938:. When Corneille presented the struggle between passion and duty, it wasnât a new invention. What was new in Corneille was that he showed one legitimate passion opposed to another passion that was equally legitimate. It was important to elevate the debate from a contest between right and wrong to a contest between two rights. Because a gentleman who got into a fight could not admit that he was wrong, but if you started by stipulating that his motives were honorable, he would at least stop to consider your argument, which is what Corneille achieved by raising the debate to a higher plane. And the seventeenth-century people who loved his adventure stories felt vaguely that they were getting in them something they hadnât quite known before. And they were right. They hadnât known it before for the simple reason that it had gone out with the Greeks. Roman thought was too legalistic, Christian thought was too simplistic to tolerate the idea that there could be two rights, that there could be two sides to a conflict. This is a very sophisticated view, and it is only fit for very sophisticated minds. And the tiny minority of the seventeenth-century society that read Corneille, that saw Corneilleâs plays, was hardly very sophisticated, but it was beginning to try at least."
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578:(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 and claimed that 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
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900:, 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. Critics' opinions of Corneille were already highly polarised. Voltaire's intervention polarised the debate further and some critics saw his criticisms as
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400:, 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
391:. At 18 he began to study law, but his practical legal endeavours 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
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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
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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
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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
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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.
404:, 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 honnĂȘtes gens" ("a painting of the conversation of the gentry"). His first true
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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
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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
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779:, 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
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Corneille's popularity grew and by the mid-1640s, the first collection of his plays was published. Corneille married Marie de LampériÚre in 1641. They had seven children together. In the mid to late 1640s, Corneille produced mostly tragedies,
922:"But remember that Corneilleâs plays were directed to an aristocracy that couldnât be touched by sermons, by moralizing, by sentimentalism. So he touched them by showing the greatness of self-discipline and self-denial, of not doing what you
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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,
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had done for Greek: showing the world that it could be a medium for great art. Voltaire was driven to defend classic French literature in the face of increasingly popular foreign influences such as
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are collectively known as
Corneille's "Classical Tetralogy". Corneille also responded to the criticisms of the Académie by making multiple revisions to
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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
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met with poor critical reviews and a disheartened
Corneille decided to quit the theatre. He began to focus on an influential verse translation of
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expressed a preference for
Corneille over Voltaire, reviving the former's reputation as a dramatist while diminishing the latter's.
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defined by
Richelieu. This led to contention between playwright and employer. After his initial contract ended, Corneille left
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was an enormous popular success, it was the subject of a heated argument over the norms of dramatic practice, known as the "
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was a body that asserted state control over cultural activity. Although it usually dealt with efforts to standardize the
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to make it closer to the conventions of classical tragedy. The 1648, 1660, and 1682 editions were no longer subtitled "
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caused
Corneille to pay closer attention to classical dramatic rules. This was evident in his next plays, which were
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In the years directly following this break with
Richelieu, Corneille produced what is considered his finest play.
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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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do. And note that Corneille didnât say, as a Christian would, that doing your duty makes you
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The year 1634 brought more attention to Corneille. He was selected to write verses for
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and driven by envy. In the 19th century, the tide of opinion turned against Voltaire.
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Williams, David (1976). "The Role of the Foreign Theatre in Voltaire's "Corneille"".
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Pistoles/Paroles: Money and Language in Seventeenth-Century French Comedy
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In Episode 31 of the 1989 video lecture series, âThe Western Traditionâ,
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that, "almost all of the beauty which the play contains is plagiarized."
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After a hiatus from the theater, Corneille returned in 1640. The
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19:"Corneille" redirects here. For other people with the name, see
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was also prominent at the time and Corneille even composed the
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Sentiments de l'Académie française sur la tragi-comédie du Cid
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Coat of arms of the Corneille family, which dates back to 1637
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broke too many of the unities to be a valued piece of work.
702:(performed 1647). He also wrote one comedy in this period,
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since 1873), where acting on the stage was part of the
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The original 1637 edition of the play was subtitled a
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In the King's Wake: Post-Absolutist Culture in France
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offers further commentary on Mssr. Corneille's work:
494:(nicknamed "El Cid Campeador"), a military figure in
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1638:, François M. Guizot; 1852, Harper & Bros., NY;
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As a young man, he earned the valuable patronage of
529:" or "The Quarrel of Le Cid". Cardinal Richelieu's
60:. Unsourced material may be challenged and removed.
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1098:(by Les Cinq Auteurs, Act III by Corneille, 1635)
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1895:Biography, Bibliography, Analysis, Plot overview
1880:. Vol. 7 (11th ed.). pp. 163â167.
896:. This is reflected in the first edition of the
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1755:Volume 53 p. 192 (Voltaire Foundation, Oxford)
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2006:
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281:; 6 June 1606 â 1 October 1684) was a French
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1689:. University of Chicago Press. p. 181.
