In 1641 also Corneille married Marie de Lampérière, the daughter of a local magistrate, who was to bear him seven children to whom he was a devoted father.
Corneille’s brother Thomas married Marie’s sister, and the two couples lived in extraordinary harmony, their households hardly separated; the brothers enjoyed literary amity and mutual assistance.
Perhaps inevitably, many of the most interesting engagements with these works have taken the form of individual articles, many of which have addressed Corneille’s sporadic forays into other genres (tragicomedy, Although exploring the intertextual interrelations between different texts has the potential to be very productive and enlightening, in practice such volumes — much like the wealth of conference proceedings that emerged after the 1984 tercentenary — tend to be quite fragmented and piecemeal in approach.
Baker’s study does not merely fill critical gaps in Corneille studies, and neither does it attempt to rehabilitate these works as neglected masterpieces; rather, it actively reflects on the nature of dramatic failure, considering what aesthetic and ideological compromises made these plays so unsuccessful and problematic.
Thomas, became a well-known poet and popular playwright.
Pierre was educated at the Jesuit school in his hometown, won two prizes for Latin verse composition, and became a licentiate in law.
From 1628 to 1650 he held the position of king’s counselor in the local office of the department of waterways and forests.
(“society of the five authors”), which the Cardinal had formed to have plays written, the inspiration and outline of which were provided by himself.
All this was based on a misunderstanding of now commonly regarded as the most significant play in the history of French drama, proved an immense popular success.
It sparked off a literary controversy, however, which was chiefly conducted by Corneille’s rival dramatists, Mairet and The play has nevertheless been generally regarded as the first flowering of French “classical” tragedy.