ar W 37438 Stifata, Neio 'gnrtt ..55i.oinas...rr.ed,erl.ck.. Crane.. Cornell University Library arW37438 3 1924 031 782 828 olin.anx Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924031782828 Formulas' in the Language OF THE FRENCH POET-DRAMATISTS OF THE SEVENTEENTH CENTURY Formulas in the Language ^? \ OF THE FRENCH POET-DRAMATISTS, OF THE SEVENTEENTH CENTURY A DISSERTATION BY CHARLES H. KINNE ^' ACCEPTED BY THE FACULTY OF THE UNIVERSITY OF STRASBURG FOR THE DEGREE OF PH. D., JUNE, iSgo B O S T O N, U. S. A. PRINTED BY CARL H. HEINTZEMANN 1891 f'\ I1 I I t' I Preface. The subject of the following pages was suggested to the author by Prof. Grbber of the University of Strasburg. The author is only one of the many students of Prof. Grober who can bear witness not only to his painstaking interest in the de- velopment of any special theme by those under his guidance, but to his unmistakable determination to impart as. much genuine information as possible within the short hours of the lecture room and seminar. The work has been completed in America, and for its defects, therefore, the author alone is re- sponsible. FORMULAS IN THE Language of the French Poet-Dramatists OF THE SEVENTEENTH CENTURY. La perfection d'une langue se constitue par le choiz, entre toutes les formes, qui pourraient indifferemment servir k I'expression d'une meme pensee, de la seule forme qui convienne au temps, k la circonstance, au sujet. Brunetiere — Revue des deux mondes, 15 jan. 1883. Et Jupiter, p6re de tous, ■Vomi8sant son juste courroux. Gabkiek, Comelie, 1274, Que son juste courroux soit si-tost apaisd. Maieet, L' niustre Corsaire, 1. 1. Mon fills ! Souffrez monsieur, que mon juste courroux. RoTKOu, Laure Persecutee, III. 7. Je triomphe aujourd'hui du plus juste courroux, • CoRKBiLLE, Cinna, V. 3. Ah ! je vous reconnois ; et ce juste courroux. Eacine, Androm., II. 1. Commandez ; epuisez votre juste courroux. Voltaire, Brutus, III. 5. These quotations with, the recurring expression juste courroux, taken from French dramatists of three different centuries, pre- sent a peculiarity of the French theatre which is well known to every reader of the French classic dramatists. It appears espe- cially striking, and calls for an explanation, inasmuch as it is not to be found, to the same extent at least, in the works of 6 Formulas in the Language dramatic poets of other nations. The following are about one hundred expressions- which occur with marked frequency, as will be seen farther on : AUumer le feu, allumer la flamme, allu- mer le flambeau d'hymen, ^me gdn^reuse, a genoux, au dernier point, a (contre) un ecueil (se briser), auteur de mes jours (de ma naissance), au bord du precipice, aux depens de sa vie, beau feu, belle action, belle flamme, beaux yeux, beau tr^pas, belle morte, briser la chaine, briser les fers, cent et cent, chaste amour, coeur magnanime, cceur g^n^reux, les larmes coulent, les pleurs coulent, (faire) couler le sang, conseil salutaire, conserver le jour, coup fatal, coup mortel, couper la trame, courage g^n^reux, des- siller or siller les yeux, doux entretiens, dures lois, en Fair, esprit flottant, flots de sang, foudre de guerre, fr^mir d'horreur, fruit cueillir, fumer de sang, gloire fl^trie, grand dessein, grand coeur, grand courage, hauts faits, haute fortune, haut rang, haute vertu, heureux hymen, illustre rang, imprimer sur (&,) un front, jusqu'au fond de mon S,me, jusqu'au fond de mon cceur, jUsqu'au dernier soupir, juste colore, juste courroux, laver (les mains) dans le sang, lien conjugal, lien sacr6, manquer de foi, mettre au jour, mettre en peine, mettre en poudre, mille et mille, noble ardeur, nceud conjugal, noeud sacre, noeud de I'hymen, noire action, nuit dternelle, nuit et jour, parler avec franchise, percer le sein, percer le flanc, percer le coeur, perc6 de coups, (mettre un) poignard dans le sein, premier mouvement, preter le bras, r^pandre un sang, respirer le jour, remords cuisant, se- cret mouvement, sous sa loi, tache noire, tant de fois, tigre alt^r^ (de sang), tirer de peine, trancher les jours, tremper de sang, verser des larmes, verser des pleurs, verser du sang. These expressions, which not only the same poet but drama- tists of different periods employed, remind us of the so-called epic formulas of Homer and of the earlier French poetry. Far from being considered as belonging to any one person, they were looked upon as the common property of all ; and the later authors, in making use of them, were not exposed to the charge of plagiarism or the lack of ability to invent new equivalents. As at the present time, when one wishes to express a moral truth of the French Poet-Dramatists. 7 "with special force, the words of Scripture are used, so in the drama of the seventeenth century a familiar and sonorous form once employed and bearing the sanction of a name well known was regarded as a formula which might be used wherever appro- priate. Originality and fullness of vocabulary have ever been called for in poetry. This is especially true of dramatic poetry, which- should represent different characters, persons of different thoughts and actions, and which in the use of the same expres- sions incurs the risk of presenting types instead of individuals. Each profession, each occupation in life, is apt to have its special jargon ; but that poets as a class should have a number of set phrases to be used and re-used with monotonous frequency is at least very noticeable. It would be unsatisfactory to explain the repetitions to which we refer by saying that both author and hearer took such, pleasure in hearing certain expressions that their repetition was. really in response to a demand, and not merely a matter of con- venience. In literature, certain objects, persons, and situations never cease to please ; but it is very questionable if the sam& is true of words. It cannot be granted either that "le style soutenu " demanded the repetitions which we find in the follow- ing pages. The French poets, like those of other nations, had figures of speech and periphrases at their disposal, by means of which they could have avoided the monotony which we en- counter. Further, it is not an explanation of the fact we have before us when Marty-La vaux (Lexique de Corneille) says : " Cor- neille fit entrer pour jamais dans le vocabulaire tragique un grand nombre d'expressions que faisaient partie du bagage des pontes qui I'avaient pr^cdd^. Les gens de talent, les gens d'es- prit inventent des mots, des tours : les hommes de genie consa- crent ceux qui sont bons, en les plagant dans leurs chefs-d'oeu- vres." He simply states without explaining what we are con- sidering. Lotheissen (Geschichte der franzosischen Literatur im 8 ForrmdaB in the Language XVII. Jahrhundert ), in speaking of Corneille, remarks : „ In der Zeit der raschen Sprachentiwickelung hat er viel von dem Reiehthum der friiheren Epoche bewahrt und doch spricht er bereits mit der stilvoUen Beschrankun(g der spateren Zeit. Wie seine Dramen direct und ohne Episodenbeiwerk auf ihr Ziel los- steuern, so ist auch seine Sprache knapp und entschieden. Es ist ihr mehr um die Saehe zu thun, als um den Schmuck. Cor- neille ist im Gebrauch von Bildern und poetischen Umschreibun- gen massig." These words give no explanation of our ques- tion, for „ StilvoUer Beschrankung » fails to answer why we find the frequency of the following repetitions. These views and attempts at explanation show that their authors had not sufficiently before their minds the nature and abundance of the expressions which we are considering. An examination of the same is therefore necessary to come to any satisfactory conclusions. Under recurring expressions we understand here such com- binations as ^rand courage, jusqv! au fond de man dme, which on account of their frequent repetition take on the appearance of formulas ; also single words used frequently, and which regu- larly occur instead of the "terme propre" in the works of different dramatists. In some few cases it is difficult to decide whether a single word or a combination of words may be regarded as a formula. It is possible also that in our collection there are single words which, although once used figuratively, are no longer so regarded. Where such is the case they show at least a preference of the author, though they may not come under the head of what is defined as formulas. We shall, therefore, best consider these formulas by dividing them into two parts, the first consisting of the different word- combinations, the second of the single words. For the present we limit ourselves to the formulas of the first class. We take them from the works of Garnier (Sammlung -franzosischer Neudriicke von Foerster, Heilbronn, 1883), of Rotron (Laplace, Sanchez & Cie., Paris, 1883), of Corneille (Laplace, Sanchez & Cie., Paris, 1883),'of Racine (Laplace, Sanchez & Cie., Paris, of the French Poet-Dramatists. 9 1883). The works of Mairet were those which we were able to obtain from the Strassburg and Berlin libraries. For Corneille's Horace, Cinna, and Cid, as well as Racine's Iphig^nie, Esther, Britannicus, Andromaque, and Phddre, we used the editions of Hachette's French classics. The principle of classification which we have followed has been to determine the motive by which the authors were governed in their preference for the words in our list. We therefore divide them into the four following groups : The first group is composed of idealizing formulas, wherein attributes are found without which the characters would cease to be ideal. ■" Nous reirouvons dans les h^ros de Corneille et surtout dans les heroines les peintures ideales dont cette soci^t^ (I'hStel Ram- bouillet) offrait jusqu'a un certain point les modules." — (F. Wey, Hist. d. r^v. du lang. en France.) A second group form such superlative expressions as mille et mille, cent et cent, nuit et jour, jusqu'au dernier soupir, which likewise serve to raise given characters or acts into a higher sphere, or stamp them as extraordinary. They intentionally present to the reader an indefinite idea instead of a definite description, in order to leave room for his own imagination to think out the greatness or extent of the subject treated, or they present the same to him as immeasurable. In a third group, figures are employed which beautify and enoble actions and feelings of the hero, which are to be found in ordinary life, but which, expressed in ordinary language, would cease to be heroic. In the fourth group are found expressions which take the place of the common every- day terms, in order to mark the plane of the characters repre- sented as different from that of the spectator, and at the same time to throw special light upon them. It is difficult to carry out rigidly strict lines of demarcation, inasmuch as certain ex- pressions, like beau feu, belle flamme, may serve to idealize the ■characters to whom they are applied as well as to avoid the ex- pression of every-day life. Where it has been possible to bring expressions under more than one head, we of course have been obliged to decide, and have cited the same but once. 10 Formulas in the Language In giving the following examples we have followed the chrono- logical order. In a very few instances where we have first found an expression in the works of Mairet, we have not been able to carry out this principle, inasmuch as we could not have at hand for the revision all the pieces from which citations have been made. The * indicates that the expression occurs at the end of the line. GROUP A. Ame G6n6reuse. Gamier. Toute Ame ginireuse indocile k servir Deteste les tyrans. Comelie, 1205. Corn61ie, 1205 ; LaTroade, 729* ;^ Antigone, 1204 ; Broda- mante, 1020. Corneille. La Suivante, II. 7; Cid, I. 7; Cinna, III. 4, III. 3; La Place Royale, V. 6* ; Pulch6rie, II. 5* ; Polyeucte, IV. 6*; Rodogure, II. 3*; NicomMe, V. 9*; Oedipe, II. 3*; Sertorius, III. 1*, V. 7*. Rotrou. Les Sosies, I. 3* ; Don Bernard, III. 6 ; Venceslas, II. 2*. Racine. La Th^baide, II. 3 ; Alex, le Grand, I. 1*, V. 2 ; Baja- zet. III., 4*. Belle Action. Mairet. Due d'Ossonne, IV. 10. Corneille. J'ai suivi, mais de loin des actions si helles Qui laissaient k mon bras tant d'illustres mod^es. Medee, IV. 2. Cid, I. 4 ; Cinna, I. 3, II. 1 ; M6d6e, IV. 2* ; La Suivante, IV. 6, IV. 6* ; AndromMe, V. 2* ; Don Sanche, I. 1*, I. 1* ; Oedipe, IV. 4* ; Ag6silas, III. 1 ; Pulch6rie, I. 3* ; Sur6na, III. 2*. ' An asterisk indicates that the expression is found at the end of thel ne. of the French PoetrBramatisU. 