For a not inconsiderable time the fate of French tragedy trembled in the balance. During the first thirty years of the seventeenth century the most prominent dramatist was Alexandre Hardy[233]. He is the first and not the least important example in French literary history of a dramatic author pure and simple, a playwright who was a playwright, and nothing else. Hardy was for years attached to the regular company of actors who had succeeded the Confrérie at the Hôtel de Bourgogne, and wrote or adapted pieces for them at the tariff (it is said) of fifty crowns a play. His fertility was immense; and he is said to have written some hundreds of plays. The exact number is variously stated at from five to seven hundred. Forty-one exist in print. Although not destitute of original power, Hardy was driven to the already copious theatre of Spain for subjects and models. His plays being meant for acting and for nothing else, the scholarly but tedious exercitations of the Pléiade school were out of the question. Yet, while he introduced a great deal of Spanish embroilment into his plots, and a great deal of Spanish bombast into his speeches, Hardy still accepted the general outline of the classical tragedy, and, though utterly careless of unity of place and time, adhered for the most part to the perhaps more mischievous unity of action. His best play, Mariamne, is powerfully written, is arranged with considerable skill, and contains some fine lines and even scenes; but, little as Hardy hampered himself with rules, it still has, to an English reader, a certain thinness of interest. A contemporary of Hardy's, Jean de Schélandre, made, in a play[234] which does not seem ever to have been acted, a remarkable attempt at enfranchising French tragedy with the full privileges rather of the English than of the Spanish drama; but this play, Tyr et Sidon, had no imitators and no influence, and the general model remained unaltered. But during the first quarter of the century the theatre was exceedingly popular, and the institution of strolling troops of actors spread its popularity all over France. Nearly a hundred names of dramatic writers of this time are preserved. Most of these, no doubt, were but retainers of the houses or the troops, and did little but patch, adapt, and translate. But of the immediate predecessors of Corneille, and his earlier contemporaries, at least half-a-dozen are more or less known to fame, besides the really great name of Rotrou. Mairet, Tristan, Du Ryer, Scudéry, Claveret, and D'Aubignac, were the chief of these. Mairet has been called the French Marston, and the resemblance is not confined to the fact that both wrote tragedies on the favourite subject of Sophonisba. The chief work of Tristan, who was also a poet of some merit, was Marianne (Mariamne), very closely modelled on an Italian original, and much less vigorous, though more polished than Hardy's play on the same subject. Du Ryer had neither Mairet's vigour nor Tristan's tenderness, but he made more progress than either of them had done in the direction of the completed tragedy of Corneille and Racine. Scudéry's Amour Tyrannique is vigorous and bombastic. Claveret and D'Aubignac (the latter of whom was an active critic as well as a bad playwright) principally derive their reputation, such as it is, from the acerbity with which they attacked Corneille in the dispute about the Cid; nor should the name of Théophile de Viaud be passed over in this connection. His Pyrame et Thisbé is often considered as almost the extreme example (though Corneille's Clitandre is perhaps worse) of the conceited Spanish-French style in tragedy. The passage in which Thisbe accuses the poniard with which Pyramus has stabbed himself of blushing at having sullied itself with the blood of its master is a commonplace of quotation. Yet, like all Théophile's work, Pyrame et Thisbé has value, and so has the unrepresented tragedy of Pasiphaé.
Rotrou.
