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208:, who lived approximately from 1043 until 1099. The real "Cid" seems to have fought for both Muslims and Christians at different times and appears to have been a sellsword figure. In the play, however, he is lauded solely as a Christian soldier. The name "El Cid" was derived from the Arabic word for lord ("sayyid") and made Spanish, and further given a French article for Corneille's version. To this day, the Cid remains a popular Spanish folklore character, who has inspired many stories and works of art.
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and their morals. He said implausible and immoral characters should not be featured in plays, even if they are based in history. Corneille ignored this and proved that plays did not need to be educative, always showing evil being punished. Plot points must be necessary, the Académie argued, historical events such as this should not be dramatized. Too many actions occur in a 24-hour period, and
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wrote the document for the Académie, which particularly criticizes the implausibility of Chimène's continued affection for
Rodrigue after he kills her father. Her agreement to marry Rodrigue as the King commands made her an immoral character, Chapelain argued, which was a danger to the viewing public
457:
Rodrigue comes to Chimène's home, and tells Elvire that he will be killed by Chimène's hand. Elvire tells him to flee, and he hides as Chimène approaches. Chimène tells Elvire of her conflicting feelings, but that she must make sure
Rodrigue dies. She plans to follow him in death afterward. Rodrigue
416:
In the third scene, Chimène's father, Don Gomès, Count de Gormas, has learned that the king has asked
Rodrigue's old father, Don Diègue, to tutor the Prince of Castile. The count believes he is worthier of the position than Diègue, and tells Diègue this. Diègue says the two should become friends and
489:
The king tells Chimène she has served her father enough by putting
Rodrigue in danger and no longer needs to avenge him. He tells her to do something for herself by marrying Rodrigue, but realizes she still needs time to “dry her tears.” They will be married in a year, and in the meantime, Rodrigue
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Rodrigue goes to war and is very successful. The captured Moors even revere him, and call him “The Cid.” The
Infante begs Chimène to give up her quest to kill Rodrigue, but Chimène refuses. The king tricks Chimène into believing Rodrigue has been killed, and her reaction proves to everyone that she
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Meanwhile, the king tells Don Sancho and Don Arias of his anger regarding the count's cruelty to Diègue and his agreement to duel
Rodrigue. The king also worries about a potential impending attack by the Moorish navy moving toward his lands. Don Alonse enters and announces that Rodrigue has killed
444:
Chimène tells the princess how distraught she is about her lover and her father fighting. A page notifies them that he saw the two men leaving the palace. Chimène realizes they have gone to duel, and leaves quickly. The
Infante considers if Rodrigue wins the duel, Chimène will reject him, and the
485:
Chimène sees Don Sanche come in with a bloody sword, and believes he has killed
Rodrigue. She cries that she loved Rodrigue, and pleads not to marry the victor, but will instead enter a convent and grieve forever over her father and Rodrigue. She will leave all of her possessions to Don Sanche.
334:
In response to these critiques, Corneille argued that his play evoked both pity and fear. The characters of
Rodrigue and Chimène, he noted, have virtue, which is what leads to their passions, thereby causing the misfortune. He argued that multiple actions worked well for a play to have a strong
408:
The play opens with Chimène hearing from her governess, Elvire, that Chimène's father believes Don
Rodrigue, who Chimène also favors, to be the stronger choice for her marriage. Chimène, however, does not allow herself yet to be overjoyed, and fears that fate might change her father's mind.
296:
was originally staged at the Théâtre du Marais in December 1636. The play was a success, although it was quite controversial due to its divergence from the standard playwriting guidelines of the time. The piece was groundbreaking for a few reasons. It had a happy ending, which was rare for
301:
and its prescriptions, but Corneille argued that great tragic characters are inherently implausible. He took a difficult topic and showed, rather realistically, how it might occur. This disagreement and the discussions following it are known as "La Querelle du Cid," or The Quarrel of
320:, another dramatist, wrote a critique of the play as well. He claimed Corneille was "deifying" himself. He intended to prove that the play's plot was worthless, abused the basic rules of dramatic poetry, pursues an erratic course, and all of the play's beauties are stolen.
429:
Don Arias tells the count that the king forbids a duel between him and Rodrigue, but the count arrogantly disobeys and wants to fight regardless. He taunts Rodrigue but also commends him for his lack of fear and spirit and asks him to stand down, but Rodrigue refuses.