11 Belle Mort. Gamier. II avait tant de fois cherchd par les alarmes Une si belle mort endoss^ de ses armes. Comelie, 380. Corn61ie, 380; Antigone, 1618. Corneille. Cid, III. 6*, IV. 5* ; Horace, H. 3*, HI. 1* ; Cinna, II. 1. Rotrou. Laure Pers6cut6e, V. 9. Racine. Iphig6nie, V. 2*. Chaste Amour. Gamier. Et vous face bien tost revoir le chaste amour De vostre Penelope : La Troadt, 1024. La Troade, 1024*, 1227*. Corneille. Melite, III. 4 ; La Suivante, IV. 8 ; La Mort de Pom- pde, IV. 3. Mairet. Roland Furieux, III. 4*. Rotrou. La Sceur, I. ,3 ; St. Genest, II. 6* ; IV. 2. Racine. Ph^dre, IV. 2. Coeur G6n6reux. Gamier. Avec un coeur ginireux Se consaerans k la patrie. Fwcie, 1386. Porcie, 104. Mairet. Marc-Antoine, II. 2*, IV. 5, V. 7*; Sophonisbe, 644, 934 ; Roland Furieux, IV. 5* ; L'lllustre Corsaire, IV. 3*. Corneille. La Veuve, V. 10; Horace, II. 1; Cid, II. 6; Cinna, III. 4*, IV. 5 : Le Menteur, V. 2*. Rotrou. Les Sosies, III. 2*. 12 Formulas in the Language Cceur Magnanime. Gamier. Lepide, je ne puis, mon magnanime cceur Hait naturellement une telle rigueur, Porcie, 1233. Porcie, 232*, 1233*; Corn^lie, 510, 511; La Troade, 1127*, 1445*, 1632*, 2171. Mairet. La Virginie, I. 1*. Comeille. Cid, IV. 1*, V. 1*, HI. 6* ; La Mort de Pomp^e, IV. 5* ; Theodore, IV. 4* ; H6raclius, 1. 2* ; I. 2* ; Don Sanche, in. 1* ; Bacine. La Th6baide, IV. 3*, V. 2* ; Mithridate, II. 6*. Courage G6n6reux. Gamier. Rien n'est tant que la franchise En ce chetif monde heureux Et qui plus souvent attise Une courage ginireux. Maro-Antoine, 801. Comeille. M6d6e, V. 5 ; Cid, III. 4 ; Horace, II. 1 ; Cinna, I^ 4 ; Polyeucte, II. 1. Conseil Salutaire. Gamier. Mais les siens reboutans ce conseil salutaire Voulurent maugr6 lui pratiquer le contraire. Porcie, 1485. Comeille. Cinna, IV. 3* ; Rodogune, I. 1* ; H6raclius, II. 8*, V. 5* ; Tite et B^rdnice, I. 3*. Botrou. St. Genest, IV. 5*. Bovine. Bajazet, I. 2* ; Iphig6nie, III. 7*. Doux Entretiens. Comeille. Derechef, ma Chloris, par ces doux entretiens, Par ces feux qui volaient de vos yeux dans les miens. Melite, V. 3. of the, Trench Poet-Dramatists. 13 La Veuve, V. 7* ; Gal. du Palais, II. 1*, IV. 8*, V. 4 La Suivante, I. 9*, H. 7*, V. 9 ; La Place Royale, H. 6* L'lUusion, II. 7*, IV. 1 ; Horace I. 1 ; Le Menteur, HI. 6* Attila, II. 3* ; La Suite du Menteur, IV. 7* ; Nicbmfede, III, 5*; Sophonisbe, n. 3, IV. i* ; Tite et B6r6nice, H. 7* Pulch6rie, II. 4*. Badne. La Th6baide, V. 3 ; Britannicus, II. 6», III. 8*, IV. 3*. Grand Dessein. Gorneille. Par un si grand dessein vous vous faites juger. Cinna, I. 2. Cinna, I. 3* ; H^raclius, V. 7 ; Pulch^rie, I. 3», III. 1 ; Sur6na, III. 3*, V. 3* ; Sophonisbe, IV. 3 ; Pulch6rie, III. 1 ; Sertorius, I. 1*, IL 2, IV. 3, V. 1, V. 6. Botrou. Don Bernard, III. 7*, IV. 5* ; Cosroes, IV. 2*, V. 2. Bacine. Alex, le Grand, I. 2, II. 2*. Grand Coeur. Gamier. Prononfant d' un grand cceur ces paroles dernieres. Porcie, 1574. Antigone, 199*. Mairet. Roland Furieux, IL 2 ; Marc-Antonie, III. 4, IV. 3, IV. 6, V. 7. Corneille. Cid, I. 2 ; Horace, I. 1 , II. 6, II. 6*, IV. 2*, V. 3 ; Cinna,> III. 4* ; Polyeucte, I. 1, I. 3, I. 4, II. 1», IV. 5 ; Hdraclius, I. 4, 1. 2, V. 4 ; La Mort de Pomp6e, IV. 4, 1. 1*, V. 1 ; La Suite du Menteur, I. 4, II. 2 ; Thdodore, I. 1,1. 2 ; Rodogune, I. 2, I. 3, III. 2* ; Don Sanche, II. 1, III. 6. Botrou. St. Genest, I. 3 ; Don Bernard, II. 1, II. 2, II. 4* ; Vences- las, L 1*, I, 2*, III. 5, V. 6 ; Cosroes, V. 2, V. 4, V. 4. Bacine. Alex, le Grand, 11. 2, III. 6, V. 2*, V. 3 ; Andromaque, I. 4, III. 1 ; Britannicus, III. 7 ; Bdrdnice, III. 2 ; Bajazet, L 1, I 1*. 14 Formulas in the Language Grand Courage. Gamier. Car jamais un grand courage Ne se soumet au sen'age. Porcie, 675. Porcie, 1746*; Corn^ie, 512*. Corneille. L'niusion, II. 2*, V. 3*;Cid, H. 1; Horace, H. 6*, IV". 3* ; Cinna, IV. 4*, V. 1* ; Polyeucte, I. 4*, III. 2, IV. 3* ; Theodore, V. 3* ; Eodogune, IV. 4 ; H^raclius, III. 1* ; Don Sanche, I. 5*, II. 2*, II. 4*, V. 5, V. 5*, V. 7* ; Nieom^de, I. 5. Botrou. Les Sosies, III. 2* ; Laure Pers6cutde, III. 1*, V. 4* ; Don Bernard, V. 2* ; Cosroes, V. 2. Racine. La Th6baide, IV. 3* ; Alex, le Grand, II. 2* ,V. 2 ; B6r6nice, n. 2*. Hauts Faits. Mairet. Mare-Antoine, I. 1. Corneille. L'6clat de mes hauts faits fut mon seul partisan. Cid, I. 4. Polyeucte, I. 4 ; Androm^de, Prologue ; Don Sanche, V. 5 ; Nicomfede, I. 1, II. 1, II. 3, HI. 4, IV. 4 ; Sophonisbe, V. 4 ; Andromfede, Prologue*; Pertharite, 11. 5, II. 5*; Oedipe, I. 4; Toison d'Or, Prologue 5, I. 1 ; Othon, I. 1 ; Pulch^rie, I. 1, I. 5, V. 3 ; Sus6na, III. 1, in. 2, III. 2*, IV. 4. Haute Fortune. Corneille. Je vous les vais montrer en leur haute fortune. L'niusion, IV. 10. Cinna, II. 1*; Polyeucte, H. 1*; Hdraclius, H. 6*; La Suite du Menteur, II. 1* ; Eodogune, I. 3* ; Tite et B^rdnice, ni. 3*. Haut Rang. Corneille. Est-ce 1^ cette gloire et ce haut rang d'honneur Oti le devait monter I'exc^s de son bonheur. L'lUusion, V. 5. L'niusion, V. 3, V. 4* ; Le Menteur, V. 3* ; Polyeucte, I. of the French PoetrDramatists. 15 4 ; La Mort de Pomp^e, IV. 3 ; Agdsilas, n. 5*, IH. 4* ; Eodogune, II. 1 ; Sertorius, H. 2, II. 2, V. 4; Tite et B6r6- nice, II. 1*, II. 3, IV. 1*, V. 1 ; Pulch^rie, I. 5, IV. 2*, V. 3 ; Sur6na, V. 3. Botrou. St. Genest, I. 3* ; Don Bernard, I. 1*, H. 3, H. 4. Bacine. La Th6baide, I. 3*, IV. 3, V. 3, V. 3, V. 4 ; Bajazet, IV. 5. Haute Vertu. Mairet. Due d'Ossonne, IV. 13* ; La Virginie, I. 1, V. 1* ; Sopho- nisbe, 1542. Corneille. Cette vertu, nourrice, est trop haute pour moi. La Veuve, II. 2. La Place Royale, I. 4*; M6d6e, IH. 3*; Horace, H. 3, II. 4, III. 5, IV. 4* ; Cinna, H. 1 ; Polyeucte, I. 4 ; La Mort de Pompde, I. 3 ; Theodore, II. 6 ; Androm^de, Prologue ; Don Sanche, IV. 1, V. 5* ; Nicom^de, II. 1, II. 1*, IL 3; Pertharite, IL 5, V. 1, V. 2, V. 2 : Cid, II. 5. Botrou. St. Genest, I. 3. Illustre Rang. Corneille. C'est g6ndrositd quand, pour venger un p6re, Notre devoir attaque une tete si ch^re ; Mais e'en est une encor d'un plus illustre rang Quand on donne au public les interets du sang. Cid, IV. 2. Horace, III. 1*, III. 1*; Cinna, II. 1, V. 3; Polyeucte, V. 6 ; Eodogune, I. 2* ; Nicom^de, II. 3* ; Toison d'Or, III. 3 ; Ag6silas, I. 4*. Botrou. St. Genest, I. 3*, I. 3*, I. 3*. Juste Colore. Botrou. Le ciel meme, le ciel, k mes desseins contraire, Ne te soustrairent pas k ma juste colore. Les Sosies, IV. 3. 16 Formulas in the Language Les Sosies, IV. 3*, V. 4* ; Laure Pers6cut6e, I. 1* ; La Soeur, I. 3*. Corneille. TModore, III. 5 ; Polyeucte, III. 3* ; Pompde, IV. 5* ; Nicom^de, I. 2*, I. 5* ; Pertharite, III. 1* ; Toison d'Or, III. 3* ; Don Sanche, II. 2*. Racine. TMbaide, I. 5*; Alex, le Grand, I. 2*, V. 3*; Bajazet, I. 1* ; Phfedre, II. 5* ; Andromaque, I. 4*. Juste Courroux. Gamier. Et Jupiter p^re de tons Vomissant son juste courroux. Comelie, 1274. Corneille. L'lUusion, ni. 6* ; M6d6e, I. 4, IV. 1* ; La Veuve, IV. 3 ; Gal. du Palais, IV. 3* ; H^raclius, III. 3* ; La Mort de Pomp^e, II. 4*. Pertharite, II. 1*; Le Menteui-, II. 4; Theodore, II. 6 ; Rodogune, II. 2* ; Don Sanche, IH. 6* ; Toison d'Or, H. 2*, IV. 1* ; Sertorius, I. 3, V. 3» ; Othon, IV. 1* ; Attila, I. 1*, I. 1*, IV. 4*, V. 4* ; Pulch^rie, HI. 1* ; Sur6na, III. 2, V. 1*. Mairet. L'lllustre Corsaire, I. 1 , III. 1 . Racine. Alex, le Grand, II. 4*; Andromaque, 11. 