatie Danielle in 1990. She has appeared in films such as Delicatessen, L'Emploi du temps, Adultère, mode d'emploi and La parenthèse enchantée.

Viard was a member of the 2003 Cannes Film Festival jury.

La Galerie du Palais

La Galerie du Palais is a 1632 comedy by Pierre Corneille. The comedy concerns the love relationships of two couples: Lysandre and Celidee; and Dorimant and Hippolyte.

Le Cid

Le Cid is a five-act French tragicomedy written by Pierre Corneille, first performed in December 1636 at the Théâtre du Marais in Paris and published the same year. It is based on Guillén de Castro's play Las Mocedades del Cid. Castro's play in turn is based on the legend of El Cid.

An enormous popular success, Corneille's Le Cid was the subject of a heated polemic over the norms of dramatic practice known as the Querelle du Cid (Quarrel of The Cid.) Cardinal Richelieu's Académie française acknowledged the play's success, but determined that it was defective, in part because it did not respect the classical unities.

Today, Le Cid is widely regarded as Corneille's finest work, and is considered one of the greatest plays of the seventeenth century.

Lycée Pierre-Corneille

The Lycée Pierre-Corneille (also known as the Lycée Corneille) is a state secondary school located in the city of Rouen, France.

Originally founded by the Jesuits in 1593, the school was secularized following the 1905 French law on the Separation of the Churches and the State, and is today non-religious and ruled by the French Ministry of Education.

The school adopted the name of the playwright Pierre Corneille in 1873, and was classified as a national heritage site in December 1985.

Maurice Leblanc

Maurice Marie Émile Leblanc (; French: [ləblɑ̃]; 11 November 1864 – 6 November 1941) was a French novelist and writer of short stories, known primarily as the creator of the fictional gentleman thief and detective Arsène Lupin, often described as a French counterpart to Arthur Conan Doyle's creation Sherlock Holmes.

Medea (Pacini)

Medea is an opera in three acts composed by Giovanni Pacini to a libretto by Benedetto Castiglia. It premiered on 28 November 1843 at the Teatro Carolino in Palermo, conducted by the composer with Geltrude Bortolotti in the title role. The libretto is based on the plays Medea by Euripides and Médée by Pierre Corneille.

Medea in Corinto

Medea in Corinto (Medea in Corinth) is an 1813 opera in Italian by the composer Simon Mayr. It takes the form of a melodramma tragico in two acts. The libretto, by Felice Romani, is based on the Greek myth of Medea and the plays on the theme by Euripides and Pierre Corneille. The same subject had formed the basis for Luigi Cherubini's famous opera Médée (1797) which may have had an influence on Mayr's work. Medea in Corinto was first performed at the Teatro San Carlo, Naples on 28 November 1813 and was Mayr's greatest theatrical success.

Médée

Médée is a dramatic tragedy in five acts written in alexandrine verse by Pierre Corneille in 1635.

Patrick Chesnais

Patrick Chesnais (born 18 March 1947) is a French actor, film director and screenwriter.

Psyché (play)

Psyché is a five-act, free verse tragicomédie et ballet, originally written as a prose text by Molière and versified in collaboration with Pierre Corneille and Philippe Quinault, with music composed by Jean-Baptiste Lully. The plot is based on the story of Cupid and Psyche in The Golden Ass, written in the 2nd century by Apuleius. It was first performed on 17 January 1671 before the royal court of Louis XIV at the Théâtre des Tuileries, with ballets by Pierre Beauchamps, Anthoine des Brosses, and Nicolas Delorge, and spectacular scenery and special effects designed by Carlo Vigarani.

Rodogune

Rodogune is a tragedy in five acts by the French writer Pierre Corneille. It was first performed in 1645 and published in 1647.

The Death of Pompey

The Death of Pompey (La Mort de Pompée) is a tragedy by the French playwright Pierre Corneille on the death of Pompey the Great. It was first performed in 1642, with Julius Caesar played by Molière. Like many of Corneille's plays, it is noted for the high tones of its heroine, Cornelia, who admits that her enemy is noble and generous but warns him when he releases her that she will continue to seek his death.

The Liar (Corneille play)

The Liar (French: Le Menteur) is a farcical play by Pierre Corneille that was first performed in 1644. It was based on La Verdad Sospechosa by the Spanish-American playwright Juan Ruíz de Alarcón, which was published in 1634.

Thomas Corneille

Thomas Corneille (20 August 1625 – 8 December 1709) was a French dramatist.

Émile Chartier

Émile-Auguste Chartier (French: [ʃaʁtje]; 3 March 1868 – 2 June 1951), commonly known as Alain ([alɛ̃]), was a French philosopher, journalist, and pacifist. He adopted his pseudonym in homage to the 15th-century Norman poet Alain Chartier.

Works by Pierre Corneille
Pierre Corneille's Horace (1640)
Opera
Retellings
Source
Pierre Corneille's Polyeucte (1642)
Opera
Music
Inspiration

This page is based on a Wikipedia article written by authors (here).
Text is available under the CC BY-SA 3.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.