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Le Cid Horace Cinna Polyeucte by Corneille Pierre - AbeBooks
Seller Inventory LB Date de l'edition originale: Ce livre est la reproduction fidele d. Ships with Tracking Number! May not contain Access Codes or Supplements. May be ex-library. Buy with confidence, excellent customer service!. Today, Le Cid is widely regarded as Corneille's finest work, and is considered one of the greatest plays of the seventeenth century. The real "Cid" seems to have fought for both Muslims and Christians at different times and appears to have been a sellsword figure.
In the play, however, he is lauded solely as a Christian soldier. To this day, the Cid remains a popular Spanish folklore character, who has inspired many stories and works of art. The play was a success, although it was quite controversial due to its divergence from the standard playwriting guidelines of the time.
The piece was groundbreaking for a few reasons. It had a happy ending, which was rare for "tragedies" of the time, and allowed later tragicomic playwrights to end their plays in a variety of ways. Critics tried to hold the play up to Aristotle's Poetics and its prescriptions, but Corneille argued that great tragic characters are inherently implausible. He took a difficult topic and showed, rather realistically, how it might occur. He claimed Corneille was "deifying" himself.
He intended to prove that the play's plot was worthless, abused the basic rules of dramatic poetry, pursues an erratic course, and all of the play's beauties are stolen. Her agreement to marry Rodrigue as the King commands made her an immoral character, Chapelain argued, which was a danger to the viewing public and their morals.
He said implausible and immoral characters should not be featured in plays, even if they are based in history. Corneille ignored this and proved that plays did not need to be didactic, always showing evil being punished. Too many actions occur in a hour period, and Le Cid did not conform to unity of place.
Corneille’s Le Cid and Crying Blood
In response to these critiques, Corneille argued that his play evoked both pity and fear. He argued that multiple actions worked well for a play to have a strong beginning, middle, and end. There is only one complete action in the play, but it can evolve through several other incomplete actions. The play was set in only one city, which Corneille believed should be equivalent to unity of place.
Setting: The play takes place in the city of Seville in the Castille region of Spain during the second half of the 11th century. The Infante or princess reveals that she is also in love with Rodrigue, but could never marry him because of his lower social class. The count disarms him and insults him before leaving.
Don Arias tells the count that the king forbids a duel between him and Rodrigue, but the count arrogantly disobeys and wants to fight regardless. He taunts Rodrigue but also commends him for his lack of fear and spirit and asks him to stand down, but Rodrigue refuses. A page notifies them that he saw the two men leaving the palace.
The king also worries about a potential impending attack by the Moorish navy moving toward his lands. Don Alonse enters and announces that Rodrigue has killed the count. She plans to follow him in death afterward. Rodrigue returns home, and his father tells him the Moors are going to attack. Rodrigue goes to war and is very successful.
Regardless, she still feels the need to avenge her father's death. Don Sanche says he will fight Rodrigue on her behalf, and she promises to marry whoever triumphs. She says he must truly fight to save her from a marriage to Don Sanche. She cries that she loved Rodrigue, and pleads not to marry the victor, but will instead enter a convent and grieve forever over her father and Rodrigue.
She will leave all of her possessions to Don Sanche. However, the king tells her Rodrigue is still alive.