5*; IV. 5*; Bajazet, V. 9* ; Mithridate, III. 1 ; Iphig6nie, HI. 1* ; Atha- lie, IV. 6*. Parler avec Franchise. Corneille. Veux tu que je t'en parle avec t»ute franchise. La Suivante, II. 8. Le Menteur, V. 1* ; Ag^silas, II. 2*, V. 8* ; Don Sanche, in. 4* ; Toison d'Or, III. 3 ; Sertorius, III. 1* ; Sophonisbe, II. 4*, n. 4*, III. 4* ; Attila, II. 2, III. 4*, IV. 3* ; Surdna, III. 2*. of the French Poet-Dramatists. 17 GROUP B. A second group form such, superlative expressions as mille et mille, cent et cent, nuit et jour, jusqu^au dernier soupir, which, likewise serve to raise given characters or actions into a higher sphere, or stamp them as extraordinary. They intentionally present to the hearer an indefinite idea instead of a definite des- cription, in order to leave room for his own imagination to think out the greatness or extent of the subject treated, or they pre- sent the same to him as immeasurable. Au Dernier Point: to the last. Oarnier. II f aut bien esp^rer jusqu'au dernier point. Marc-Antoine, 521. Marc-Antoine, 521, 1063; Brodamante, 1114*. Mairet. Due d'Ossonne, I. 5*; LaVirginie, II. 1*, IV. 2*; Marc- Antoine, rv. 5* ; La Sophonisbe, 987* ; L'Athenais, III. 6*, V. 4* ; L'lUustre Corsaire, I. 3*. Comeille. Clitandre, III. 5 ; La Suivante, I. 1* ; Le Menteur, V. 6 ; La Suite du Menteur, I. 3* ; Sophonisbe, II. 5* ; Toison d'Or, IV. 1 ; H^raclius, I. 3*, IV. 1 ; Don Sanche d'Aragon, V. 5* ; Ag^silas, I. 4 ; Tite et B6r6nice, V. 5 ; Pulch6rie, II. 1 ; Ser- torius, V. 6, V. 4 ; Attila, V. 1*, V. 6, V. 7. Botrou. La Soeur, L 2*, IV. 2*. Cent et Cent: many. Gamier. Nous oflfrons tous les jours nos corps A cent et cent diverses morts. Porcie, 1344. Marc-Antoine, 499 ; Hippolyte, II. 12 ; Antigone, 2697. Comeille. L'Ulusion, V. 3 ; Nicomfede, I. 1 ; Attila, 11. 2. Botrou. Laure Pers^cutde, V. 8. 18 Formulas in the Language Jusqu'au Fond de Mon Ame : completely. Corneille. Mais lors, soit qu'Amarante ett pour moi quelque flamme Soit qu'elle Tp^nitrkt jusqu'au fond de mon dme. La SuivarUe, I. 1. La Suivante, I. 1*, I. 6* ; La Place Royale, III. 5* ; H6- raclius, IV. 5* ; Thdodore, I. 4*, II. 7*, IV. 4* ; Rodogune, rv. 1* ; Tite et B6r6niee, I. 2* ; Don Sanehe, V. 6* ; Per- tharite, II. 1*. IV. 1* ; Cinna, IIL 1* ; Sertorius, II. 2*, U. 3* ; Othon, IV. 6* ; Ag^silas, IV. 1*. Motrou. St. Genest, II. 2*; Venceslas, III. 4*. V. 4*; Cosroes, II. 3*. Bacine. La TMbaide, I. 3* ; Britannicus, II. 3 ; Andromaquej III. 6*. Jusqu'au Fond de Mon Cceur: exactly, really. Gamier. Vois au fond de nos cmurs ce qu'il y de feint. Hippolyte, 1716. Hippolyte, 1716, 1907. Mairet. Marc-Antoine, III. 1. Corneille. Cinna, IIL 2; Ag6silas, III. 1*; PulcMrie, III. 3, IV. 2* ; Sophonisbe, V. 2* ; Sertorius, III. 1* ; CEdipe, in. 4 ; Pertharite, IV. 3, V. 2 ; Sur6na, V. 1*. Botrou. Venceslas, IV. 2*. Bacine. Britannicus, V. 6 ; B6rdnice, IV. 5* ; Mithridate, II. 1* ; PhMre, IV. 2*, IV. 2, V. 4*, V. 6 ; Athalie, IV. 2. Jusqu'au Dernier Soupir : till death. Mairet. Marc-Antoine, II. 3 ; Eoland Furieux, III. 4. Corneille. Adieu, mon cher souci ; sois sftre que inon &me Jusqu'au dernier soupir conservera sa flamme. ^. La Veuve, II. 5. of the French Poet^Dramatists. 19 La Veuve, II. 5, IV. 1* ; M6d4e, V. 7* ; Gal. du Palais, n. 8 ; Cid, V. 6 ; Horace, H. 1*, HI. 6*, IV. 5* ; Cinna, n. 1; La Mort de Pomp^e, 11. 2; Theodore, IV. 1, V. 1*, V. 8*; H^raclius, in. 1*; Pertharite, V. 4; (Edipe, H. 3* ; Toison d'Or, II. 2 ; AgdsUas, II. 4* ; Polyeucte, n. 1 ; Pulcherle, I. 1*, V. 6. Racine. Alex, le Grand, V. 3; B6r6nice, ni. 1*; Bajazet, 11. 5*; Esther, I. 2 ; Th^baide, V. 4*. Mille et Mille : many. Gamier. Marc-Antoine, 226, 972*. 1068, 1091, 1386, 1996. Anti- gone, 153, 1528*; Bradamante, 16. Maintenant le malheur espine De mille et mille afflictions Nostre ame. Marc-Antoine, 226. ,'^ Corneille. La Veuve, I. 5 ; M6d6e, I. 1 ; L'lUusion, III.. 3 ; Cid, V. 7 ; Horace, V. 3 ; Cinna, I. 1 , III. 4 ; H6raclius, I. 1 ; Andromfede, V. 2 ; Le Menteur, I. 5 ; Pertharite, III. 5 ; Toi- son d'Or, Prologue, 5. Nuit et Jour : continually. Gamier. Ciceron. — Quel heur attendez-vous dans une fosse om- breuse ? Corneille. — De sortir d'un malheur qui jour et nuit m'4- treint. Comilie, 509. Corndlie, 509, 1587*; Marc-Antoine, 103*, 1034*, 1137, 1382*; Hippolyte, 244, 414, 430, 453*. Mairet. L'Athenais, IV. 2* ; Eoland Furieux, I. 1*, IV. 1, V. 2*, V. 4 ; L'lUustre Corsaire, V. 4. Corneille. Le Menteur, I. 3. Bacine. Bajazet, IV. 4* ; PhSdre, I. 2 ; Esther, I. 1. 20 Formulas in the Language Tant de Fois. Corneille. Doux truchements du coeur, qui d6]i tant defois M'avez si bien appris ce que n'osait la voix. Melite, V. 4. Cid, V. 6 ; Polyeucte, I. 1 ; Toison d'Or, Prol. 1. Mairet. Eoland Furieux, HI. 1, III. 4*, IV. 5. Jiacine. Tli6baide, IV. 3 ; B6r6nice, IV. 5* ; Bajazet, V. I ; Esther, n. 5* ; Andromaque, II. 2. GROUP C. In a third group figures are employed which beautify and ennoble actions and feelings of the hero which are to be found in ordinary life but which, expressed in common language, would cease to be heroic. AUumer le Feu : to caiise love or wrath. Gamier. Le feu de son courroux s'en irait en fum6e Et d'autre feu serait sa poitrine allumie. M.-Anioine, 708. Marc-Antoine, 708* ; Hippolyte, 432*. •Corneille. La Veuve, II, 4 ; M6d6e, V. 1 ; La Suivante, IV. 2* ; La Gal6rie du Palais, I. 9*, III. 10; La Place Royale, V. 3; Polyeucte, II. 2. Jtotrou. St. Genest, III. 4. Sacine. La Th6baide, I. 3 ; Alex, le Grand, II. 5 ; Andromaque, I, 3*, I. 4*, II. 2 ; Britannicus, IV. 3. AUumer la Flamme : to cause to love. Corneille. Alors i& flamme en vain pour Philiste allum^e. , La Veuve, TV. 1 of the French PoetrDramatists. 