Editing Pierre Corneille (section)

==Biography==

===Early years===
[[File:Rouen - Maison natale de Pierre Corneille 03.jpg|thumb|Home of the Corneille family in [[Rouen]], where Corneille was born. It was turned into a [[museum]] dedicated to his work in 1920.]]

Corneille was born in [[Rouen]], [[Normandy]], [[Kingdom of France|France]], to Marthe Le Pesant and Pierre Corneille, a distinguished lawyer.<ref>[https://books.google.com/books?id=7_wEAAAAYAAJ&dq=Corneille%20and%20His%20Times&pg=PR3 ''Corneille and His Times''], François M. Guizot; 1852, Harper & Bros., NY; [https://books.google.com/books?id=7_wEAAAAYAAJ&dq=Corneille%20and%20His%20Times&pg=PA130 p.130]: "His [Corneille's] father was a royal advocate at the marble table in Normandy...."</ref> His younger brother, [[Thomas Corneille]], also became a noted playwright. He was given a rigorous [[Society of Jesus|Jesuit]] education at the ''Collège de Bourbon'' ([[Lycée Pierre-Corneille]] since 1873),<ref name="LyCo6">[http://lgcorneille-lyc.spip.ac-rouen.fr/spip.php?article6 Lycée Pierre Corneille de Rouen – History]</ref> where acting on the stage was part of the [[Jesuit drama|training]]. At 18 he began to study law, but his practical legal endeavours were largely unsuccessful. Corneille's father secured two magisterial posts for him with the Rouen department of Forests and Rivers. During his time with the department, he wrote his first play. It is unknown exactly when he wrote it, but the play, the [[comedy]] ''[[Mélite]]'', surfaced when Corneille brought it to a group of traveling actors in 1629. The actors approved of the work and made it part of their repertoire. The play was a success in Paris, and Corneille began writing plays on a regular basis. He moved to Paris in the same year and soon became one of the leading playwrights of the French stage. His early comedies, starting with ''Mélite'', depart from the French farce tradition by reflecting the elevated language and manners of fashionable Parisian society. Corneille describes his variety of comedy as "une peinture de la conversation des honnêtes gens" ("a painting of the conversation of the gentry"). His first true [[tragedy]] is ''[[Médée]]'', produced in 1635.

==={{Lang|fr|Les Cinq Auteurs}}===
The year 1634 brought more attention to Corneille. He was selected to write verses for [[Cardinal Richelieu]]'s visit to Rouen. The Cardinal took notice of Corneille and selected him to be among ''{{Lang|fr|Les Cinq Auteurs}}'' ("The Five Poets"; also translated as "the society of the five authors"). The others were [[Guillaume Colletet]], [[Boisrobert]], [[Jean Rotrou]], and [[Claude de L'Estoile]].

The five were selected to realize Richelieu's vision of a new kind of drama that emphasized virtue. Richelieu would present ideas, which the writers would express in dramatic form. However, the Cardinal's demands were too restrictive for Corneille, who attempted to innovate outside the boundaries defined by Richelieu. This led to contention between playwright and employer. After his initial contract ended, Corneille left ''{{Lang|fr|Les Cinq Auteurs}}'' and returned to Rouen.

===''Querelle du Cid''===
In the years directly following this break with Richelieu, Corneille produced what is considered his finest play. ''[[Le Cid]]'' is based on the play ''Mocedades del Cid'' (1621) by [[Guillén de Castro y Bellvis|Guillem de Castro]]. Both plays were based on the legend of [[Rodrigo Díaz de Vivar]] (nicknamed "El Cid Campeador"), a military figure in [[Medieval Spain]].

[[File:Corneille cour Napoleon Louvre.jpg|thumb|left|upright|Corneille at the Louvre]]
The original 1637 edition of the play was subtitled a [[tragicomedy]], acknowledging that it intentionally defies the classical [[tragedy]]/[[comedy]] distinction. Even though ''Le Cid'' was an enormous popular success, it was the subject of a heated argument over the norms of dramatic practice, known as the "''Querelle du Cid''" or "The Quarrel of Le Cid". Cardinal Richelieu's {{lang|fr|[[Académie française]]}} acknowledged the play's success, but determined that it was defective, in part because it did not respect the [[classical unities]] of time, place, and action (Unity of Time stipulated that all the action in a play must take place within a 24-hour time-frame; Unity of Place, that there must be only one setting for the action; and Unity of Action, that the plot must be centred on a single conflict or problem). The newly formed ''Académie'' was a body that asserted state control over cultural activity. Although it usually dealt with efforts to standardize the [[French language]], Richelieu himself ordered an analysis of ''Le Cid''.

Accusations of immorality were leveled at the play in the form of a famous pamphlet campaign. These attacks were founded on the classical theory that the theatre was a site of moral instruction. The Académie's recommendations concerning the play are articulated in [[Jean Chapelain]]'s ''[[Sentiments de l'Académie française sur la tragi-comédie du Cid]]'' (1638). Even the prominent writer [[Georges de Scudéry]] harshly criticized the play in his ''[[Observations sur le Cid]]'' (1637). The intensity of this "war of pamphlets" was heightened severely by Corneille's boastful poem Excuse À Ariste, in which he rambled and boasted about his talents and claimed that no other author could be a rival. These poems and pamphlets were made public, one after the other, as once "esteemed" playwrights traded slanderous blows. At one point, Corneille took several shots at criticizing author Jean Mairet's family and lineage. Scudéry, a close friend of Mairet at the time, did not stoop to Corneille's level of "distastefulness", but instead continued to pillory ''Le Cid'' and its violations. Scudéry even stated of ''Le Cid'' that, "almost all of the beauty which the play contains is plagiarized."