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In the second scene, the Infante (or princess) reveals to her maid that she is in love with Rodrigue, but could never marry him because of his lower social class. Therefore, she has decided to bring Chimène and Rodrigue together in order to extinguish her own passions.
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beginning, middle, and end. There is only one complete action in the play, but it can evolve through several other incomplete actions. The play was set in only one city, which Corneille believed should be equivalent to unity of place.
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Diègue is ashamed by this encounter and asks his son to avenge him and fight the count. Rodrigue realizes if he fights and kills the count, he will lose Chimène's love, but still chooses to fight to honor his father's name.
646:
Garreau 1984, vol. 1, p. 554; Howarth 1997, p. 253 (Howarth gives the premiere date as January 1637; Garreau, as December 1636 or January 1637); Franco 1984, vol. 1, p. 477 (publication date of Castro's
461:
Rodrigue returns home, and his father tells him the Moors are going to attack. Rodrigue must fight them, and if he returns alive and a winner, the king will praise him and he will regain Chimène's love.
547:(caesura, or pause) occurs after the 6th syllable, halfway through the line. It is frequently used as a strong syntactic break in the wording. Each half of the line (6 syllables) is referred to as a
486:
However, the king tells her Rodrigue is still alive. Rodrigue disarmed Don Sanche but decided to let him live. Don Sanche says the two should marry because of their obvious love for one another.
591:. Roger Iglésias directed a made-for-television adaptation, which was broadcast on February 24, 1962. A number of literary, theatrical, and film parodies also exist, mostly in French culture.
344:
Don Rodrigue (Le Cid) – Chimène's lover, son of Don Diègue. After fighting successfully against the Moors, the enemies name him "Le Cid," which is derived from the Arabic word for lord,
471:
still loves him. Regardless, she still feels the need to avenge her father's death. Don Sanche says he will fight Rodrigue on her behalf, and she promises to marry whoever triumphs.
479:
Rodrigue comes to Chimène and says he will not defend himself in the fight against Don Sanche. She says he must truly fight to save her from a marriage to Don Sanche.
417:
have their children married. The count refuses and slaps Diègue, who draws his sword but is too weak to hold it. The count disarms him and insults him before leaving.
571:
Scholars estimate that at least twenty-six composers have created an operatic adaptation of the classic tale. Most notably, the play is the basis for the opera
297:"tragedies" of the time, and allowed later tragicomic playwrights to end their plays in a variety of ways. Critics tried to hold the play up to Aristotle's
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The play is written in rhyming couplets with alternating masculine and feminine rhymes, as is typical of French drama. The opening lines are as follows:
543:), which was popular in classical French poetry. Each line must contain 12 syllables, and major accents are placed on the 6th and 12th syllables. The
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In a monologue, the Infante declares that Rodrigue belongs to Chimène, if so little hatred has come between them since he killed her father.
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Chimène – Daughter of Don Gomès. She has a romance with Don Rodrigue but they become estranged when he kills her father in a duel.
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Setting: The play takes place in the city of Seville in the Castile region of Spain during the second half of the 11th century.
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is widely regarded as Corneille's finest work, and is considered one of the greatest plays of the seventeenth century.
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will continue to fight against the Moors and remain faithful to Chimène and become even more worthy of her love.
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acknowledged the play's success, but determined that it was defective, in part because it did not respect the
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but is sometimes employed in English translation of the verse. The name of the line originated from the
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Some English translations of the play imitate the rhyme scheme, while others are written in prose.
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Franco, AndrĂ©s (1984). "Castro y BellvĂs, GuillĂ©n de" in Hochman 1984, vol. 1, pp. 475–477.
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Garreau, Joseph E. (1984). "Corneille, Pierre" in Hochman 1984, vol. 1, pp. 545–554.
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Don Gomès, The Count of Gormas – father of Chimène, general of Castile
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Burgwinkle, William, Hammond, Nicholas, and Wilson, Emma, editors (2011).
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reveals himself and gives Chimène his sword to kill him, but she cannot.
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Doña Urraque, L'Infante – daughter of the king, in love with Don Rodrigue
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Charlemagne and his Legend in Spanish Literature and Historiography.
265:. Statements consisting only of original research should be removed.
