The Palace and Park by Phillips, Forbes, Latham, Owen, Scharf, and Shenton

[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.]