21 La Veuve, IV. 1*, IV. 8 ; La Galdrie du Palais, H. 1, III. 1*, III. 4 ; La Place Royale, III. 5, V. 3*. Mairet. L'Athenais, III. 2*, V. 3*, V. 6. Macine. Andromaque, III. 4*. (AUumer) le Flambeau d'Hymen: to marry; marriage festivities. Gamier. Que je meure d'angoisse, et qu'au lieu du. flambeau De nostre heureux Hymen vous trouvez mon tombeau. Brodamante, 857. Mairet. La Sophonisbe, 957, 1622 ; L'Athenais, IV. 1. Botrou. Les Sosies, I. 5* ; Laure Persdcut^e, V. 8. Corneille. Horace, II. 5* ; Polyeucte, I. 1 ; OEdipe, I. 2* ; ToisoQ d'Or, Prologue 4. Beau Feu : passion, love, Corneille. Tout ce que je puis faire £l ce beau feu naissant C'est de m'en revaneher par un zfele impuissant. Matte, II. 6. La Veuve, U. 2* ; La Gal6rie du Palais, I. 2* ; Cid, III. 4, V. 6*; Cinna, I. 3; Polyeucte, II. 1, IL 4, HL 4*, IV. 3, IV. 4 ; La Mort de Pomp6e, II. 1 ; Rodogune, III. 4, in. 4, III. 4; AndromMe, I. 4*, I. 4,V. 1*; Toison d'Or, IL 2, ni. 4 ; Sertorius, V. 2. Rotrou. Les Sosies, I. 5 ; Laure Pers6cut6e, LI; La Soeur, II. 5 ; St. Genest, HI. 4, in. 5 ; Venceslas, V. 2. Bacine. Alex, le Grand, II. 1, II. 5, IV. 1. Belle Flamme : passion, love. Corneille. C'est trop d6savouer une si belle flamme Qui n'a rien de honteux rien de sujet au bMme. La Veuve, I. 3. 22 Formulas in the Language Don Sanche, HI. 6* ; Rodogune, I. 5*, IV. 3* : Heraclius, II. 7* ; CEdipe, III. 6*, V. 7* ; Othon, I. 2*, IH. 4* ; Ag6silas, V. 9* ; Attila, V. 3* ; Tite et B6r6nice, II. 2*, IV. 5*, V. 2* : PulchMe, IV. 2*, IV. 4*, Sur^na, IH. 3*. Botrou. Don Bernard, IV. 5*. Bacine. Iphig6nie, III. 6*. Fruit Cueillir: to acquire something. Gamier. H vous faut une amie, et cueillir avec elle Les doux/rwite, oil I'amour tendrement vous appelle. Hippolyte, 1261. Mairet. Mare-Antoine, V. 4 ; Roland Furieux, II. 1 ; Solyman, I. 4, IV. 2*. Corneille. Clitandre, IV. 1 ; La Veuve, II. 3, IV. 8* ; G-al. du Palais, IV. 5 ; Cinna, HI. 3 ; Don Sanche, IV. 2* ; Polyeucte, I. 3* ; Pertharite, V. 1* ; CEdipe, H. 4* ; Sertorius, IV. 2* ; Sur^na, V. 5. Bacine. Phfedre, IV. 6*. Foudre de Guerre : used in peaking of a brave person of high rank. Gamier. Ces frferes Scipions, deux /owdres de la guerre. Cornelie, iSS. Bradamante, 1327*. Mairet. Roland Furieux, I. 1*, IV. 2*. •Corneille. L'Elusion, V. 5* ; Le Menteur, III. 5*. Botrou. Les Sosies, II. 3*, V. 2*. Fr6mir d'Horreur : to tremble. Gamier. Qui de trompettes ^clatantes Osa le premier eschauffer Les troupes d'horreur frimissantes Pour les pr6cipiter au fer. Comelie, 193. of the French Poet-Dramatists. 23 Motrou. Lauie Pers^cut^e, I. 9 ; St. Genest, IV. 3* ; Cosrofes, III. 1*. Comeille. Horace, II. 3* ; Rodogune, III. 1* ; Cinna, IV. 1* ; CEdipe, IV. 4. Bacine. La TMbaide, HI. 3* ; Phfedre, I. 3. Heureux Hymen (6e) : marriage. Gamier. Pour devoir c616brer un heureux hymenie. Antigone, 2321*. Comeille. Clitandre, V. 3 ; La Veuve, 11. 4*; L'lllusion, III. 1*; La Suivante, I. 1 ; Cid, II. 3 ; Horace, III. 3*, I. 2 ; H6ra- clius, I. 4*, III. 1 ; Othon, I. 4* ; Ag6silas, V. 3 ; Theodore, II. 7* ; AndromMe, IH. 2* ; Pulch6rie, II. 1*. Bacine. Andromaque, IH. 8 ; B6r6nice, H. 2, IV. 5*, Bajazet, II. 1*. Lien Conjugal : marriage. Gamier. Non la chaste amiti6 du lien conjugal. Ccymelie, 942. Antigone, 1979* ; Bradamante, 168*, 333. Comeille. Gal. du Palais, V. 7*. Lien Sacr6 : marriage. Mairet. Et qu'avec Calphurnie un paisible hymen6e Par des liens sacris tient son 4me enchaiD6e. (^Roland Fwrieitx,!. i. Comeille. La Mort de Pompde, II. 1 ; Rodogune, I. 3. Nceud Conjugal : marriage. Gamier. La puissance chrestienne accroistra de moiti6 Par ce nceud conjugal qui joint votre amiti^. Bradamante, 1346 24 Formulas in the Language Mairet. Sophonisbe, 1380*. Botrou. Laure Persdcut6e, I. 1. Oorneille. NicomMe, III. 2 ; Othon, II. 4*. Nceud Sacr6 : marriage. Mairet. Sophonisbe, 1061. Corneille. Demain un sa^ri nceud m'unit h, cette belle. La Place Boyale, in. 2. Cid, I. 4 ; La Mort de Pompde, I. 2. Botrou. Don Bernard, V. 8. Nceud de rHymen : marriage, Corneille. C'est pour eux que je change ; et la Pasque sans eux Seule de votre hymen pourrait rompre les nceuds. Medee, III. 3. Horace, V. 2, V. 3 ; La Mort de Pompde, III. 4 ; La Men- teur, V. 6 ; La Suite de Menteur, V. 5* ; Toison d'Or, V. 7 ; Sertorius, IV. 2* ; Attila, I. 1* ; Sur^na, III. 2. Botrou. Les Sosies, III. 2 ; Laure Pers6eut6e, IV. 9*, V. 2. Bacine. Bajazet, II. 1*. Noble Ardeur : passion, enthusiasm. Botrou. Voici de la matiSre a notre noble ardeur. Les Sosies, I. 3. Les Sosies, I. 3*, I. 3, 1. 3 ; Venceslas, I. 1, V. 2 ; Cosro^s, L 4*. Corneille. Horace, I. 1* ; Attila, I. 1, III. 4. Bacine. B6r6nice, II. 2 ; Mithridate, III. 1 ; Ph^dre, V. 6 ; Athalie, L 2. of the, French PoetrDramatists. 25 Tigre Alter6 : used in speaking of a cruel person. Corneille. Tigre alUri de sang qui me defends les larmes. Horace, TV. 5. Cinna, I. 3. G-ROUP D. In the following class are found expressions which take the place of the common, every-day term, in order to mark the plane of the characters represented as different from that of the spec- tator, and at the same time to throw special light upon them. Aux Depens de Vie (Jours) : by death. Mairet. La Virginie, IV. 2. Corneille. Voici dent je vais rendre aux depens de ta vie Et ma flamme veng^e et ma baine assouvie. Clitandre, I. 8. Don Sanche, H. 2*; Polyeucte, IV. 2. Bacine. Bajazet, II. 3, III. 7* ; Iphig^nie, IV. 6* ; Phfedre, III. 3* ; Athalie, V. 2*; Cinna, V. 1. A Genoux : humbly. Gamier. Pardonnez vos forfaits : humbles d deux genoux Nous demandons pardon, helas, pardonnez nous. Les Juifves, 1001*. Mairet. Eoland Furieux, III. 4; Solyman, I. 3, III. 1, V. 1 ; L'Athenais, I. 3*, V. 2; Due d'Ossonne, U. 1, V. 6; La Sophonisbe, 919* ; L'Ulustre Corsaii-e, II. 5*. Corneille. Clitandre, IV. 5 ; L'lUusion, II. 4, III. 9 ; La Place Royale, II. 2, III. 6 ; Cinna, I. 2, II. 1, IH. 4* ; Polyeucte, n. 5* ; CEdipe, IV. 2*. V. 9 ; Theodore, III. 5* ; Androm^de, V. 1, V. 1*; Othon, V. 5*. 26 Formulas in the Language Botrou. Laure Pers6cut6e, I. 1, IV. 5*, IV. 9* ; La Soeur, I. 1 ; St. Genest, V. 5* ; Venceslas, IV. 5*. Bacine. Alex, le Grand, IT. 2; Andromaque, 11. 5*, III. 4*; Britannicus, III. 8, IV. 2* ; B6r6nice, II. 2*, II. 2*, IV. 5* ; Bajazet, II. 1*, IH. 8, V. 6. A (Contre) Un Ecueil (Se Briser) : to be ruined. Botrou. De ne pouvoir briser contre un plus bel icueil. Laure Persecutee, III. 2*. La Soeur, I. 3, II. 1*, II. 5 ; St. Genest, IV. 6 ; Don Ber- nard, I. 4. Corneille. Cinna, I. 2; Sertorius, II. 1. Bacine. Alex, le Grand, I. 2* ; Britannicus, I. 4 ; Esther, Prologue. Auteur de Mes Jours (Naissance) : my father. Corneille. Oil fuyez-vous de moi, cher auteur de mes jours. Medee, V. 4. Horace, I. 3. Botrou. Cosro^s, V. 4. Bacine. Britannicus, II. 3* ; Esther, I. 1*. Voltaire. Zaire, II. 3. Au Bord du Precipice : near misfortune or danger. Corneille. Mais c'est une imprudence assez commune aux rois D'6couter trop d'avis, et se tromper au choix Le destin les aveugle au bord du prdcipice. La Mart de Pompee, TV. 1. H^raclius, V. 1* ; NicomMe, I. 5*, IH. 2* ; AgisUas, I. 2* ; Pulch6rie, III. 2*. Botrou. La Soeur, II. 1*. Bacine. B6r6nice, IV. 4*. of the French Poet-Dramatists. 