Initiation into Literature by Émile Faguet
page 99 of 168 (58%)
page 99 of 168 (58%)
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pupil of Racine, so original was the latter, so closely was his genius
associated with his mind), perpetrated numerous tragedies and operas which enjoyed the success obtained by all imitative works: that is, a success which arouses no discussion, and which today appears to be the climax of tediousness. CREBILLON.--Crebillon followed, vigorous, energetic, violently shaking the nerves, master of horror and of terrors, not lacking some analogy with Shakespeare, but without delicacy or depth, never even giving a thought to being psychological or a moralist, writing badly and to a certain extent meriting the epithet of "the barbarian" bestowed on him by Voltaire. The latter was infatuated with the drama, having the feeling for beautiful themes and for new and original topics, adapting them to the stage with sufficient aptitude, delighting, in addition, in pomp, mimicry, and decorativeness, and causing tragedy to lean towards opera, which in his day was no bad thing; but weak in execution, never creating characters because he could not escape from himself, as moderate in psychology and morality as Crebillon himself and replacing analysis of passion by these and philosophical commonplaces. He left tragic dramas which until about 1815 enjoyed success, but which then fell into a disregard from which there is no probability they will ever emerge. COMIC POETS.--The comic poets of this period were highly agreeable. The most notable were Destouches, Regnard, La Chaussee. Destouches was the very type of the comic writers of the eighteenth century already alluded to, who took a portrait by La Bruyere and turned it into a comedy, and that is what was called a comedy of character. Thus he wrote _The Braggart_, _The Irresolute_, _The Ungrateful_, _The Backbiter_, _The |
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