[Born at Rouen, in France, 1606. Died in Paris, 1684. Aged 79.]
The father of French tragedy. Educated by the Jesuits. During the early
part of his career, monastic exhibitions were the only dramatic
performances in vogue in France. When the French began to draw their
dramatic inspirations from Spain, Corneille was the first to take real
advantage of the movement. He dramatized the first youthful achievement
of the Cid with extraordinary success. It soon became the custom to say
of anything deserving applause, that “it was as good as the Cid.” Then
followed his drama of “Les Horaces,” considered a masterpiece of French
tragedy, a species of composition which is not to be criticized by the
rules that we apply to the great productions of our own stage. “Cinna”
and “Polyeucte” followed, both efforts of undoubted genius. In 1642,
elected member of the French Academy. The claims of Corneille upon our
regard not to be over estimated. The French drama was yet in the block
when he took up his artist tools. Grandeur of thought, elevation of
sentiment, and heroism of character are wrought out in all his
productions, which have exercised a momentous influence upon succeeding
times in France. Corneille was simple and almost rustic in his manners
and appearance. Very proud, but very shy. Ambitious of glory, yet
disdaining the society of the great, even up to the greatest. He had a
commanding person, and expressive features. When he died he was poor,
almost to want. Napoleon had a lofty idea of Corneille’s knowledge of
government. “Had he lived in my time,” said the Emperor, “I should have
taken him into my council.”
[This is from the original marble, by Caffieri, in the Comédie
Française. There is a statue of him at Versailles done in 1836, by M.
Laitie. Both are taken from painted portraits.]