27 Briser la Chalne : to liberate. ComeiUe. Disposez de ma vie, et du sceptre d' A thanes Je dois et I'un et I'autre k qui brise mes chalnes. Medee, IV. 5. L'lUusion, IV. 5; NicomMe, V. 9*, I. 2, II. 1*; Sopho- nisbe, I. 3*, II. 4*, III. 6; Ag^silas, H. 1*; AndromMe, IV. 2* ; Sertorius, I. 1*, I. 3*. Badne. La Th6baide, III. 6* ; Alex, le Grand, II. 1*. Briser les Fers : to liberate. ComeiUe. Et que ses fers brisis, malgrd leur attentats A ma protection engageat ses etats. Medee, IV. 1. La Suivante, III. 4 ; Cid, I. 3-; Cinna, IV. 3* ; La Suite du Menteur, V. 3* ; Rodogune, I. 5* ; H6raclius, III. 1 ; Don Sanche d'Aragon, I. 1 ; Nicomfede, V. 9 ; Tite et B6r6nice, V. 2; AttUa, II. 6*; Othon, IL 2- Sophonisbe, I. 2, H. 4; Sertorius, II. 1. Mairet. Eoland Furieux, V. 4*. Hotrou. Laure Pers6cut6e, III. 8 ; La Sceur, III. 2* ; Don Bernard, IV. 1*. Badne. Alex, le Grand, 11. 2* ; Esther, I. 3*. Beaux Yeux : often used ft)r a beautiful person. Gamier. Que je vous baise done, o beaux yeux, malumiere ! Marc-Antoine, 1992. Marc-Antoine, 118, 1992; Hippolyte, 1015*, 1113, 2204; Antigone, 1364. Mairet. Due d'Ossonne, I. 1 ; La Virginie, II. 1 ; Roland Furieux, I. 1*, L 1* ; L'Athenais, III. 2 ; Solyman, IV. I ; Sophonisbe, II. 3, V. 8 ; L'lUustre Corsaire, II. 5*- 28 Formulas in the Language Corneille. M61ite, V. 4 ; La Suivante, n. 4 ; L'lUusion, II. 2, HI. 8* ; Clitandre, I. 9 ; La Place Royale, III. 2* ; Cinna, HI. 1* ; LaMort de Pomp6e, IV. 3 ; Gal. du Palais, I. 7, in. 2, IV. 9, V. 1 ; Polyeucte, I. 1, H. 1* ; Andromfede, II. 1, II. 2, II. 5* ; Toison d'Or, II. 4, II. 5, IH. 6. Botrou. Laure Persdcut^e, L 2, II. 6, II. 7, II. 8, III. 13, IV. 1, V. 8; Venceslas, IV. 5, V. 4. Eacine. La TMbaide, II. 1*, V. 6; Alex, le Grand, I. 1, Ul. 3, III. 6, V. 3 ; Britannieus, I. 4, II. 3 ; Mithridate, I. 2*. Conserver le Jour : to preserve one's life. Corneille. Apaiser sa fureur, c'est conserver ses jours. Medee, I. 5. M6d6e, I. 5*, in. 3*; Cinna, IV. 3*, IV. 5*, IV. 5*; Attila, V. 3* ; La Suite du Menteur, IIL 2*, V. 3* ; H6raclius, V. 5* ; AndromMe, V. 2* ; Pertharite, II. 1 ; Othon, I. 3. Botrou. Venceslas, II. 2*, III. 5 ; Cosrofes, III. 4* ; Don Bernard, III. 6*. Bacine. Bajazet, III. 1*. Couler les Larmes : used in speaking of weeping, Corneille. Mais courage, il s'6meut, je vois couler les larmes. Polyeucte, IV. 3. Hdraclius, III. 3* ; CEdipe, I. 3*. Botrou. Venceslas, IV. 5*. Bacine. Andromaque, II. 2* ; Britannieus, II. 2, II. 7*. Couler les Pleurs : used in speaking of weeping. Corneille. Ton coeur s'attendrissait de voir couler ses pleurs. La Suivante, V. 6. Bacine. Alex, le Grand, FV. 2 ; Andromaque, I. 1, II. 5* ; Britan- nieus, II. 1*. of the French Poet-Dramatists. 29 (Faire) Couler le Sang : to kill, to die. Gamier. Faites couler le sang de mes tortices veines Par vos tuyaux cavez, deux larmeuses fontaines. Comelie, 227. Marc-Antoine, 1919*; La Troade, 282; Antigone, 1119; Brodamante, 1875. Corneille. Le Menteur, II. 4* ; Attila, V. 3 ; CEdipe, IV, 5*. Botrou. St. Genest, II. 1*, II. 5*, III. 2 ; Venceslas, IV. 1*. Racine. La Th^bai'de, III. 3 ; Andromaque, V. 5 ; B6r6nice, V. 7*. Coup Fatal : that which kills, pains, harms. Mairet. Si par un cowp fatal a tant de vertueux L' extreme pauvr6t6 le rend impuctueux. L'Athenaig, I. 3. Corneille. La Place Royale, III. 6 ; Cinna, III. 1* ; Attila, III. 1 ; Theodore, V. 8*; Rodogune, V. 4, V. 4; Gal. du Palais, IV. 3 ; H6raclius, IV. 1* ; Tite et B6r6nice, V. 2 ; Othon, V. 6* : Sertorius, IV. 2, V. 3*. Botrou. La Soeur, IV. 2 ; Venceslas, IV. 5. Bacine. Britannicus, I. 1 ; Athalie, 11. 7. Coup Mortel : thai which kills or ruins. Gamier. Le sang d'un agneau fume apr^s le coup mortel. Antigone, 1155. Les Juifves, 186*. Mairet. Marc-Antoine, II. 3, IV. 2 ; La Virginie, I. 8 ; Sophonisbe, 1625*. Gomeille. Clitandre, I. 5* ; Cid, I. 6«, V. 1 ; Horace, IV, 2*, IV. 4* ; Polyeucte, I. 2*, U. 2*. Botrou. Cosrofes, 11. 2*. 30 Formulas in the Language Dessiller ou Siller les Yeux : to open or close the eyes. Oarnier. Ainsi suis-je la cause et du courroux des Dieux, Et du trespas cruel qui te sille les yeux. Cornelie, 278. Corn61ie, 278, 1435*. Rotrou. Desille-nons les yeux, dissipe ce nuage Et rends moi pour le moins, mon nom et mon visage. Les Sosies, IV. 2. Les Sosies, IV. 2 ; Laure Pers^cut^e, III. 6* ; St. Genest, n. 2*; Venceslas, II. 2*. Corneille. Polyeucte, 1. 1*, V. 5. Racine. Britannicus, II. 2* ; Esther, III. 7. Dures Lois .- painful rule. Gamier. De ces fatalitez rompre les dures lois. Marc-Antoine, 494. Corneille. Clitandre, II. 4, III. 5* ; La Veuve, II. 2*, H. 4*, IQ. 7* III. 8*, V. 3 ; La Suivante, IV. 6* ; La Place Koyale, I. 1* II. 8* ; Cid, IV. 5*, V. 6* ; Horace, IV. 7 ; Tite et B6r6mce V. 5*; Ag^silas, IV. 2*, V. 3*; Theodore, III. 1, HI. 5* III. 5*; Eodogune, III. 3*; Attila, IV. 3*; Don Sanche III. 1* ; NicomMe, V. 9* ; Sophonisbe, I. 2*. Rotrou. La ScBur, I. 1. Racine. Mithridate, II. 6*. En I'Air : useless. Corneille. Ces injures en I'air n'arretent point ma main. Clitandre, I. 8. Clitandre, I. 8, III. 5*; L'lUusion, III. 8*; Le Menteur, V. 2, V. 3, V. 6*; La Suite du Menteur, V. 3*; Pertharite, II. 4, IV. 2 ; Toison d'Or, III. 3* ; Sertorius, V. 4. Racine. Les Plaideurs, III. 2. of the French Poet-Dramatists. 3 Fumer de Sang: used with respect to a violent death. Gamier. Qu'il luy met demy pied de son espee au ventre Le sang en sort fumeux comme sur un autel Le sang d'un agneau fume apr^s le coup mortel. Antigone, 1155. La Troade, 1531. Corneille. Pertharite, IV. 5; GEdipe, IV. 5; Attila, III. 4; Theo- dore, V. 8*. Racine. Iphig^nie, III. 6, V.2*, V. 5* ; Mithridate, IV. 2* ; Bajazet, V. 11*; PMdre, 1. 1. Plots de Sang : much blood. Corneille. L'offense une fois f aite k ceux de notre rang Ne se r6pare point que par des flots de sang. Nicomede, IV. 2. Sertorius, HI. 1. Bacine. Iphig^nie, IV. 2, IV. 4 ; Athalie, II. 7*, V. 2. F16trir la Gloire : to diminish the glory. Mairet. Solyman, I. 2*. Corneille. lis sont, grS,ees aux dieux, dignes de leur patrie Aucun etonnement n'^ lenr gloire fldtrie. Horace, III. 6*. Horace, III. 5*, III. 6* ; Cinna, II. 1 ; Toison d'Or, II. 2*. Imprimer sur (k) un Front : inflict, expose. Corneille. Pleurez 1' autre, pleurez Tirr^parable affront Que sa f uite honteuse imprime d, votre front. Horace, III. 6. Le Menteur, V. 3* ; Theodore, IV. 5* ; Pertharite, IV. 3 ; Eodogune, II. 4* ; Androm^de, III. 4*. Rotrou. St. Genest, I. 1 ; Venceslas, II. 2*. 