The Invention of Pierre Corneille:

The most important verse paraphrase of the Imitation of Christ in 17th-century France was written by the dramatist Pierre Corneille. In his paratexts he discusses the difficulties he has encountered in the project, which expands on the original by including engravings, many of which illustrate episodes from the lives of saints. One such is Theodora, who is the subject of his closely contemporary martyr tragedy, Théodore. But here too he encountered difficulties, in the context of bienséance, from objections expressed to the prostitution with which the eponym is threatened. In a different idiom, the Jesuit priest Jean-Joseph Surin, seeing his role as exorcist as another kind of imitation of Christ, records his ordeal in two autobiographical works, one of which moves progressively into stylistic incoherence. Finally, Bossuet engages in the polemic surrounding a further possible implication of the term, in the form of the Catholic doctrine of the Real Presence.

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Le commerce de l’honneur dans Le Cid de Pierre Corneille

10.3917/herm.fourn.2016.01.0069 ◽

2016 ◽

pp. 69-84

Author(s):

Julien Perrier-Chartrand

Keyword(s):

Pierre Corneille

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Pierre Corneille: Poetics and Political Drama under Louis XIII. David Clarke

Modern Philology ◽

10.1086/392239 ◽

1994 ◽

Vol 92 (2) ◽

pp. 240-243

Author(s):

Susan Read Baker

Keyword(s):

Pierre Corneille ◽

Political Drama

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Pierre Corneille: poetics and political drama under Louis XIII

Choice Reviews Online ◽

10.5860/choice.30-1955 ◽

1992 ◽

Vol 30 (04) ◽

pp. 30-1955-30-1955

Keyword(s):

Pierre Corneille ◽

Political Drama

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L'Édition du thèâtre français au dix-septième siècle: 1630–1690

Irish Journal of French Studies ◽

10.7173/164913316820201689 ◽

2016 ◽

Vol 16 (1) ◽

pp. 5-21

Author(s):

Alain Riffaud

Keyword(s):

Pierre Corneille ◽

Nouvelles Associations

Surtout provinciale au début du siècle, l'édition théâtrale devient parisienne à partir de 1630, date à laquelle la production de nouveautés augmente rapidement. Jusqu'au milieu des années 1650, le marché de la capitale passe aux mains de trois libraires du Palais qui sous-traitent l'impression à de petits ateliers. Après 1660, de nouveaux éditeurs parisiens apparaissent et de nouvelles associations voient le jour. Face à la domination de Paris, la province se spécialise dans la contrefaçon, active à Caen, Avignon, Grenoble puis Lyon; en Hollande comme aux Pays-Bas espagnols les éditions pirates au format in-douze deviennent de plus en plus nombreuses. Les dramaturges maîtrisent assez peu la publication de leurs livres. Deux figures échappent au sort commun, Pierre Corneille et Molière.

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