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The Spanish stage is richer in such Comedies as that which furnished the idea of the Menteur to Corneille. But you must force yourself to believe that this liar is not forcing his vein when he piles lie upon lie. There is no preceding touch to win the mind to credulity. Spanish Comedy is generally in sharp outline, as of skeletons; in quick movement, as of marionnettes.
His flesh quivered, as if it felt fierce French nails fasten into it. He saw the blood-lust flame in the eyes which searched his face. He trembled, but spoke up firmly. "No. The Secret Service of England." "Liar!" roared the patron. "Menteur! Espion! Foul seducer of a desolate veuve de France! Die, traitor! Madame, raise your pistol; shoot shoot instantly for the honour of France!"
At the same time he borrowed from the Spanish drama the canvas of the Menteur, the first really French comedy which appeared on the boards, and which Moliere showed that he could appreciate at its proper value.
Corneille was merciful, and in the fifth act bred in his 'Menteur' a new fancy for Lucrece, so that the marriage at cross purposes was rather agreeable to him. And this is what Steele means when he says that he had his play damned for its piety.
Rochester "un vrai menteur," and assuring him that she made no account whatever of his "contes de fee," and that "du reste, il n'y avait pas de fees, et quand meme il y en avait:" she was sure they would never appear to him, nor ever give him rings, or offer to live with him in the moon. The hour spent at Millcote was a somewhat harassing one to me. Mr.
This was what deceived Corneille, and caused him to believe and say that Alarcon's 'la Verdad sospechosa', on which, in 1642, he founded his 'Menteur', was a work of Lope de Vega's. Afterwards Corneille learnt how there had been in this matter lying among editors. He gave to Alarcon the honour due, and thenceforth it is chiefly by this play that Alarcon has been remembered out of Spain.
It was during the period of Richelieu's ministry that Paris flowered the most profusely. The constructions of this epoch were so numerous and imposing that Corneille in his comedy "Le Menteur," first produced in 1642, made his characters speak thus: Dorante: Paris semble
On the narrowest part of it stands New Orleans. Turning and looking back over the rear of the town, one may easily see from her steeples Lake Pontchartrain glistening away to the northern horizon, and in his fancy extend the picture to right and left till Pontchartrain is linked in the west by Pass Manchac to Lake Maurepas, and in the east by the Rigolets and Chef Menteur to Lake Borgne.
Of Corneille, who from the imitation of Spanish comedies acquired a name before he was known as a tragic author, only one piece keeps possession of the stage, Le Menteur, from Lope de Vega; and even this evinces, in our opinion, no comic talent. The poet, accustomed to stilts, moves awkwardly in a species of the drama the first requisites of which are ease and sweetness.
Though depleted by the city's present drainage system and most likely poisoned by it as well, its waters still move seaward in a course almost due easterly, and empty into Chef Menteur, one of the watery threads of a tangled skein of "passes" between the lakes and the open Gulf.
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