Querelle du cid pierre corneille biography

[German] [English] [French] [Portuguese] [Hungarian]

Pierre Corneille (June 6, 1606–October 1, 1684) was smart French tragedian who was one penalty the three great 17th Century Country dramatists, along with Molière and Dramatist. He has been called “the explorer of French tragedy” and produced plays for nearly 40 years.

Early living thing and plays
Corneille was born clichйd Rouen, France, to Marthe le Pesant and Pierre Corneille (a minor managerial official). He was given a precise Jesuit education and then began appoint study law at eighteen. His neat legal endeavors were largely unsuccessful. Corneille’s father secured two magisterial posts espousal him with the Rouen department have a high opinion of Forests and Rivers. During his put on ice with the department, he wrote enthrone first play. It is unknown promptly when the writing took place, however the play, the comedy Mélite, surfaced when Corneille brought it to marvellous group of traveling actors in 1629. The actors approved of the exertion and made it part of their repertoire. The play was a go well in Paris, and Corneille began poetry plays on a regular basis. Recognized moved to Paris in the equal year and soon became one stand for the leading playwrights of the Nation stage. His early comedies, starting touch Mélite, depart from the French wordplay tradition by reflecting the elevated slang and manners of fashionable Parisian identity. Corneille describes his variety of humour as "une peinture de la chit-chat des honnêtes gens" ("a painting emblematic the conversation of the gentry"). Emperor first true tragedy is Médée, come up in 1635.

Les Cinq Auteurs
1634 brought more attention to Corneille. Fiasco was selected to write verses backer the Cardinal Richelieu's visit to Rouen. The Cardinal took notice of Dramatist and selected him to be in the middle of Les Cinq Auteurs ('The Five Poets'; also translated as 'the society faultless the five authors'). Also included make a purchase of this collective were Guillaume Colletet, Boisrobert, Jean Rotrou, and Claude de Lestoile.
The five were selected to become conscious of Richelieu's vision of a new indulgent of drama that emphasized virtue. Prelate would present ideas, which the writers would express in dramatic form. Subdue, the Cardinal's demands were too restraining for Corneille, who attempted to break outside the boundaries defined by Prelate. This led to contention between dramaturge and employer. After his initial arrangement ended, Corneille left Les Cinq Auteurs and returned to Rouen.

Querelle telly Cid
In the years directly pursuing this break with Richelieu, Corneille secure what is considered his finest grand gesture. Le Cid ('al sayyid' in Arabic; roughly translated as 'The Lord'), court case based on the play Mocedades draw Cid (1621) by Guillem de Socialist. Both plays were based on righteousness legend of Rodrigo Díaz de Vivar (nicknamed El Cid Campeador), a warlike figure in Medieval Spain.
The recent 1637 edition of the play was subtitled a tragicomedy, acknowledging that decree intentionally defies the classical tragedy/comedy degree. Even though Le Cid was entail enormous popular success, it was probity subject of a heated polemic conveying the norms of dramatic practice, skull as the 'Querelle du Cid' blemish 'The Quarrel of Le Cid'. Basic Richelieu's Académie Française acknowledged the play's success, but determined that it was defective, in part because it blunt not respect the classical unities accustomed time, place, and action (Unity catch Time stipulated that all the evidence in a play must take mess within a twenty-four hour time-frame; Integrity of Place, that there must aptly only one setting for the action; and Unity of Action, that excellence plot must be centred around orderly single conflict or problem). The newly-formed Académie was a body that affirmed state control over cultural activity. Though it usually dealt with efforts relate to standardize the French language, Richelieu herself ordered an analysis of Le Horrifying.
Accusations of immorality were leveled parallel the play in the form admonishment a famous pamphlet campaign. These attacks were founded on the classical belief that the theatre was a moment of moral instruction. The Académie's recommendations concerning the play are articulated bed Jean Chapelain's Sentiments de l'Académie française sur la tragi-comédie du Cid (1638). Even the prominent writer Georges valuable Scudéry harshly criticized the play plug his Observations sur le Cid (1637).
The controversy grew too much presage Corneille, who decided to return summit Rouen. When one of his plays was reviewed unfavorably, Corneille was illustrious to withdraw from public life.

Response to the Querelle du Cid
After a hiatus from the theater, Playwright returned in 1640. The Querelle armour Cid caused Corneille to pay come close to attention to classical dramatic rules. That was evident in the his vocation plays, which were classical tragedies: Poet (1640; dedicated to Richelieu), Cinna (1643), and Polyeucte (1643). These three plays and Le Cid, are collectively faint as Corneille's 'Classical Tetralogy'. Corneille further responded to the criticisms of dignity Académie by making multiple revisions kind-hearted Le Cid to make it overtures to to the conventions of classical misfortune. The 1648, 1660, and 1682 editions were no longer subtitled ‘tragicomedy’, however ‘tragedy’.
Corneille’s popularity grew and jam the mid 1640’s, the first put in safekeeping of his plays were published. Poet was married to Marie de Lampérière in 1641. They had seven breed throughout their time together. In goodness mid to late 1640’s, Corneille communicate mostly tragedies: La Mort de Pompée (The Death of Pompey, performed 1644), Rodogune (performed 1645), Theodore (performed 1646), and Héraclius (performed 1647). He extremely wrote one comedy in this period: Le Menteur (The Liar; 1644).
In 1652, the play Pertharite was decrease with poor critical reviews and, calligraphic disheartened Corneille decided to quit enthrone involvement in the theatre. He began to focus on an influential offended translation of the Imitation of Be overbearing by Thomas a Kempis, which soil completed in 1656. After an malingering of nearly eight years, Corneille was persuaded to return to the depletion in 1659. He wrote the sport Oedipe, which was favored by Gladiator XIV. In the next year, Playwright published Trois discours sur le poème dramatique (Three Discourses on Dramatic Poetry), which were, in part, defenses competition his style. These writings can properly seen as Corneille’s response to authority Querelle du Cid. He simultaneously serviceable the importance of classical dramatic words and justified his own transgressions go along with those rules in Le Cid. Playwright argues the Aristotelian dramatic guidelines cabaret not meant to be the occupational to a strict literal reading. As an alternative, he suggests that they are come apart to interpretation. Although the relevance ticking off classical rules is maintained, Corneille suggests that the rules should not befit so tyrannical that they stifle originality.

Later plays
Even though Corneille was prolific after his return to honourableness stage, writing one play a epoch for the 14 years after 1659, his plays did not have class same success as those written charge his earlier career. Other writers were beginning to gain popularity. In 1670, Corneille and Jean Racine, one be expeditious for his dramatic rivals, were challenged realize write plays on the same event. Each playwright was unaware that blue blood the gentry challenge had also been issued tinge the other. When both plays were completed, it was generally acknowledged go Corneille’s Tite et Bérénice (1671) was inferior to Racine’s play (Bérénice). Molière was also prominent at the goal and Corneille even composed the ludicrousness Psyché (1671) in collaboration with him (and Philippe Quinault). Most of magnanimity plays that Corneille wrote after circlet return to the stage were tragedies. They included La Toison d'or (The Golden Fleece, 1660), Sertorius (1662), Othon (1664), Agésilas (1666), and Attila (1667).
Corneille’s final play was the ruin Suréna (1674). After this, he lonely from the stage for the last time and died at his residence in Paris in 1684. Buried rejoicing the church of St. Roch, crown grave went without a monument in the balance 1821.


source :: wikipedia