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1652:LycĂ©e Pierre Corneille de Rouen â History
934:, he said that doing your duty makes you
884:. It was Voltaire's largest ever work of
490:. Both plays were based on the legend of
120:Learn how and when to remove this message
1861:includes performances from 1680 to 1791.
1806:. Charlottesville: Rookwood Press, 1997.
1799:. Charlottesville: Rookwood Press, 1996.
1792:. Charlottesville: Rookwood Press, 2007.
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741:. In the next year, Corneille published
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1859:The Comédie Française Registers Project
1775:Volume 53 (Voltaire Foundation, Oxford)
1771:Critical edition by David Williams, in
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1673:Volume 53 (Voltaire Foundation, Oxford)
1669:Critical edition by David Williams, in
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1811:Corneille: His Heroes and Their Worlds
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1247:Trois Discours sur le poĂšme dramatique
870:The dramatist, author and philosopher
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1824:. London: Macmillan & Co., 1963.
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750:Three Discourses on Dramatic Poetry
572:harshly criticized the play in his
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568:(1638). Even the prominent writer
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1815:University of Pennsylvania Press
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45:needs additional citations for
2246:Die Horatier und die Kuriatier
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642:(1643). These three plays and
355:dedicated to his work in 1920.
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2629:Burials at Saint-Roch, Paris
1773:Ćuvres complĂštes de Voltaire
1753:Ćuvres complĂštes de Voltaire
1671:Ćuvres complĂštes de Voltaire
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16:French tragedian (1606â1684)
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2486:Michel Paul Guy de Chabanon
1850:(public domain audiobooks)
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1231:L'Imitation de JĂ©sus-Christ
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2462:Antoine Houdar de la Motte
1769:Commentaires sur Corneille
1749:Commentaires sur Corneille
1715:The Modern Language Review
1667:Commentaires sur Corneille
881:Commentaires sur Corneille
150:Detail from a portrait by
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2624:17th-century male writers
2566:HĂ©lĂšne CarrĂšre d'Encausse
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1919:Works by Pierre Corneille
1913:Works by Corneille online
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1890:Biographical information
1095:La Comédie des Tuileries
852:He wrote his last piece
175:1 October 1684 (aged 78)
1905:The Imitation of Christ
1877:EncyclopĂŠdia Britannica
1635:Corneille and His Times
1616:, named after Corneille
761:. Corneille argued the
737:, which was favored by
724:The Imitation of Christ
575:Observations sur le Cid
505:Corneille at the Louvre
466:and returned to Rouen.
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1369:Francophone literature
696:(performed 1646), and
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2227:Gli Orazi e i Curiazi
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492:Rodrigo DĂaz de Vivar
482:is based on the play
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274:French pronunciation:
2502:NĂ©pomucĂšne Lemercier
2264:Horatii and Curiatii
2042:La Galerie du Palais
1969:, at athena.unige.ch
1907:(modern translation)
1747:"The commentary" in
1683:Caplan, Jay (1999).
1071:La Galerie du Palais
626:(1640, dedicated to
414:, produced in 1635.
278:[pjÉÊkÉÊnÉj]
54:improve this article
2091:The Death of Pompey
1512:Short story writers
1487:Writers by category
1199:Don Sanche d'Aragon
1175:La Suite du Menteur
894:William Shakespeare
684:, performed 1644),
681:The Death of Pompey
667:The Death of Pompey
662:Adrienne Lecouvreur
452:Claude de L'Estoile
253:Marie de LampériÚre
2604:Writers from Rouen
2423:Académie française
2056:L'Illusion Comique
1866:Saintsbury, George
1809:Nelson, Robert J.
1665:"Introduction" in
1517:Children's writers
1482:Chronological list
1111:L'Illusion comique
989:L'Illusion comique
886:literary criticism
876:Académie française
715:In 1652, the play
690:(performed 1645),
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654:", but "tragedy".
570:Georges de Scudéry
533:Académie française
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440:Guillaume Colletet
428:Cardinal Richelieu
381:CollĂšge de Bourbon
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69:"Pierre Corneille"
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1937:Project Gutenberg
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1903:Thomas a Kempisâ
1795:Harrison, Helen.
