Classic French Course in English

6-1

very different affair from either modern tragedy in English or ancient tragedy in

Greek tragedy, French tragedy does not affect. You miss also in French tragedy the severe simplicity, the self-restraint, the statuesque repose, belonging to the Greek model. Loftiness, grandeur, a loftiness somewhat strained, a grandeur tending to be tumid, an heroic tone sustained at sacrifice of ease and nature-such is the element in which French tragedy lives and flourishes. You must grant your French tragedists this the

; and, of course, Euripides had his counterpart in Voltaire. Voltaire has since descended from the tragic throne, and that neat symmetry of trine comparison is spoiled. There is, however, some trace of justice in making Corneille as related to Racine resemble ?schylus as related to Sophocles. Corneille was first,

er help account for the hyper-heroic style which is Corneille's great fault. A lady criticised his tragedy, "The Death of Pompey," by saying: "Very fine, but too many heroes in it." Corneille's tragedies generally have, if not too many heroes, at least too much hero, in them. Concerning the historian Gibbon's habi

age. Corneille did not, however, like Molière, tread the boards as an actor. He had a lively sense of personal dignity. He was eminently the "lofty, grave tragedian," in his own esteem. "But I am Pierre Corneille

he subject of "The Cid" was drawn from Spanish literature. This was emphatically what has been called an "epoch-making" production. Richelieu's "Academy," at the instigation, indeed almost under the dictation, of Richelieu, who was jealous of Corneille, tried to write it down.

ctes." The following is the rhetorical climax of praise in which Gaillard, one of the most enlightened of Corneille's eulogists, arranges the different masterpieces of his author: "'The Cid' raised Corneille

mbled there under the presidency of ladies whose eyes, as in a kind of tournament of letters, rained influence on authors, and judged the prize of genius, is the subject of a striking picture by a French painter. Corneille read "Polyeuctes" at the H?tel de Rambouillet, and that awful court decided against the play. Corneille, like Michel Angelo, had to a good degree the courage of his own productions; but, in the fac

d the mysteries of the middle ages, as not belonging within the just bounds of a comparison like that now made.) Corneille's final influence was to elevate and purify the French theatre. In his early works, however, he made surprising concessions to the lewd taste in the drama that he found prevailing when he began to write. With whatever amount of

on of the story occurs. (The persecuting Emperor Decius is on the throne of the Roman world.) Paulina is the daughter's name. Paulina married Polyeuctes against her own choice, for she loved Roman Severus better. Her father had put his will upon her, and Paulina had filially obeyed in marrying Polyeuctes. Such are the relations of the different persons of the drama. It will be seen that there is ample room for the play of elevated a

Learning the true state of the case, he rises to the height of his opportunity for

that Severus, instead of Polyeuctes, were his son-in-law. A decree of the emperor makes it possible that this preferable alternative may yet be realized. For th

lyeuctes, with his friend Nearchus, coming to the temple, proceeds in a frenzy of enthusiasm to break and dishonor the images of the gods, proclaiming himself a Chri

peror, to spare Polyeuctes. Besides, with Polyeuctes once o

all come too, and he will resign his wife, soon to be a widow, to the care of his own rival, her Roman lover. First, Polyeuctes and Paulina are alone together-Polyeuctes havi

is tragic strife moves the other. Paulina is withdrawing when Severus enters. She addresses her lover severely, but Polyeuctes intervenes to defend him. In a short scene, Polyeuctes, by a sort of last will and testament, bequeaths his wife to his rival, and retires with his guard. Now, Severus and Paulina are alone together. If there was a trace of the false heroic in Polyeuctes's resignation of his

I should have adored only the splendor of your eyes; of them I should have made my kings; of them I should

. Her reply is esteemed, and justly esteemed, one of the noblest things in French tr

idol comparable to the sturdy independence that animated Johnson in annotating Shakspeare, says of "This warmth which feels your first fires and which forces on a sequel": "That is badly written, agreed; but the sentiment ge

se me of a heart so little sound, the love which I had for you would all turn to hate. You are generous; be so even to the end. My father is in a state to yield every thing to you; he fears you; and I further hazard this saying, that, if he destroys my husband, it is to you that he sacrifices him. Save this unhappy man, use your influence in his favor, exert yourself to become his support. I know that this is much that I ask; but the greater the effort, the greater the glory from it. To preserve a rival of who

word;" "According to the construction, this should mean so and so-according to the sense, it must mean so and so;" "This is hardly intelligible;" "It is a pity that such or such a fault should mar these fine verses;" "An expression for comedy rather tha

olyeuctes. This is shown in an interview between Severus and his faithful attendant Fabian. Fabian warns him that he appeal

I am yet Severus; and all that mighty power is powerless over my glory, and powerless over my duty. Here honor compels me,

, in this supposition, the punishment of death is visited on secret mysteries which we do not understand. But Eleusinian Ceres and the Good Goddess have their secrets, like those at Rome and in Greece; still we freely tolerate everywhere, their god alone excepted, every kind of god; all the mo

mong the Christians, morals are pure, vices are hated, virtues flourish; they offer prayers on behalf of us who persecute them; and, during all the time since we have tormented them, have they ever been seen mutinous? Have they ever been seen rebellious? Have our princes ever had more faithful soldiers

hich pagan Severus resolves and sp

gines he detects a plot against himself to undermine him with the emperor. Voltaire criticises Corneille for giving this sordid character to Felix. He thinks the tragedist might better have let Felix be actuated by zeal for the pagan gods

, the expression should be strengthened.") Paulina meantime has entered to expostulate with Polyeuctes and with her father. Polyeuctes bids her, 'Live with Severus.' He says he has revolved the subject, and he is convinced that another love is the sole remedy for her woe. He proceeds in the calmest manner to point out the advantages of the course recommended. Voltaire rem

ork by putting his daughter also to death. Severus reproaches Felix for his cruelty, and threatens him with his own enmity. Felix undergoes instantaneous conversion,-a miracle of grace

ear ending happily enoug

m to be the same man. For never was genius more unequal in different manifestations of itself, than Corneille in his different works. Molière is reported to have said that Cornei

pieces in all, but of these not more than six

rose on dramatic poetry, on tragedy, and on the three unities. Add to these, elaborate appreciations by himself of a considerable number of his own plays, prefaces, epistles, arguments to his pieces, and you have, what with the notes, the introductions,

a kind of rank by themselves among the D