Comparetti's Edipo and Jebb's introduction for the Oedipus of Dryden, Corneille and Voltaire; A.
THOMAS CORNEILLE (1625-1709), French dramatist, was born at Rouen on the 10th of August 1625, being nearly twenty years younger than his brother, the great Corneille.
It has been the custom to speak of Thomas Corneille as of one who, but for the name he bore, would merit no notice.
But of Laodice, Comma, Stilico and some other pieces, Pierre Corneille himself said that "he wished he had written them," and he was not wont to speak lightly.
Thomas Corneille is in many ways remarkable in the literary gossip-history of his time.
There is a monograph, Thomas Corneille, sa vie et ses ouvrages (1892), by G.
See also the Fragments inidits de critique sur Pierre et Thomas Corneille of Alfred de Vigny, published in 1905.
He read much of the pamphlet literature then flooding the country, but he still preferred the, more general studies in history and literature, Plutarch, Caesar, Corneille, Voltaire and Rousseau being his favourite author:.
Owing to his eloquence he was speedily ranked in popular estimation with Corneille, Racine, and the other leading figures of the most brilliant period of Louis XIV.'s reign.
A generation later appeared Baptiste Massillon (1663-1742), who was to Bossuet as Racine to Corneille; and Jacques Saurin (1677-1730), whose evangelical sermons were delivered at the Hague.
Translations from Moliere, Racine, Corneille, Calderon and Moreto have also been issued by the Kisfaludy society.
But more important than his own efforts as an author were his protection and patronage of literary men, especially of Corneille, and his creation of the French Academy in 1635.
This was first printed in the Nouvelles de la republique des lettres (January 1685) and, as Vie de Corneille, was included in all the editions of Fontenelle's OEuvres.
Fontenelle forms a link between two very widely different periods of French literature, that of Corneille, Racine and Boileau on the one hand, and that of Voltaire, D'Alembert and Diderot on the other.
How he built a church and got into trouble in so doing at Ferney, how he put "Deo erexit Voltaire" on it (1760-61) and obtained a relic from the pope for his new building, how he entertained a grand-niece of Corneille, and for her benefit wrote his well-known "commentary" on that poet, are matters of interest, but to be passed over briefly.
Although Voltaire had neither the perfect versification of Racine nor the noble poetry of Corneille, he surpassed the latter certainly, and the former in the opinion of some not incompetent judges, in playing the difficult and artificial game of the French tragedy.
In literary criticism pure and simple his principal work is the Commentaire sur Corneille, though he wrote a good deal more of the same kind - sometimes (as in his Life and notices of Moliere) independently sometimes as part of his Siecles.
Among his principal works upon these subjects may be noted the four volumes of Letteratura della nuova Italia (1860-1910); his essays upon Goethe, Ariosto, Shakespeare, Corneille, and the Poetry of Dante; his two volumes Storia della storiografia italiana del secolo XIX.
Meredith, the What is living and what is dead of the Philosophy of Hegel (Macmillan), and the Breviary of Aesthetic (Rice Institute, Texas), the volume Shakespeare, Ariosto and Corneille (Henry Holt & Co., New York), and the Poetry of Dante by Douglas Ainslie.
The drama that has made Castro's reputation is Las Mocedades del Cid (1 599 ?), to the first part of which Corneille was largely indebted for the materials of his tragedy.
His favourite authors were Euripides, Virgil and Racine, whom he defends against the stock criticisms of the admirers of Corneille with equal zeal and insight.
He translated the Cid of Corneille, and wrote a poem on the subject of Psyche, based upon the well-known Greek myth.
Meantime, he had gained a high literary reputation by his Eloges of Charles V.,, Lacaille, Moliere, Corneille and Leibnitz, which were issued in a collected form in 1770 and 1790; he was admitted to the French Academy (February 26, 1784), and to the Academie des Inscriptions in 1785, when Fontenelle's simultaneous membership of all three Academies was renewed in him.
The Jesuits, on the other hand, claimed Corneille and Moliere, as well as Descartes and Bossuet, Fontenelle, Montesquieu and Voltaire.
In the French course I read some of the works of Corneille, Moliere, Racine, Alfred de Musset and Sainte-Beuve, and in the German those of Goethe and Schiller.
In French we have finished "Colomba," and I am reading "Horace" by Corneille and La Fontaine's fables, both of which are in braille.