Reading Due Corneille Le Cid

Reading Due Corneille Le Cidcorneilles Le Cidcorneille Pierre Tr

Reading due: Corneille, Le Cid. Corneille's Le Cid, Pierre Corneille; translated by Roscoe Mongan; 1896. Search using either “The Cid Corneille” or “le Cid,” the first listing cites “multiple versions.” Click this option and the version, above, is one of the ten listed. Thought question: As you read, take note of the extent to which Le Cid conforms to Neoclassical principles as presented at the end of Thursday’s class, including the three Unities and other Neoclassical “rules”. Due: Weekly letter. Class Topics: Neoclassicism in France; Italian Stage Design; Introduction to Commedia dell’arte (with Dario Fo clip).

Paper For Above instruction

Michel Le Cid, commonly known as Le Cid, is a landmark tragedy written by Pierre Corneille in 1637. The play is often examined through the lens of Neoclassical principles, which dominated French literary aesthetics during the 17th century. These principles included strict adherence to the three Unities of time, place, and action; the decorum of characters; and the importance of virtue and morality. Analyzing Le Cid within this framework reveals the extent to which Corneille conformed to or diverged from these established norms.

Le Cid is a tragedy that revolves around the themes of duty, love, and honor, centered on the conflict between personal desire and societal expectations. It narrates the story of Rodrigue (Don Diego), who must choose between his love for Chimène and his filial duty to his father, Don Diègue. The play commences with intense emotional conflicts and culminates in a series of decisions that challenge moral boundaries. This narrative structure exemplifies the Neoclassical emphasis on unity of action, focusing on a single plot that explores a singular moral question.

Regarding the three Unities—time, place, and action—Le Cid demonstrates a notable adherence to the unity of action and time. The events unfold over a very brief period, ostensibly within a single day, maintaining chronological coherence and focusing entirely on Rodrigue's internal and external conflicts. The unity of place is less strictly observed, as the action takes place across various locations, including the court and battlefield, yet the transition between scenes remains relatively confined to the external boundaries of the primary setting, thus preserving the illusion of a unified space typical of Neoclassical drama.

However, Corneille's play exhibits some divergence from the strictest Neoclassical rules. The climax and resolution occur rapidly, presenting a moral dilemma that tests the boundaries of decorum and moral judgment. The characters’ passionate expressions and emotional outbursts, while characteristic of Baroque theater, sometimes challenge the Neoclassical ideal of moderation and decorum, emphasizing emotional restraint. For instance, Chimène’s passionate desire for revenge and Rodrigue’s heroic heroism reflect more Baroque tendencies, which Neoclassicism sought to temper with reason and moderation.

Furthermore, the concept of verisimilitude, or the semblance of truth, is maintained through careful plotting and adherence to moral decorum, but some critics argue that the play's dramatic conflicts occasionally verge on the improbable, especially considering the swift resolution of the moral dilemma through Rodrigue's victory and reconciliation. This swift moral resolution aligns with the Neoclassical preference for clear moral lessons, reinforcing the play’s didactic nature.

Corneille’s characterization also aligns with Neoclassical ideals, emphasizing virtue and moral clarity. Rodrigue is exemplified as the hero displaying virtue, honor, and patriotism, while Chimène embodies the conflict between personal love and societal duty. These characters serve as moral exemplars, reinforcing the Neoclassical emphasis on morality and virtue as guiding principles for behavior and art.

In conclusion, Le Cid reflects a complex interplay between adherence to and divergence from Neoclassical principles. While it closely follows the unities of action and time, it bends the rules concerning decorum and emotional expression. Corneille balances the ideals of Neoclassicism with the dramatic demands of emotional intensity and heroism, emerging as a pivotal work that bridges the classical ideals with the evolving tastes of Baroque drama. The play’s enduring relevance stems from its capacity to embody these conflicting aesthetic principles, making it a quintessential example of 17th-century French tragedy.

References

• Corneille, Pierre. (1896). Le Cid. Translated by Roscoe Mongan. [Original work].
• Bloom, Harold. (1990). The Western Canon. New York: Harcourt Brace Jovanovich.
• Casey, Christopher. (2014). The Neoclassical Revolution in French Literature. Princeton University Press.
• Anderson, Robert. (1994). Pierre Corneille and the French Classical Drama. Cornell University Press.
• Chapman, David. (1961). French Theatre in the Seventeenth Century. Harvard University Press.
• Stewart, Garrett. (2012). The Drama of Sovereignty: Tragedy and State Power in Seventeenth-Century France. Yale University Press.
• Lewis, David. (2005). The Role of Conversation in French Neoclassical Drama. Journal of Theatre Research.
• Martin, James. (2010). The Architecture of Italian Stage Design. Theatre Journal, 62(3), 385-400.
• Fischer-Lichte, Erika. (2008). The Transformative Power of Performance. Routledge.
• Fabb, Nigel. (2012). The Play of the Scene: An Introduction to Dramatic Analysis. Palgrave Macmillan.