204:
The stories of the Cid are based on the life of the Spanish warrior
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Charlemagne and his legend in Spanish literature and historiography
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Don Fernand – King of Castile (historically, from 1035-1065)
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Sedgwick, M (1953). "Richelieu and the 'Querelle du Cid'" in
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Don Sanche – In love with Chimène, fights Don Rodrigue
845:
Bailey, Matthew, and Giles, Ryan, D., editors (2016).
518:
Tous mes sens à moi-même en sont encor charmés :
142:
in Paris and published the same year. It is based on
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Elvire, m'as-tu fait un rapport bien sincère ?
971:, an 1896 English translation at Project Gutenberg
916:French Theatre in the Neo-classical Era, 1550–1789
512:Ne déguises-tu rien de ce qu'a dit mon père ?
150:. Castro's play in turn is based on the legend of
886:Corneille, Pierre. Trans.: Roscoe Morgan (1896).
316:to write a discussion of the merits of the play.
165:over the norms of dramatic practice known as the
1579:
799:The Cid, by Corneille. A Project Gutenberg eBook
400:Chimène - Costume for Massenet's Opera based on
437:The Duel - Drawn for Massenet's Opera based on
223:accused Corneille of plagiarism in March 1637.
377:Don Arias and Don Alonse – Men of Castile
1188:
1013:
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524:Il vous commandera de répondre à sa flamme.
520:Il estime Rodrigue autant que vous l'aimez,
121:Portrait of Pierre Corneille, the playwright
873:The Cambridge History of French Literature.
704:
445:Infante will be able to win him after all.
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1006:
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866:The Misanthrope and Other French Classics.
737:: CS1 maint: location missing publisher (
682:"Las mocedades del Cid - Out of the Wings"
138:, first performed in December 1636 at the
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944:Original French text at Project Gutenberg
918:. Cambridge: Cambridge University Press.
781:
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522:Et si je ne m'abuse à lire dans son âme,
281:Learn how and when to remove this message
157:An enormous popular success, Corneille's
705:Bailey, Matthew; Giles, Ryan D. (2016).
432:
395:
356:Don Diègue – Father of Don Rodrigue
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901:McGraw-Hill Encyclopedia of World Drama
875:Cambridge: Cambridge University Press.
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371:Leonor – Doña Urraque's governess
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555:Enjambment is not used in the French
227:Performance history and "La Querelle"
933:vol. 48, number 2, pp. 143–150.
914:Howarth, William D., editor (1997).
230:
331:did not conform to unity of place.
13:
769:The Opinions of the French Academy
14:
1644:
937:
899:Hochman, Stanley, editor (1984).
404:by Ludovic Napoléon Lepic in 1885
368:Elvire – Chimène's governess
1204:Rodrigo DĂaz de Vivar ("El Cid")
658:"El Cid | Biography & Facts"
235:
498:
381:
63:
40:Title page of 1637 printing of
1362:Tomb of El Cid and Doña Jimena
860:Bentley, Eric, editor (2000).
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809:– via www.gutenberg.org.
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1623:Cultural depictions of El Cid
1613:Plays set in the 11th century
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23:1636 play by Pierre Corneille
890:New York: Hinds & Noble.
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161:was the subject of a heated
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931:The Modern Language Review,
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261:the claims made and adding
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1608:Plays based on other plays
1603:Plays based on real people
1448:CrĂłnica particular del Cid
955:Internet Broadway Database
782:Corneille, Pierre (1660).
15:
1618:Plays adapted into operas
1593:Plays by Pierre Corneille
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1339:Diego Fernández of Oviedo
1333:GarcĂa RamĂrez of Navarre
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903:. New York: McGraw-Hill.
868:New York: Applause Books.
752:Scudéry, Georges (1637).
211:The play is derived from
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1260:Battle of Almenar (1082)
767:Chapelain, Jean (1638).
