Character Catalog

Corneille's first comedy, performed in Paris to unexpected success. It launched his theatrical career and introduced a new, more natural and psychological tone into French comedy.

Corneille's absolute masterpiece, inspired by a Spanish play by Guillén de Castro. This tragicomedy explores the conflict between love and honor and remains the most performed and most studied play in classical French theatre.

A tragedy inspired by the Roman history recounted by Livy, depicting the battle of the Horatii against the Curiatii. Corneille rigorously explores the sacrifice of the individual in the name of the fatherland.

A political tragedy showing Augustus confronting a conspiracy. The play examines the nature of power and the greatness of clemency, a theme dear to Corneille and to the political context of his era.

The first Christian tragedy in French literature, recounting the martyrdom of a Roman soldier converted to Christianity. It combines love, duty, and faith in a remarkably balanced dramatic work.

A political tragedy acclaimed by audiences during the Fronde for its heroic and defiant dimension. Corneille portrays a proud and unshakeable hero facing court intrigues.

Corneille's final tragedy, considered one of his most poignant works. It marks the end of his career at a time when Racine had come to dominate the Parisian stage.

Rodrigue: 'Oh rage! Oh despair! Oh hostile old age! Have I lived this long only to face such infamy?'

The Académie holds that the subject of Le Cid is flawed in that Chimène marries her father's killer, which offends morality and plausibility.

This play has so many advantages on the side of the brilliance that dazzles, that it has suffered little on the side of the rules, from which it departs in some respects.

Camille: 'Rome, the sole object of my resentment! Rome, to whom your arm has just sacrificed my beloved!'

I never truly mastered the rules, and I always mistrusted my ability to apply them with rigor; but I always strove to please the public.

Pierre Corneille's birthplace, where he was born in 1606 and practiced as a lawyer. He spent much of his life there and wrote several of his major works in the city.

The main theatre hall in Paris in the 17th century, where several of Corneille's plays were performed. It was the foremost venue of Parisian theatrical life of the era.

The rival venue to the Hôtel de Bourgogne where Le Cid premiered in January 1637. This extraordinary success established the reputation of both the theatre company and Corneille.

Institution founded by Richelieu in 1635, of which Corneille became a member in 1647. It played a central role in the Quarrel of Le Cid by publishing its critical Sentiments on the play.

Under the impetus of Richelieu and later Molière, this venue became a leading centre of Parisian theatrical life. Corneille presented some of his plays there at the Cardinal's commission.

The everyday writing instrument of a 17th-century author. Corneille composed his plays with a quill, tirelessly reworking his alexandrines to make them more striking.

Corneille's manuscripts circulated among acting troupes before going to print. Mastery of the dramatic text, with its stage directions and long speeches, was the central tool of his craft.

Corneille studied law and practiced as a lawyer in Rouen. His knowledge of Roman law fed his tragedies, particularly the conflicts of honour and duty in Le Cid and Horace.

Candlelight was ubiquitous in bourgeois interiors of the 17th century. Corneille often worked by candlelight in the evenings, far from the bustle of Parisian life.

Under Louis XIV, theatre was frequently intertwined with music and ballet. Corneille collaborated with composers and adapted some of his works for court entertainments.

A symbol of the world of performance to which Corneille belonged, even as the French stage of the 17th century was gradually abandoning masks in favour of the actors' natural style of play.