Thomas Corneille


Also found in: Wikipedia.

Corneille, Thomas

 

Born Aug. 20, 1625, in Rouen; died Oct. 8 or Dec. 8, 1709, in Les Andelys. French writer, scholar, and translator; brother of P. Corneille. Member of the French Academy from 1685.

In 1649, Corneille began writing imitations or adaptations of Spanish comedies of intrigue. His lyric tragedy Timocrate (1656) made him famous. A master of dramatic effects, Corneille was a favorite court playwright in France until the end of the 17th century. He wrote plays in various genres, ranging from tragedy to opera in the galant style, sometimes in collaboration with others. During his last years he translated Ovid and worked on academic encyclopedic dictionaries and a history of Louis XIV.

WORKS

Oeuvres, vols. 1–9. Paris, 1758.
Théâtre complet. Paris, 1881.

REFERENCES

Istoriia frantsuzskoi literatury, vol. 1. Moscow-Leningrad, 1946. Page 437.
Collins, D. A. Thomas Corneille: Protean Dramatist. The Hague, 1966.
Mentioned in ?
References in periodicals archive ?
Le Vert's Docteur amoureux (1637) has a nourrice with dentures and a wig, Thomas Corneille's Dom Bertrand de Cigarral (1651) has an old maid who faints seven times a day, Tristan L'Hermite's Parasite (1653-4) features a vieille servante with a savage tongue who calls her master 'simulacre platre, antiquaille mouvante, / Squellette decharne, sepulture ambulante' [plaster simulation, jiggling piece of old junk, bag of bones, walking sepulchre].
12: 'La Devineresse ou les faux enchantements' by Jean Donneau de Vise and Thomas Corneille. Ed.
The latter include principally Francois Le Metel de Boisrobert, Jean Rotrou, and Paul Scarron, and more incidentally Pierre and Thomas Corneille, Antoine Le Metel, sieur d'Ouville, and Philippe Quinault.
Birthmarks: The Tragedy of Primogeniture in Pierre Corneille, Thomas Corneille, and Jean Racine.
Teuzzone (1706) is based on two French tragedies, Racine's Bajazet and Thomas Corneille's Le Comte d'Essex, with the scene transposed to China and the funesto fine changed to a lieto fine.
Both works gave audiences what had proved popular since Thomas Corneille's Timocrate of 1656, a new mould of tragedy that placed the claims of romance centre stage.
Few dramatists writing in the early 1650s wrote anything as accomplished as L'Amant indiscret and, while it would be wrong to claim for Quinault the importance of a Scarron or a Thomas Corneille in this period, his contribution to pre-Moliere comedy is eminently worthy of this level of critical recognition.
In a lively introduction, Wendy Gibson considers Thomas Corneille's play of 1678 in relation to La Calprenede's earlier version (1639) and, as is so often the case with Thomas, in terms of literary fashions of the day.
This assessment is conducted by means of close readings of selected tragedies, including works by Desjardins, Rotrou, Thomas Corneille, Quinault, Gilbert, Magnon, and Pradon, though centre-stage is inevitably occupied by Pierre Corneille and especially Racine.
By Part iii, however, the socio-psychological emphasis predominates in discussions of Pierre Corneille's Rodogune and Nicomede together with Thomas Corneille's Persee et Demetrius and La Mort d'Annibal as contrasting explorations of sibling rivalry and the uncertainties of ideological inheritance.
Thomas Corneille's bland verse rendering suppresses the problematic atheism and even La Grange's 1682 edition was heavily censored.