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In Pierre Corneille's gripping tragedy, "Polyeucte," the playwright explores themes of faith, sacrifice, and the struggle between personal conviction and societal pressures. Set against the backdrop of Roman-occupied Armenia, the narrative follows the titular character, Polyeucte, who embraces martyrdom to express his unwavering belief in Christianity. Corneille's use of elevated language and dramatic monologues enhances the emotional intensity, allowing readers to delve into the moral dilemmas faced by the characters. The play, emerging from the early 17th-century French classical tradition, challenges the conventions of heroic tragedy by intertwining personal agency with divine purpose, making it a pivotal work in the development of French drama. Pierre Corneille (1606-1684) stands as one of the foremost figures in French literature, often deemed the father of French tragedy. His innovative treatment of themes concerning honor, duty, and individualism reflects his own experiences in a time of political unrest and cultural upheaval. "Polyeucte," written in 1640, showcases Corneille's philosophical engagement with ethical quandaries, which was influenced by his own Catholic faith and the tensions between religious fervor and reason during the Enlightenment. "Polyeucte" deserves recognition for its profound exploration of spiritual courage and the human condition. Readers seeking a compelling blend of philosophical inquiry and dramatic narrative will find this play both challenging and rewarding. Corneille's masterful construction of character and dialogue invites thoughtful reflection, making it a must-read for those interested in the evolution of tragedy and the exploration of faith's complexities.
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Veröffentlichungsjahr: 2022
Pierre Corneille was born in Rouen in 1606, the son of an official; was educated by the Jesuits, and practised unsuccessfully as a lawyer. His dramatic career began with the comedy of "Melite," but it was by his "Medee" that he first proved his tragic genius. "The Cid" appeared in 1636, and a series of masterpieces followed—"Horace," "Cinna," "Polyeucte," "Le Menteur." After a failure in "Pertharite" he retired from the stage, deeply hurt by the disapproval of his audience. Six years later he resumed play writing with "OEdipe" and continued till 1674, producing in all some thirty plays. Though he earned a great reputation, he was poorly paid; and a proud and sensitive nature laid him open to considerable suffering. He died in 1684.
The works of Corneille represent most fully the ideal of French so-called "classical" tragedy. The laws to which this type of tragedy sought to conform were not so much truth to nature as the principles which the critics had derived from a somewhat inadequate interpretation of Aristotle and of the practise of the Greek tragedians. These principles concentrated the interest of the play upon a single central situation, in order to emphasize which, subordinate characters and complicating under-plots were avoided as much as possible. There was little or no action upon the stage, and the events of the plot were narrated by messengers, or by the main characters in conversation with confidantes. Further, the "dramatic unities" of time and place, as well as of action, were held to be binding.
One result of these rules was to give an extraordinary importance to the speeches; and it is in the eloquence of these, in the grandeur and dignity of the versification, and in the lofty moral elevation of the characters, that Corneille excels. All of these qualities are admirably exemplified in "Polyeucte"; and in the conduct of the leading personages one may perceive the most persistent trait of this dramatist's treatment of heroic character—the conquest of the passions by the reason and the will. "Among the masterpieces of Corneille," says Paul de Saint-Victor, "'Polyeucte' is assuredly the greatest; and nothing in all his dramas equals the extraordinary beauty of the character of 'Pauline.'"
CHARACTERS
The Scene is at Melitena, capital of Armenia. The action takes place in the Palace of Felix.