Among these forgotten names, and others more absolutely forgotten still, that of Rotrou[235] is pre-eminently distinguished. Jean de Rotrou (the particle is not uniformly allowed him) was born at Dreux in 1609, and was thus three years younger than Corneille. He went earlier to Paris, however, and at once betook himself to dramatic poetry, his Hypocondriaque being represented before he was nineteen. He formed with Corneille, Colletet, Bois-Robert, and L'Etoile, the band of Richelieu's 'Five Poets,' who composed tragedies jointly on the Cardinal's plans[236]. He also worked unceasingly at the theatre on his own account. Thirty-five pieces are certainly, and five more doubtfully, attributed to him. For some time he had to work for bread, and the only weakness charged against him, a mania for gambling, left him poor, and perhaps prevented him from devoting to his work as much pains as he might otherwise have given. After a time, however, he was pensioned, and appointed to various legal posts which members of his family had previously held at Dreux. His fidelity to his official duty was the cause of his death. He was at Paris when a violent epidemic broke out at Dreux. All who could left the town, and Rotrou was strongly dissuaded from returning. But he felt himself responsible for the maintenance of order, likely at such a time to be specially endangered. He returned at once, caught the infection, and died. Rotrou's plays are too numerous for a complete list of them to be here given, and by common consent two of them, Le Véritable Saint Genest and Venceslas, greatly excel the rest, though vigorous verse and good scenes are to be found in almost all. These plays, it should be observed, were not written until after the publication of Corneille's early masterpieces, though Rotrou had exhibited a play the year before the appearance of Mélite. The two poets were friends, and though Corneille in a manner supplanted him, Rotrou was unwavering throughout his life in expressions of admiration for his great rival. Of the two plays just mentioned, Venceslas is the more regular, the better adapted to the canons of the French stage, and the more even in its excellence. Saint Genest is perhaps the more interesting. The central idea is remarkable. Genest, an actor, performs before Diocletian a part in which he represents a Christian martyr. He is miraculously converted during the study of the piece, and at its performance, after astonishing the audience by the fervour and vividness with which he plays his part, boldly speaks in his own person, and, avowing his conversion, is led off to prison and martyrdom. Many of the speeches in this play are admirable poetry, and the plot is far from ill-managed. The play within a play, of which Hamlet and the Taming of the Shrew are English examples, was, at this transition period, a favourite stage incident in France. Corneille's Illusion is the most complicated example of it, but Saint Genest is by far the most interesting and the best managed.
Corneille.
There is every reason to believe that though, as has been said, Rotrou's best pieces were influenced by Corneille, the greater poet owed something at the beginning of his career to the example of his friend. Pierre Corneille[237] was born at Rouen in 1606. His father, of the same name, was an official of rank in the legal hierarchy; his mother was named Marthe le Pesant. He was educated in the Jesuits' school, went to the bar, and obtained certain small legal preferments which he afterwards sold. He practised, but 'sans goût et sans succès,' says Fontenelle, his nephew and biographer. His first comedy, Mélite, is said to have been suggested by a personal experience. It succeeded at Rouen, and the author took it to Paris. His next attempt was a tragedy or a tragi-comedy, Clitandre, of a really marvellous extravagance. It was followed by several other pieces, in all of which there is remarkable talent, though the author had not yet found his way. He found it at last in Médée, where the famous reply of the heroine 'Que vous reste-t-il?' 'Moi,' struck at once the note which no one but Corneille himself and Victor Hugo has ever struck since, and which no one had ever struck before. Corneille, as has been said above, was one of Richelieu's five poets, but he was indocile to the Cardinal's caprices; and either this indocility or jealousy set Richelieu against Le Cid. This great and famous play was suggested by, rather than copied from, the Spanish of Guillem de Castro. It excited an extraordinary turmoil among men of letters, but the public never went wrong about it from the first. Boileau's phrase—
Tout Paris pour Chimène a les yeux de Rodrigue,
is as sound in fact as it is smart in expression. The Cid appeared in 1636, and for some years Corneille produced a succession of masterpieces. Horace, Cinna, Polyeucte, Le Menteur (a remarkable comic effort, to which Molière acknowledged his indebtedness), and Rodogune, in some respects the finest of all, succeeded each other at but short intervals. Half-a-dozen plays, somewhat inferior in actual merit, and which had the drawback of coming before a public used to the author and his method, followed, and the last and least good of them, Pertharite, was damned. Corneille, always the proudest of writers, was deeply wounded by this ill-success, and publicly renounced the stage. He devoted himself for some years to a strange task, the turning of the Imitation of A'Kempis into verse. At last Fouquet, the Mæcenas of the day, prevailed on him to begin again. He did so with Œdipe, which was successful. It was followed by many other plays, which had varying fates. Racine, with a method refined upon Corneille's own, and a greater sympathy with the actual generation, became the rival of the elder poet, and Corneille did not obey the wise maxim, solve senescentem. Yet his later plays have far more merit than is usually allowed to them.