1790:Corneille's Irony
1614:Cornelian dilemma
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1334:Philippe Quinault
1143:La Mort de Pompée
860:Ăglise Saint-Roch
823:The Golden Fleece
806:Philippe Quinault
676:La Mort de Pompée
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484:Mocedades del Cid
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2558:Jean Mistler
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52:Please help
47:verification
44:
2599:1684 deaths
2594:1606 births
2510:Victor Hugo
2374:Inspiration
2336:Les martyrs
2249:(1936 play)
2219:Les Horaces
1972:(in French)
1961:(in French)
1898:(in French)
1502:Playwrights
1395:Renaissance
1376:by category
1282: [
1259: [
1079:La Suivante
917:Eugen Weber
814: [
777:Jean Racine
770:Later plays
652:tragicomedy
511:tragicomedy
448:Jean Rotrou
339:Early years
206:Nationality
162:6 June 1606
110:August 2020
2583:Categories
2381:Polyeuctus
2238:Retellings
1621:References
1574:Literature
1441:Classicism
1436:Précieuses
1278:Sophonisbe
1223:Pertharite
1159:Le Menteur
1034:Sophonisbe
915:Professor
718:Pertharite
705:Le Menteur
486:(1621) by
444:Boisrobert
287:dramatists
232:Classicism
200:Playwright
196:Occupation
189:Saint-Roch
80:newspapers
2363:Polyeucte
2344:Polyeucte
2311:Polyeucte
2126:Sertorius
2112:AndromĂšde
2084:Polyeucte
2028:Clitandre
2007:Works by
1947:Polyeucte
1822:Corneille
1497:Novelists
1492:Essayists
1461:Symbolism
1428:Movements
1341:Pulchérie
1270:Sertorius
1207:AndromĂšde
1191:HĂ©raclius
1135:Polyeucte
1090:(1633â34)
1074:(1631â32)
1058:(1630â31)
1055:Clitandre
828:Sertorius
825:, 1660),
739:Louis XIV
712:, 1644).
699:HĂ©raclius
639:Polyeucte
628:Richelieu
618:tragedies
615:classical
334:Biography
283:tragedian
258:Relatives
2133:Agésilas
2119:NicomĂšde
2105:Rodogune
2098:The Liar
1868:(1911).
1848:LibriVox
1451:Decadent
1390:Medieval
1357:See also
1301:Agésilas
1226:, (1651)
1218:, (1651)
1215:NicomĂšde
1210:, (1650)
1183:Théodore
1167:Rodogune
1063:La Veuve
906:Napoleon
902:pedantic
872:Voltaire
849:(1667).
840:Agésilas
837:(1664),
831:(1662),
788:Bérénice
710:The Liar
693:Théodore
687:Rodogune
544:Académie
389:training
365:Normandy
180:, France
167:, France
2426:Seat 14
2328:Poliuto
1837:at the
1817:, 1963.
1735:3724782
1561:Portals
1474:Writers
1382:History
1336:, 1671)
1330:MoliĂšre
793:MoliĂšre
515:tragedy
406:tragedy
320:unities
291:MoliĂšre
218:Tragedy
191:, Paris
94:scholar
2568:(1990)
2560:(1966)
2552:(1946)
2544:(1934)
2536:(1912)
2528:(1894)
2520:(1886)
2512:(1841)
2504:(1810)
2496:(1803)
2488:(1779)
2480:(1736)
2472:(1732)
2464:(1710)
2456:(1684)
2448:(1647)
2440:(1634)
2347:(1878)
2339:(1840)
2331:(1838)
2314:(1642)
2257:Source
2230:(1796)
2222:(1786)
2205:(1640)
2202:Horace
2154:Psyché
2140:Attila
2077:Horace
2063:Le Cid
2021:MĂ©lite
1967:Le Cid
1932:Le Cid
1733:
1693:
1569:France
1538:Quebec
1533:France
1446:Rococo
1365:French
1352:(1674)
1349:Suréna
1344:(1672)
1328:(with
1325:Psyché
1320:(1670)
1312:(1667)
1309:Attila
1304:(1666)
1296:(1664)
1288:(1663)
1273:(1662)
1265:(1660)
1250:(1660)
1242:(1659)
1239:Oedipe
1234:(1656)
1202:(1650)
1194:(1647)
1186:(1645)
1178:(1645)
1170:(1644)
1162:(1643)
1154:(1643)
1146:(1643)
1138:(1642)
1130:(1640)
1127:Horace
1122:(1637)
1119:Le Cid
1114:(1636)
1106:(1635)
1082:(1634)
1066:(1631)
1050:(1629)
1047:MĂ©lite
1004:Le Cid
959:MĂ©lite
928:should
866:Legacy
855:Suréna
846:Attila
801:Psyché
797:comedy
759:Le Cid
734:Oedipe
648:Le Cid
644:Le Cid
623:Horace
592:Le Cid
584:Le Cid
580:Le Cid
552:Le Cid
523:Le Cid
519:comedy
479:Le Cid
450:, and
402:MĂ©lite
397:MĂ©lite
393:comedy
377:Jesuit
369:France
353:museum
307:Le Cid
295:Racine
250:Spouse
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