Rodogune: or the rival brothers. A tragedy. Done from the French of Mons. Corneille. ... - Softcover

The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars.
Western literary study flows out of eighteenth-century works by Alexander Pope, Daniel Defoe, Henry Fielding, Frances Burney, Denis Diderot, Johann Gottfried Herder, Johann Wolfgang von Goethe, and others. Experience the birth of the modern novel, or compare the development of language using dictionaries and grammar discourses.
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<sourceLibrary>British Library

<ESTCID>T144636

<Notes>Preface signed: S. Aspinwall, translator.

<imprintFull>London : printed for the author; and sold by Mr. Dodsley; Mr. Robson; Mr. Davis; Mr. Millan; Mr. Marsh; Mr. Wilkie; Mr. Ewart; and by most booksellers in London and Westminster, 1765. <collation>[6],81,[1]p. ; 8°

1606 - 1684. Avocat, il debute au theatre par des comedies ("Melite, " 1629; "la Galerie du Palais, " 1632-1633; "la Place Royale, " 1633-1634; "l'Illusion comique, " 1635-1636) et devient celebre avec une tragi-comedie, "le Cid" (1637), qui provoque une querelle litteraire. Sensible aux critiques, il se consacre alors a la tragedie -reguliere- ("Horace, " 1640; "Cinna, " 1642; "Polyeucte, " 1643), sans abandonner la comedie a la mode espagnole ("le Menteur, " 1643; "Don Sanche d'Aragon, " 1650) et les divertissements de cour ("Andromede, " 1650). Evoluant vers une utilisation systematique du pathetique et des intrigues plus complexes ("la Mort de Pompee, " 1643; "Rodogune, " 1644-1645; "Nicomede, " 1651), il connait avec "Pertharite" (1651) un echec qui l'eloigne du theatre pendant sept ans. Il traduit en vers l'"Imitation de Jesus-Christ" (1651-1656) et s'occupe de l'edition de son theatre, dont il definit les principes dans les "Examens" de ses pieces et trois "Discours" (1660). Revenu a la scene ("Oedipe, " 1659; "Sertorius, " 1662; "Sophonisbe, " 1663; "Attila, " 1667), il voit le public lui preferer Racine ("Tite et Berenice, " 1670). Corneille peint des heros -genereux- pour qui l'honneur et la gloire meritent tous les sacrifices. Le drame cornelien atteint le -sublime-, mais refuse le -tragique-, puisqu'il est le fait d'etres libres qui decident toujours de leur destin. (Academie francaise.)