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1544:(animated series, 1980)
1501:CrĂłnica popular del Cid
662:Encyclopædia Britannica
754:Observations on Le Cid
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405:
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1560:(animated film, 2003)
686:www.outofthewings.org
619:Las Mocedades del Cid
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217:Las Mocedades del Cid
206:Rodrigo DĂaz de Vivar
148:Las Mocedades del Cid
130:is a five-act French
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1486:Mocedades de Rodrigo
1392:Carmen Campidoctoris
1358:(cultural itinerary)
1049:La Galerie du Palais
950:Le Cid
612:Mocedades de Rodrigo
535:The play's meter is
308:After its premiere,
1549:Rodrigue et Chimène
1541:Ruy, the Little Cid
1512:(tragicomedy, 1637)
1248:Battle of Golpejera
1098:The Death of Pompey
964:at Theatricalia.com
820:Corneille, Pierre.
563:, written in 1170.
16:For the opera, see
1628:1637 introductions
1598:Plays set in Spain
1557:El Cid: The Legend
1489:(cantar de gesta,
1384:Historical sources
1321:Cristina RodrĂguez
1242:Battle of Llantada
1063:L'Illusion Comique
601:Académie française
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318:Georges de Scudéry
314:Académie française
310:Cardinal Richelieu
246:possibly contains
182:Académie française
177:Cardinal Richelieu
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111:Kingdom of Castile
1633:Tragicomedy plays
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1568:(TV series, 2020)
1528:(sculpture, 1927)
1504:(biography, 1498)
1467:Cantar de mio Cid
1451:(biography, 1512)
1433:Historia Roderici
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1536:(film, 1961)
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1436:(chronicle,
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1421:(historian,
1408:(historian,
1395:(epic poem,
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1376:(birthplace)
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804:. Retrieved
802:. 2005-02-07
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553:hémistiche).
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499:Rhyme scheme
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382:Plot summary
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271:January 2018
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172:
171:(Quarrel of
166:
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126:
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62:
41:
1494: 1360
1426: 1109
1413: 1100
1400: 1083
1309:Jimena DĂaz
1267:(1084–1088)
1221:(1094–1099)
979:(in French)
864:Le Cid" in
567:Adaptations
557:alexandrin,
537:alexandrine
449:the count.
221:Jean Mairet
134:written by
132:tragicomedy
102:Tragicomedy
1588:1636 plays
1582:Categories
1459:Depictions
1419:Ibn Bassam
1406:Ibn Alqama
1335:(grandson)
1329:(daughter)
1323:(daughter)
1217:Prince of
881:0521897866
855:1843844206
840:References
806:2017-12-09
784:Discourses
691:2017-12-09
667:2017-12-09
339:Characters
255:improve it
200:Background
59:Characters
49:Written by
1133:Sertorius
1119:Andromède
1091:Polyeucte
1035:Clitandre
1014:Works by
733:cite book
725:953032488
549:hemistich
494:Structure
259:verifying
64:See below
1368:Torrecid
1219:Valencia
1140:Agésilas
1126:Nicomède
1112:Rodogune
1105:The Liar
822:"Le Cid"
595:See also
507:Chimène.
304:The Cid.
215:'s play
146:'s play
1229:Battles
969:The Cid
953:at the
888:Le Cid.
628:(opera)
545:caesure
515:Elvire.
453:Act III
346:sayyid.
299:Poetics
253:Please
192:Today,
173:The Cid
163:polemic
108:Setting
85:, Paris
1565:El Cid
1533:El Cid
1517:Le Cid
1509:Le Cid
1370:(camp)
1364:(tomb)
1349:Places
1311:(wife)
1302:Family
1293:Colada
1288:Tizona
1281:Swords
1273:(1097)
1256:(1079)
1250:(1072)
1244:(1068)
1238:(1063)
1161:Psyché
1147:Attila
1084:Horace
1070:Le Cid
1028:MĂ©lite
961:Le Cid
922:
907:
879:
853:
723:
713:
647:play).
626:Le Cid
588:Flavio
583:Handel
574:Le Cid
466:Act IV
439:Le Cid
425:Act II
402:Le Cid
329:Le Cid
294:Le Cid
194:Le Cid
159:Le Cid
152:El Cid
127:Le Cid
93:French
42:Le Cid
29:Le Cid
1317:(son)
1211:Reign
1077:Cinna
1056:Médée
825:(PDF)
634:Notes
531:Meter
475:Act V
392:Act I
98:Genre
920:ISBN
905:ISBN
877:ISBN
851:ISBN
739:link
721:OCLC
711:ISBN
539:(or
585:'s
577:by
257:by
179:'s
175:).
1584::
1491:c.
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