32 Formulas in the Language Laver les Mains dans le Sang : to kill, to take revenge. Gamier. Venez, fatales Soeurs, et vous lavez les mains Dans le sang indomt6 de ces braves romans. Porcie, 43. Porcie, 43, 931; Corii61ie, 601*; Marc-Antoine, 242*; Antigone, 297. Mairet. La Virginie, II. 1 ; Solyman, II. 7*, V. 9. Corneille. Cid, I. 6. Sacine. Britannicus, IV. 3 ; Andromaque, V. 3. Manquer de Foi : to deceive, to lie. Corneille. Quittez son entretien et venez avec moi Plaindre un p6re an cerceuil par son manque de foi. M&,ite, IV. 3. Clitandre, I. 1*, I. 2* ; La Veuve, III. 3*, IV. 8* ; L'lUu- sion, II. 4* ; MMie, I. 1*, V. 6* ; La Suivante, I. 5*, IV. 8, V. 2*, V. 7* ; Ag^silas, II. 2* ; La Place Royale, II. 2*, II. 3*, III. 6, IV. 6*, rv. 8*, V. 7* ; Attila, II. 6* ; Gal. du Palais, IV. 3*, IV. II* V. 8* ; Tite et B6r6nice, n. 7*. Mairet. Marc-Antoine, I. 2*, III. 4* ; Roland Furieux, III. 1* ; L'AtMnais, V. 3*, V. 3*; Solyman, TV. 3*; Sophonisbe, 237*, 241 ; L'lUustre Corsaire, IV. 3*. Botrou. Laure Pers6cut6e, IV. 9* ; St. Genest, m. 2*. Racine. La Th6baide, I. 3 ; Britannicus, IV. 4* ; Bajazet, IV. 7*. Mettre au Jour : to become a parent. Corneille. J'ai dft cette vengeance a qui m'a mise au jour. Cid, V. 6. Horace, V. 1 ; H^raclius, V. 7*. Botrou. Cosrofes, V. 4*. Bacine. Esther, III. 9* ; Ph^dre, IV. 2, IV. 3. of the French Poet-BramatisU. 33 Mettre en Poudre : to destroy. Gamier. Oil sont ores tes dards ? oil est ores ton f oudre Que flambant de courroux tu ne me mets en poudre, Porcie, 1585. Comeille. L'Ulusion, II. 2*; Horace, V. 3*; Polyeucte, IV. 5, IV. 6* ; La Mort de Pompde, II. 2* ; Eodogune, H. 4*, V. 4* ; H^raclius, I. 3* ; Don Sanche d'Aragon, III. 1* ; Pertharite, I. 3* ; CEdipe, I. 2* ; Toison d'Or, V. 7*. Mairet. Solyman, III. 5*. Rotrou. Les Sosies, V. 6* ; Don Bernard, II. 3*. Racine. Esther, II. 7*. Noire Action (Action Noire) : an ignoble or criminal action. Mairet. Marc-Antoine, IV. 1. Comeille. Le reproche honteux d'une action si noire. Clitandre, I. 8. Clitandre, I. 8*, V. 3*; La Veuve, II. 6*; La Mort de Pomp6e, III. 2, IV, 4* ; Theodore, I. 2* ; Eodogune, V. 4* ; Sertorius, III. 1*. Rotrou. St. Genest, III. 2* ; Cosrofes, IV. 1. Racine. Britannicus, IV. 3* ; Ph6dre, V. 7*. Nuit Eternelle : deatli, hell, condition of being blind. Gamier. Mes pauvres enfon9ons qn'k la mort j'ay conduit Comme mes yeux pour fondre en iternelle nuit. La Troade, 2606. LaTroade, 2606, 2480; Antigone, 245, 1329*; Hippolyte, 1611*, 2128*. Mairet. Soplionisbe, 1633* ; Oreste, V. 9 ; Tancr^de, V. 6*. Comeille. L'Ulusion, L 1* ; Toison d'Or, I. 3*. 34 Formulas in the Language Rotrou. Les Sosies, IV. 2*; La Soeur, II. 1*. Racine. Andromaque, V. 5*. Percer le Sein : said of love or of death. Rotrou. Un regard un peu froid, 6chapp6 sans dessein, Nous est un trait mortel qui nous perce le sein. Laure Persecutee, I. 2*. St. Genest, V. 5*, V. 5*. Comeille. Gal. du Palais, V. 1* ; Cinna, III. 4* ; Polyeucte, I. 3* ; Theodore, V. 9* ; Rodogune, in. 3. Racine. La Th^baide, IH. 6*, IV. 3*, V. 5* ; Esther, III. 4*. Percer le Flanc: to kill. Comeille. Execrable assassin qui rougis de son sang D6peche comme ^ lui de me percer le flanc. Clitandre, I. 9. M6d6e, V. 4* ; Horace, II. 3*, H. 6* ; Cinna, HI. 3 ; Rodo- gune, V. 4* ; La Mort de Pomp^e, II. 2 ; Tite et B6r6nice, V. 2* ; TModore, V. 8* ; H6raclius, I. 1* ; CEdipe, V. 1*. Racine. La TMbaide, V. 1*, V. 3* ; Venceslas, IV. 1*. Percer le Cceur : to kill, to make an impression. Gamier. O mort, o douce mort, viens estouper mes sens Et me perce le coeur d^ tes dards meurtrissans. Antigone, 156. Antigone, 156, 1271, 1489*; Bradamante, 369. Mairet. Due d'Ossonne, I. 1 ; Solyman, IV. 3*. Comeille. Mdd6e, III. 4* ; La Place Royale, II. 4* ; Cid, V. 3 ; Horace, IV. 4*; Polyeucte, I. 4*, IV. 3*; La Mort de Pomp6e, I. 1, IV. 1*; Rodogune, III. 5*, IV. 1*, IV. 3, IV. 7, V. 4*; Othon, V. 5, V. 7; Pertharite, II. 1, III. 3, V. 2* ; Sertorius, 1. 1*. of the French Poet-I^ramatists. 35 Roirou. La Soeur, IV. 4* ; Venceslas, IV. 5*, V. 3 ; Cosrofes, III. 3*. Bacine. Alex, le Grand, V. 3* ; Andromaque, IV. 3 ; Britannicus, IV. 3 ; B6r6nice, IV. 4, V. 3 ; Bajazet, V. 8 ; Mithridate, I. 2, III. 3, IV. 2; Iphig6nie, IV. 2*, IV. 6*. Perc6 de Coups: used in speaking of a combat or of love. Mairet. Marc-Antohie, I. 4*, IV. 2. Gorneille. Et quelque peu des leurs, \a\itperc6s de vos coups. Gid, IV. 3. Horace, III. 1*, IV. 2; Cinna, I. 4*; Polyeucte, I. 3, I. 4*; Le Menteur, IV. 3; Rodogune, I. 4*, IIL 3*; Don Sanche, I. 3 ; Pertharite, U. 4* ; (Edipe, IV. 4* ; Sur^na, V. 4*. Bacine. Alex, le Grand, V. 3* ; Andromaque, V. 5 ; Mithridate, IV. 2* ; Athalie, I. 2*. Poignard dans le Sein : used in speaking of death or a painful impression. Mairet. La Virginie, III. 5 ; Mai-c-Antoine, V. 3* ; L'Ath6nais, IV. 2*. Rotrou. Fais tdt, ou je te mets ce poignard dans le sein. Laure Persecutee, IV. 2. Don Bernard, II. 3 ; Venceslas, IV. 5*. Corneille. Cinna, I. 3*, III. 2 ; Theodore, V. 8* ; NicomMe, V. 7 ; Pertharite, V. 4* ; Sertorius, V. 4*. Racine. Bajazet, IV. 11* ; Mithridate, IV. 4* ; Athalie, IV. 2*. Preter le Bras : to aid. Mairet. L'Athdnais V.5*., Botrou. Et pretons mieux I'oreiUe an r^cit des combats De qui si dignement nous a priti le bras. Son Bernard, II. 3. Cosro^s, IIL 4*. Corneille. Sertorius, I. 1. 36 Formulas in the Language R6pandre un Sang : to kill. Gamier. Pour ceste faim gloutonne, et plus de sang repandre Que pour domter un monde il n'en fallait despendre. Comelie, 41. Mairet. Due d'Ossoune, I. 4* ; La Virginie, II. 2* ; Eoland Fu- rieux, II. 2*, IV. 2. Corneille. Gal. du Palais, V. 4* ; Cid, II. 7» ; Horace, H. 6* ; Cinna, III. 4, IV. 2 ; Le Menteur, V. 4* ; Polyeucte, V. 4 ; La Mort de Pomp^e, IV. 4*, V. 2* ; Theodore, V. 6* ; H^raclius, V. 4*, V. 7 ; Don Sanche d'Aragon, II. 1*, H. 2* ; Per- tharite, V. 2 ; CEdipe, I. 3*, II. 3*, HI. 3*, IV. 5* ; Serto- rius, I. 1*. Motrou. Les Sosies, II. 2*; Venceslas, V. 2, V. 4*. Bacine. La TMbaide, I. 2, IL 3,* II. 3,* II. 3, III. 3,* HI. 4, ni. 4, in. 4,* IV. 3* ; Andromaque, I. 4*. Respirer le Jour : to live. Corneille. Albe, ou j'ai commence de respirer lejour, Albe, mon cher pays et mon premier amour. Sorace, I. 1. Clitandre, II. 6 ; Gal. du P.alais, HI. 11* ; CEdipe, IV. 2, IV. 4*. .Jtotrou. La Soeur, II. 3,* III. 3* ; Cosro^s, V. 4*. Jiacine. Britannicus, I. 1*; Iphig6nie, II. 1*. Remords Cuisant : said of one who regrets unceasingly. Mairet. La Virginie, V. 4*. Corneille. Ce qu'un remords cuisant te cofttera de larmes D'un si doux entretien augmentera les charmes. L'lUusion, IV. 1 Cinna, III. 2* ; Rodogune, III. 5*. of the French Poet-Dramatists. 