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Updated: June 22, 2025
He obtained the protection of the king's brother, was introduced to the king, and obtained permission to establish himself in the capital. There was a rival theater at the Hotel de Bourgogue, at which Corneille's tragedies were played. Moliere and his company acted before Louis XIV. and his mother, in the Louvre. The play was that of "Nicomede," and the success was very great.
She had already established her empire in Paris by her marvellous revival of Racine's and Corneille's masterpieces. She was now to exercise the same fascination over an alien people, to whom her speech was a foreign tongue. She made her first appearance in the part of Hermione in Racine's Andromaque at the Italian Opera-house.
But in all there was the same attempt: to treat verse in the spirit of rhetoric, that is to say, to over-emphasise it consistently and for effect. In a tirade from Corneille's "Cinna," he followed the angry reasoning of the lines by counting on his fingers: one, two, three, as if he were underlining the important words of each clause.
He must, therefore, be perfectly aware that many of the most important statements which these volumes contain are falsehoods, such as Corneille's Dorante, or Molière's Seapin, or Colin d'Harleville's Monsieur de Crac would have been ashamed to utter.
Under the guidance of Cardinal Richelieu it delivered a futile attack upon the one writer who stood out head and shoulders above his contemporaries, and whose works bore all the marks of unmistakable genius the great CORNEILLE. With the production, in 1636, of Corneille's tragedy, Le Cid, modern French drama came into existence.
The situations in which they are placed are calculated to expose these qualities to the utmost; and all Corneille's masterpieces are concerned with the same subject the combat between indomitable egoism and the forces of Fate. It is in the meeting of these 'fell incensed opposites' that the tragedy consists.
In the illusion that he was a great tragic actor, deceived by his own susceptibility, though his voice denied the tones of passion, he acted in one of Corneille's tragedies, and quite allayed the alarm of a rival company on the announcement.
In 1840 she added to her list of impersonations Laodie and Pauline in Corneille's "Nicomède" and "Polyeucte," and Marie Stuart in Lebrun's tragedy. In 1841 she played no new parts. In 1842 she first appeared as Chimène in "Le Cid," as Ariane, and as Frédégonde in a wretched tragedy by Le Mercier.
Much of the music is tuneful and attractive, though cast in a stiff and old-fashioned form, and the masquemusic in the second act is as fresh and melodious as anything Gounod ever wrote. In 'Polyeucte' he attempted a style of severe simplicity in fancied keeping with Corneille's tragedy.
"What book is that?" he asked. "Only a play of Corneille's," answered Rose; "Louis has just made me a present of it." At this avowal Danville's suppressed anger burst beyond all control. "Give it him back!" he cried, in a voice of fury. "You shall take no presents from him; the venom of the household spy soils everything he touches. Give it him back!" She hesitated. "You won't?"
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