The private life of Corneille was not unhappy, though his haughty and sensitive temperament brought him many vexations. His gains were small, never exceeding two hundred louis for a play, and though this was supplemented by occasional gifts from rich dedicatees and by a scanty private fortune, the total was insufficient. 'Je suis saoul de gloire et affamé d'argent' is one of the numerous sayings of scornful discontent recorded of him. He had a pension, but it was in his later days very ill paid. Nor was he one of the easy-going men of letters who console themselves by Bohemian indulgence. In general society he was awkward, constrained, and silent: but his home, which was long shared with his brother Thomas—they married two sisters—seems to have been a happy one. He retained till his death in 1684, if not the favour of the King and the general public, that of the persons whose favour was best worth having, such as Saint-Evremond and Madame de Sévigné, and his own confidence in his genius never deserted him.
Corneille's dramatic career may be divided into four parts; the first reaching from Mélite to L'Illusion Comique; the second (that of his masterpieces), from the Cid to Rodogune; the third, from Théodore to Pertharite; the fourth, that of the decadence, from Œdipe to Suréna. The following is a list of the names and dates (these latter being sometimes doubtful and contentious) of his plays. Mélite, 1629, a comedy improbable and confused in incident and overdone with verbal pointes, but much beyond anything previous to it. Clitandre, 1630, a tragedy in the taste of the time, one of the maddest of plays. La Veuve, 1634, a comedy, well written and lively. La Galerie du Palais (same year), a capital comedy of its immature kind, bringing in the humours of contemporary Paris. La Suivante, a comedy (same year), in which the great character of the soubrette makes her first appearance. La Place Royale, a comedy, 1635, duller than the Galerie du Palais, which it in some respects resembles. Médée, a tragedy (same year), incomparably the best French tragedy up to its date. L'Illusion Comique, 1636, a tragi-comedy of the extremest Spanish type, complicated and improbable to a degree in its action, which turns on the motive of a play within a play, and produces, as the author himself remarks, a division into prologue (Act i), an imperfect comedy (Acts ii-iv), and a tragedy (Act v). Le Cid, 1636, the best-known if not the best of Corneille's plays, and, from the mere playwright's point of view, the most attractive. Horace, 1639, often, but improperly, called Les Horaces, in which the Cornelian method is seen complete. The final speech of Camille before her brother kills her was as a whole never exceeded by the author, and the 'qu'il mourût' of the elder Horace is equally characteristic. Cinna, 1639, the general favourite in France, but somewhat stilted and devoid of action to foreign taste. Polyeucte, 1640, the greatest of all Christian tragedies. La Mort de Pompée, 1641, full of stately verse, but heavy and somewhat grandiose. Le Menteur, 1642, a charming comedy, followed by a Suite du Menteur, 1643, not inferior, though the fickleness of public taste disapproved it. Théodore, 1645, a noble tragedy, which only failed because the prudery of theatrical precisians found fault with its theme—the subjection of a Christian virgin to the last and worst trial of her honour and faith. Rodogune, 1646, the chef-d'œuvre of the style, displaying from beginning to end an astonishing power of moving admiration and terror. This play marks the climax of Corneille's faculty. In Héraclius, 1647, no real falling-off is visible; indeed, the character of Phocas stands almost alone on the French stage as a parallel in some sort to Iago. Andromède, 1650, introduced a considerable amount of spectacle and decoration, not unhappily. Don Sanche d'Aragon, 1651, Nicomède, 1652, and Pertharite, 1653 (each of which may possibly be a year older than these respective dates), show what political economists might call the stationary state of the poet's genius. The first two plays produced after the interval, Œdipe, 1659, and La Toison d'Or, 1660, both show the benefit of the rest the poet had had, together with certain signs of advancing years. La Toison d'Or, like Andromède, includes a great deal of spectacle, and is rather an elaborate masque interspersed with regular dramatic scenes than a tragedy. It is one of the best specimens of the kind. In Sertorius, 1662, there are occasional passages of much grandeur and beauty, but Sophonisbe, 1663, is hardly a success, nor is Othon, 1664. Agésilas, 1666, and Attila, 1667, have been (the latter unfairly) damned by a quatrain of Boileau's. But Tite et Bérénice, 1670, must be acknowledged to be inferior to the play of Racine in rivalry with which it was produced. Pulchérie, 1672, and Suréna, 1674, are last-fruits off an old tree, which, especially the second, are not unworthy of it. Nor was Corneille's contribution to the remarkable opera of Psyché, 1671, inconsiderable. This completes his dramatic work, which amounts to thirty pieces and part of another. It should be added that, to all the plays up to La Toison d'Or, he subjoined in a collected edition very remarkable criticisms of them, which he calls Examens.
