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Updated: June 22, 2025
The very best tragedy of, Corneille's, if well spoken and acted, interests, engages, agitates, and affects your passions. Love, terror, and pity alternately possess you. But, if ill spoken and acted, it would only excite your indignation or your laughter. Why? It is still Corneille's; it is the same sense, the same matter, whether well or ill acted.
We were all eyes and ears in spite of that, and nothing in the play of the tragic actresses Madame Duchesnois, Madame Paradol, and Madame Bourgoin ever escaped us. I can see and hear yet all Corneille's plays, and Racine's too, and Zaire, and Mahomet, and L'Orphelin de la Chine, and many more. But what we longed for most impatiently were Moliere's plays.
He blamed Corneille's theatrical ferocity in terms so severe that Voltaire called the passage "a detestable piece of criticism" and ran his blue pencil through it. No doubt the fact is that Vauvenargues saw in the rhetoric of Corneille a parody of his own sentiments, carried to the verge of rodomontade.
"I beg my best remembrances, first, to your excellent lady, and after her, to madame B. and madame L., not forgetting the marquise de Chalret, whose wit is truly Attic; nor the marquise de P s, who conceals beneath the graceful exterior of a Languedocian the soul of one of Corneille's Roman matrons. For yourself rely upon my warmest friendship and endeavours to serve you.
The Wrangling Lovers; or the Invisible Mistress, a Comedy, acted at the duke's theatre, 4to. 1677. This play is founded upon Corneille's Les Engagements du Hazard, and a Spanish Romance, called, Deceptio visus; or seeing and believing are two things. King Edgar, and Alfreda, a Tragedy, acted at the theatre-royal 1677.
The Bishop of Lisieux being a great admirer of Corneille's writings, and making no scruple to see a good comedy, provided it was in the country among a few friends, the late Madame de Choisy proposed to entertain him with one at Saint Cloud. Accordingly Madame took with her Madame and Mademoiselle de Vendome, M. de Turenne, M. de Brion, Voiture, and myself.
The tragedies of Racine are more elegant than those of Corneille, though less bold and striking. Corneille's principal characters are heroes and heroines thrown into situations of extremity, and displaying strength of mind superior to their position. Racine's characters are men, not heroes, men such as they are, not such as they might possibly be.
He referred to a stubborn caprice of Silviane d'Aulnay, who, although she had hitherto only reaped a success of beauty on the stage, obstinately sought to enter the Comedie Francaise and make her debut there in the part of "Pauline" in Corneille's "Polyeucte," which part she had been studying desperately for several months past.
Racine was treated to the same persecution, but did not make the same resistance. Neither in his genius nor in his character was there any of Corneille's lofty asperity. He submitted in silence and sacrificed to the scorn of his time his enchanting elegy of Esther, his magnificent epic, Athalie.
The conversation had now turned on Corneille's "Polyeucte" and the part of "Pauline," in which Silviane wished to make her debut at the Comedie Francaise. This extraordinary caprice, which had quite revolted the influential critic a week previously, now seemed to him simply a bold enterprise in which the young woman might even prove victorious if she consented to listen to his advice.
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