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.]

219. Jean de Rotrou. Dramatist.

[Born at Dreux, in France, 1609. Died there, 1650, Aged 41.]

One of the creators of French tragedy. To him Corneille is indebted for the idea of founding a tragedy upon the subject of the Cid—for it was at his instigation that the great master first looked to the Spanish stage for inspiration and guidance. Rotrou gloried in the success of Corneille, and generously maintained his superiority over all dramatic writers in France—including himself. He left thirty-seven dramatic pieces, and many of them exhibit power and great felicity of language. He enjoyed a civil office in his native town, where he was much respected. He was cut off by an epidemic.

[The original is in marble, by Caffieri. The costume is of the time of Louis XIII.; but the bust must have been done from some painted portrait, as it bears the date of 1783, and Caffieri was not born until 1723.]

220. Jean de la Fontaine. Poet.

[Born at Château Thierry, in France, 1621. Died in Paris, 1695. Aged 74.]

A great French poet! His fables in verse, published when he was forty years of age, placed him at once amongst the first writers in verse that France had produced, and created an epoch in French literature. As a writer of fables he is probably not surpassed by any writer of any country. His life was full of vicissitudes. He succeeded his father, as Keeper of the Royal Domains at Château Thierry, but deserting both his wife and his occupation, he went to Paris, where he formed a lasting friendship with Molière, Racine, and Boileau. A pension saved him from starvation; and losing this with the fall of the Minister, Fouquet, who gave it, he was again rescued by the charity of Henrietta of England, daughter of Charles I., and wife to the Duke of Orleans. Upon the death of this princess, he was again fortunately provided for by Madame de Sablière, in whose house the poet lived for twenty years. In society, La Fontaine was dull, silent, and subject to absence of mind. In his youth he was remarkable for his aversion to poetry. He lies buried by the side of Molière, who ever regarded him with affection, and who discovered his genius years before it was acknowledged by the world. His style is easy, sprightly, graceful, witty, pointed, and inimitably naïve.

[This is from the bust in terra cotta in the Théâtre Français, by Caffieri. It has served as the authority for that by Dessine, at Versailles, and the statue in the Vestibule of the Admirals, by M. Seurre, done in 1837. Unfortunately, none of these could have been modelled from the life.]