This "war of pamphlets" eventually influenced Richelieu to call upon the Académie française to analyze the play. In their final conclusions, the academy ruled that even though Corneille had attempted to remain loyal to the unity of time, ''Le Cid'' broke too many of the unities to be a valued piece of work.

The controversy, coupled with the academy's ruling proved too much for Corneille, who decided to return to Rouen. When one of his plays was reviewed unfavorably, Corneille was known to withdraw from public life. He remained publicly silent for some time; privately, however, he was said to be "troubled and obsessed by the issues, making numerous revisions to the play."

===Response to the ''Querelle du Cid''===
After a hiatus from the theater, Corneille returned in 1640. The ''Querelle du Cid'' caused Corneille to pay closer attention to classical dramatic rules. This was evident in his next plays, which were [[classical antiquity|classical]] [[tragedies]], ''[[Horace (play)|Horace]]'' (1640, dedicated to [[Cardinal Richelieu|Richelieu]]), ''[[Cinna (play)|Cinna]]'' (1643), and ''[[Polyeucte]]'' (1643). These three plays and ''Le Cid'' are collectively known as Corneille's "Classical Tetralogy". Corneille also responded to the criticisms of the Académie by making multiple revisions to ''Le Cid'' to make it closer to the conventions of classical tragedy. The 1648, 1660, and 1682 editions were no longer subtitled "[[tragicomedy]]", but "tragedy".
[[File:Adrienne lecouvreur dans cornlie.jpg|thumb|[[Adrienne Lecouvreur]] as Cornelia in ''[[The Death of Pompey]]'']]
Corneille's popularity grew and by the mid-1640s, the first collection of his plays was published. Corneille married Marie de Lampérière in 1641. They had seven children together. In the mid to late 1640s, Corneille produced mostly tragedies, ''La Mort de Pompée'' (''[[The Death of Pompey]]'', performed 1644), ''[[Rodogune]]'' (performed 1645), ''[[Théodore (Corneille)|Théodore]]'' (performed 1646), and ''[[Héraclius]]'' (performed 1647). He also wrote one comedy in this period, ''[[Le Menteur]]'' (''The Liar'', 1644).

In 1652, the play ''[[Pertharite]]'' met with poor critical reviews and a disheartened Corneille decided to quit the theatre. He began to focus on an influential verse translation of ''[[The Imitation of Christ]]'' by [[Thomas à Kempis]], which he completed in 1656. After an absence of nearly eight years, Corneille was persuaded to return to the stage in 1659. He wrote the play ''[[Oedipe (Corneille)|Oedipe]]'', which was favored by [[Louis XIV of France|Louis XIV]]. In the next year, Corneille published ''[[Trois discours sur le poème dramatique]]'' (''[[Three Discourses on Dramatic Poetry]]''), which were, in part, defenses of his style. These writings can be seen as Corneille's response to the ''Querelle du Cid''. He simultaneously maintained the importance of classical dramatic rules and justified his own transgressions of those rules in ''Le Cid''. Corneille argued the [[Aristotelianism|Aristotelian]] dramatic guidelines were not meant to be subject to a strict literal reading. Instead, he suggested that they were open to interpretation. Although the relevance of classical rules was maintained, Corneille suggested that the rules should not be so tyrannical that they stifle innovation.

===Later plays===
Even though Corneille was prolific after his return to the stage, writing one play a year for the 14 years after 1659, his later plays did not have the same success as those of his earlier career. Other writers were beginning to gain popularity. In 1670 Corneille and [[Jean Racine]], one of his dramatic rivals, were challenged to write plays on the same incident. Each playwright was unaware that the challenge had also been issued to the other. When both plays were completed, it was generally acknowledged that Corneille's ''[[Tite et Bérénice]]'' (1671) was inferior to Racine's play (''[[Bérénice]]''). [[Molière]] was also prominent at the time and Corneille even composed the [[comedy]] ''[[Psyché (play)|Psyché]]'' (1671) in collaboration with him (and [[Philippe Quinault]]). Most of the plays that Corneille wrote after his return to the stage were tragedies. They included ''{{Interlanguage link|La Toison d'or (play){{!}}La Toison d'or|fr|3=La Toison d'or}}'' (''The Golden Fleece'', 1660), ''[[Sertorius (1662 play)|Sertorius]]'' (1662), ''[[Othon (play)|Othon]]'' (1664), ''[[Agésilas]]'' (1666), and ''[[Attila (Corneille)|Attila]]'' (1667).

He wrote his last piece ''[[Suréna]]'' in 1674; it was a complete failure. After this, he retired from the stage for the final time and died at his home in Paris in 1684. His grave in the [[Saint-Roch, Paris|Église Saint-Roch]] went without a monument until 1821.