Corneille


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Cor·neille

 (kôr-nā′), Pierre 1606-1684.
French playwright whose works, including Le Cid (c. 1637) and Horace (1640), dramatize grand moral themes within elegant verse.

Corneille

(French kɔrnɛj)
n
(Biography) Pierre (pjɛr). 1606–84, French tragic dramatist often regarded as the founder of French classical drama. His plays include Médée (1635), Le Cid (1636), Horace (1640), and Polyeucte (1642)

Cor•neille

(kɔrˈneɪ)

n.
Pierre, 1606–84, French playwright and poet.
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Noun1.Corneille - French tragic dramatist whose plays treat grand moral themes in elegant verse (1606-1684)Corneille - French tragic dramatist whose plays treat grand moral themes in elegant verse (1606-1684)
References in classic literature ?
In the meanwhile, the personage who had so magically turned the tempest into dead calm, as our old and dear Corneille puts it, had modestly retreated to the half-shadow of his pillar, and would, no doubt, have remained invisible there, motionless, and mute as before, had he not been plucked by the sleeve by two young women, who, standing in the front row of the spectators, had noticed his colloquy with Michel Giborne-Jupiter.
Corneille, Cherbuliez; Rousseau, Sismondi; Victor Hugo, and Joubert; Mozart and Wagner--all who are interested in these men will find a value in what Amiel has to say of them.
My dear Albert," returned Franz, "your answer is sublime, and worthy the `Let him die,' of Corneille, only, when Horace made that answer, the safety of Rome was concerned; but, as for us, it is only to gratify a whim, and it would be ridiculous to risk our lives for so foolish a motive.
While the cases examined in this half of the book are patently less cut-and-dry, their very undecidability makes for an inherently dynamic re-reading of Corneille as staged in the implicit dialogue between Ekstein and her reader.
Among those writers are Pierre Corneille, Blaise Pascal, Nicolas Boileau, and Montaigne.
This managed to encompass the elegance of the original by Corneille and the contemporary edge of Tony Kushner's adaptation.
For over three centuries, commentators have sought to explain what makes Racine different from Corneille partly by stressing the importance accorded to love in Racine's plays.
Tha t this anti-definition is unstable (and appropriately so) from a theoretical standpoint is shown by how hard Jean-Claude Ternaux has to work, for example, to keep the Corneille of La mort de Pompee from sliding into an austere classicism, while Frank Greiner's alchemical aesthetic is Baroque precisely in its obscurity, its instability, even its incoherence (272).
Il s'agit des vers du Cinna de Corneille, enonces par Auguste au moment de son apotheose en Magnanime ou il pardonne au conspirateur eponyme de la piece:
Daniel Corneille, 47, of Estuary Road, Sheerness, became angry when he saw a ticket which was issued due to his car blocking paving designed to assist blind people crossing the road.
The warden had been taking photos to document the parking offence when Corneille began shouting and swearing, pushed him into the window so he was not able to break his fall.
Danny Corneille, 47, who was parked on double yellow lines, pushed Gareth Lawrence so hard he was sent flying into a restaurant window.