Biography of Pierre Corneille
Pierre Corneille (6 June 1606 – 1 October 1684) was a French tragedian who was one of the three great seventeenth-century French dramatists, along with Molière and Racine. He has been called “the founder of French tragedy” and produced plays for nearly forty years.
Early life and plays
Corneille was born at Rouen, France, to Marte le pesant and Pierre Corneille (a minor administrative official). He was given a rigorous Jesuit education and at 18 began to study law. 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”). Also included in this collective were Guillaume Colletet, Boisrobert, Jean Rotrou, and Claude de Lestoile.
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.
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 polemic 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 twenty-four 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 around 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 controversy grew 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.
Even though Corneille was prolific after his return to the stage, writing one play a year for the 14 years after 1659, his 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).
Corneille’s final play was the tragedy Suréna (1674). 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.
Pierre Corneille's Works:
* Mélite (1629)
* Clitandre (1630–31)
* la Veuve (1631)
* la Galerie du Palais (1631–32)
* La Place royale (1633–34)
* l'Illusion comique (1636)
* Médée (1635)
* le Cid (1637)
* Horace (1640)
* Cinna (1641)
* Polyeucte (1642)
* La Mort de Pompée (1643)
* Le Menteur (1643)
* Rodogune (1644)
* Théodore (1645)
* Héraclius (1647)
* Don Sanche d'Aragon (1650)
* Andromède, (1650)
* Nicomède, (1651)
* Pertharite, (1651)
* l'Imitation de Jésus-Christ (1656)
* Oedipe (1659)
* Trois Discours sur le poème dramatique (1660)
* La Toison d'or (1660)
* Sertorius (1662)
* Othon (1664)
* Agésilas (1666)
* Attila (1667)
* Tite et Bérénice (1670)
* Psyché (w/ Molière and Philippe Quinault,1671)
* Pulchérie (1672)
* Suréna (1674)
Pierre Corneille Poems
Epitaphe Sur La Mort De Damoiselle Elisa...
Ne verse point de pleurs sur cette sépulture, Passant ; ce lit funèbre est un lit précieux, Où gît d'un corps tout pur la cendre toute pure ;
Sur La Mort Du Roi Louis Xiii
Sous ce marbre repose un monarque sans vice, Dont la seule bonté déplut aux bons François, Et qui pour tout péché ne fit qu'un mauvais choix
Si je perds bien des maîtresses, J'en fais encor plus souvent, Et mes voeux et mes promesses Ne sont que feintes caresses,
Eve Et Marie
Homme, qui que tu sois, regarde Eve et Marie, Et comparant ta mère à celle du Sauveur, Vois laquelle des deux en est le plus chérie,
A La Marquise
Marquise, si mon visage A quelques traits un peu vieux, Souvenez-vous qu'à mon âge Vous ne vaudrez guère mieux.
Que La Vérité Parle Au Dedans Du Coeur
Parle, parle, Seigneur, ton serviteur écoute : Je dis ton serviteur, car enfin je le suis ; Je le suis, je veux l'être, et marcher dans ta route
Est-il vrai, grand Monarque, et puis-je me vanter Que tu prennes plaisir à me ressusciter ; Qu'au bout de quarante ans Cinna, Pompée, Horace,
Excuse À Ariste
... Je sais ce que je vaux, et crois ce qu'on m'en dit. Pour me faire admirer je ne fais point de ligue :
From The Theatre Of Illusion
Act 2, Scene 2 Clindor, a young picaresque hero, has been living by his wits in Paris, but has now drifted to Bordeaux, to become
Est-il vrai, grand Monarque, et puis-je me vanter
Que tu prennes plaisir à me ressusciter ;
Qu'au bout de quarante ans Cinna, Pompée, Horace,
Reviennent à la mode et retrouvent leur place,
Et que l'heureux brillant de mes jeunes rivaux
N'ôte point leur vieux lustre à mes premiers travaux ?
Achève. Les derniers n'ont rien qui dégénère.
Rien qui les fasse croire enfants d'un autre père ;
Ce sont des malheureux, étouffés au berceau,