The characteristics of this great dramatist are perhaps more uniform than those of any writer of equal rank, and there can be little doubt that this uniformity, which, considering the great bulk of his work, amounts almost to monotony, was the cause of his gradual loss of popularity. We shall not here notice the points which he has in common with Racine, as a writer of the French classical drama. These will come in more suitably when Racine himself has been dealt with. In Corneille the academic criticism of the time found the fault that he rather excited admiration than pity and terror, and it held that admiration was 'not a tragic passion.' The criticism was clumsy, and to a great extent futile, but it has a certain basis of truth. It is comparatively rare for Corneille to attempt, after his earliest period, to interest his hearers or readers in the fortunes of his characters. It is rather in the way that they bear their fortunes, and particularly in a kind of haughty disdain for fortune itself, that these characters impress us. Sometimes, as in the Cléopâtre of Rodogune, this masterful temper is engaged on the side of evil, more frequently it is combined with amiable or at least respectable characteristics. But there is always something 'remote and afar' about it, and the application by La Bruyère of the famous comparison between the Greek tragedians is in the main strictly accurate. It follows that Corneille's demand upon his hearers or readers is a somewhat severe one, and one with which many men are neither disposed nor able to comply. It was a greater misfortune for him than for almost any one else that the French and not the English drama was the Sparta which it fell to his lot to decorate. His powers were not in reality limited. The Menteur shows an excellent comic faculty, and the strokes of irony in his serious plays have more of true humour in them than appears in almost any other French dramatist. Had the licence of the English stage been his, he would probably have been able to impart a greater interest to his plays than they already possess, without sacrificing his peculiar faculty of sublime moral portraiture, and certainly without losing the credit of the magnificent single lines and isolated passages which abound in his work. The friendly criticism of Molière on these sudden flashes is well known. 'My friend Corneille,' he said, 'has a familiar who comes now and then and whispers in his ear the finest verses in the world, but sometimes the familiar deserts him, and then he writes no better than anybody else.' The most fertile familiar cannot suggest fifty or sixty thousand of these finest lines in the world; and the consequence is that, what with the lack of central interest which follows from Corneille's own plan, with the absence of subsidiary interest and relief which is inevitable in the French classical model, and with the drawbacks of his somewhat declamatory style, there are long passages, sometimes whole scenes and acts, if not whole plays of his, which are but dreary reading, and could hardly be, even with the most appreciative and creative acting, other than dreary to witness. It was Corneille's fault that, while bowing himself to the yoke of the Senecan drama, he did not perceive or would not accept the fact that there is practically but one situation, by the working out of which that drama can be made tolerable to modern audiences. This situation is love-making, which in real life necessitates a vast deal of talking, and about which, even on the stage, a vast deal of talking is admissible. The characters of the French classic or heroic play are practically allowed to do nothing but talk, and the author who would make them interesting must submit himself to his fate. Corneille would not submit wholly and cheerfully, though he has, as might be expected, been obliged to introduce love-making into most of his plays.