37 Sous sa Loi: used mth respect to power, rule, domination. Gamier. Tels que chacun estait lorsque Saturne Eoy Gouvernait en repos le monde sous sa loi. Porcie, 726. Porcie, 726*, 1314* ; Marc-Antoine, 32*. Corneille. La Veuve, II. 5*, II. 2 ; L'lllusion, II. 2* ; Cid, V. 2*, IV. 2; Cinna, H. 1,* II. 1, II. 1; Horace, HI. 5*; Poly- eucte, II. 2 ; Le Menteur, HL 1,* V. 6* ; Theodore, ni. 3, IV. 5* ; Don Sanche, I. 2 ; Nicomfede, IL 3, II. 3* ; Toison d'Or, I. 3* ; Sophonisbe, I. 3* ; SertoHus, III. 4, IV. 3*. Botrou. Laure Persdcutde, V. 6*, V. 8 ; La Soeur, II. 5. Bacine. Alex, le Grand, I. 3,* L 2,* I. 2,* III. 6,* III. 6*, IV. 1*, V. 3*; Andromaque, I. 1*; Bajazet, I. 1* ; Iphig^nie, I. 1* ; Phfedre, I. 3. Couper la Trame de Quelqu'un : to kill. Mairet. Due d'Ossonne, I. 4* ; Roland Furieux, IV. 5*. Corneille. Mon p^re est mort, Elvire ; et la premiere 6p6e Dont s'est armde Eodrigue, a sa trame coupie. did, III. 3. Sertorius, III. 2* ; Horace, V. 3. Botrou. Les Sosies, 1. 3*; Cosro^s, IV. 1*. Tache Noire : used with respect to that which causes dishonor. Corneille. Soufifrez-le d'un esprit jaloux de votre gloire Que vous allez souiller d'une tache trop noire. Cinna, II. 1. Ag^silas, V. 6* ; Attila, IV. 3* ; Pulch^rie, IV. 2* ; Men- teur, V. 3. La Mort de Pomp^e, I. 1*. Botrou. Don Bernard, V. 4*. Bacine. Mithridate, III. 1 ; Alexandre, I. 1*. 38 Formulas in the LdTiguage Tirer de Peine : deliver. Gamier. Je vay parler d. elle et feray si je puis Qu'elle me tirera des peines oil je suis. Bradamante, 271. Mairet. Roland Furieux, V. 4*. Corneille. L'lllusion, V. 3* ; Gal. du Palais, I. 9*, V. 5* ; La Place Eoyale, V. 2*, V. 5* ; Le Menteur, III. 1* ; La Suite du Menteur, V. 5* ; H^raclius, HI. 4* ; Sertorius, II. 4*. Botrou. Les Sosies, 11. 3, IV. 3*, IV. 3*; V. 6*; Laure Pers6- cut6e, IIL 13*, IV. 8*; V. 9*; La Soeur, L 2*; L 3*; L 3*. Trancher les Jours (la Vie): to kill. Gamier. O meurtrier Citheron : tu m'es cruel toujours Et mes jours allongeant, et retranchant mes jours. Antigone, 36. Corneille. Clitandre, V. 1* ; L'lUusion, IV. 9* ; Cinna, II. 1, V. 2 ; H6raclius, V. 5* ; Polyeucte, I. 8, in. 4* ; CEdipe, IH. 4* ; Othon, IV. 3* ; Sur^na, I. 3*. Botrou. St. Genest, V. 5*, V. 5* ; Venceslas, V. 2*. Bacine. Andromaque, III. 6 ; Britannicus, IV. 4*. V. 6* ; Bajazet, L 3*. Tremper de Sang : used in speaking of a violent death. Gamier. Je vaincrai bravement, ou sera eette espee (Elle lui brillait au poing) dedans moa sang trempie. Comelie, 1638. Hippolyte, 1478* ; La Troade, 78*. Mairet. Marc-Antoine, III. 4; La Virginie, V. 4*. Corneille. Cid, V. 7 ; Pomp6e, III. 2.- Botrou. Laure Pers^cutde, IV. 8*, PV. 9. Bacine. Athalie, I. 1*. of the French, Poet-Dramatists. 39 Verser des Larmes : to weep. Corneille. Allez, ne m'aimez plus, ne versez plus de larmes. Sorace, II. 5. Polyeucte, n. 3* ; Rodogune, m. 3*, IV. 3* ; Androm^de, IV. 3* ; CEdipe, V. 9* ; Othon, I. 4*. Botrou. St. Genest, II. 1*, II. 6*. Bacine. La Th^baide, V. 1* ; B6r6nice, V. 5* ; Bajazet, I. 4* ; Mithridate, V. 4*. Verser deSj, Pleurs : to weep. Corneille. Elle aurait trop d'honneur de n'avoir que ma peine Et de verser des pleurs pour fetre deux f ois reine. Medee, IV. 1. Cinna, I. 4 ; Polyeucte, 11. 4 ; Rodogune, IV. 5 ; An- drom^de, IV. 3 ; Nicomfede, IV. 2 ; Pertharite, I. 1 ; CEdipe, V. 10* ; Othon, V. 6. Botrou. Laure Pers6cut6e, II. 5*. Bacine. La TMbaide, 11. 3 ; Alex, le Grand, IV. 2 ; Andromaque, I. 4*; B6r6nice, I. 1; Iphig6nie, I. 1*, III. 7; Athalie, IL 2*. Verser du Sang: to kill. Gamier. Bien que le sang versd de vous, 6 ma patrie. Porcie, 1176. Mariet. Due d'Ossonne, III. 2. Corneille. M61ite, IV. 6* ; M6d6e, V. 5* ; Horace, II. 7 ; Theodore, n. 6, V. 9*; Polyeucte, I. 1*, I. 3*, II. 6*; H6raclius, I. 2*; Rodogune, n. 2, HI, 3*, IV. 1*, V. 3*; NicomMe, IV. 2, IV. 3*, V. 4; Pertharite, I. 4 ; CEdipe, H. 3, IV. 1, rV. 3; Toison d'Or, II. 2; Sertorius, I. 1, III. 1; Othon, I. 3; Agesilas, III. 1, Botrou. St. Genest, III. 4; Venceslas, IV. 5*, IV., 5*, V. 7*; Cosro^s, I. 1*. 40 Formulas in the Language Racine. La Th^baide, I. 3, H. 3, IH. 4, IV. 3; V. 1* ; Alex, le Grand, IV. 2; Andromaque, IV. 5*; B6r6nice, I. 4; IV. 5*. Esprit Flottant : uncertain. Corneille. H n'a plus de douceur pour mon esprit flottant Aussi f erme k present qu'il le croit inconstant. Gal. du Palais, III. [4. Cid, I. 2* ; Cinna, III. 4* ; Le Menteur, IV. 8* ; Toison d'Or, IV. 2* ; PulcMrie, V. 7*. Botrou. St. Genest, II. 2*. Mettre en Peine : to trouble, disturb. Corneille. AUons ; et sans te mettre en peine de m' aider, Ne prends aucun souci que de me regarder. Clitandre, I. 4. Clitandre, L 4, III. 1 ; La Veuve, II. 5*, IV. 8* ; M6d6e, I. 5* ; Cinna, II. 1 ; Polyeucte, I. 3*, IV. 3* ; Sophonisbe, V. 4* ; Le Menteur, IV. 7, V. 6 ; La Suite du Menteur, IV. 7* ; Don Sanche, V. 5* ; Nicomfede, I. 5* ; Pertharite, IV. 1* ; (Edipe, III. 3*. Mairet. L'Ulustre Corsaire, 11. 4; La Sophonisbe, 1647. Botrou. Laure Pers6cut6e, IV. 8* ; La Soeur, III. 3*. Premier Mouvement : impulse. Corneille. Qu'Hippolyte vous dir avec quels sentiments Je lui fus raconter vos premiers mouvements. Gal. du Palais, V. 4. Cid, II. 6*, in. 1*; Horace, V. 3, V. 3*, V. 3; An- dromfede, I. 1 ; Polyeucte, II. 1* ; Le Menteur, III. 1 ; Pertharite, IV. 1*: Eodogune, I. 5*, II. 2*; H6raclius, V. 2*. Mairet, L'Ath^nais, V. 6. Botrou. St. Genest, I. 1*. of the French Poet-Dramatists. 41 Secret Mouvement (Mouvement Secret) : impulse. Corneille. En vain je lui rdsiste et t4che k me d6fendre D'un secret mouvement que je ne puis comprendre. Clitandre, II. 8. Gal. du Palais, IV. 5 ; L'Ulusion, V. 4* ; Horace, I. 1* ; Cinna, IV. 4* ; AndromMe, I. 1 ; Don Sanche, IV. 3* ; Pertharite, V. 2. JRotrou. St. Genest, I. 2*, IV. 2* ; Don Bernard, H. 5, in. 1. We believe that the preceding pages have demonstrated the statenaent which we started to prove, namely, that the vocabu- lary of the French poet-dramatists of the seventeenth century is full of repetitions and conventional forms. If now we attempt to account for this very noticeable peculiarity, we believe it may be traced to the following causes : — Cause I. — The influence of Malherbe and Boileau tended to restrict and impoverish the poet's vocabulary. " Disciplin^e par lui (Malherbe), la po^sie devint timide, un peu guind^e, et perdit son naif enjouement. EUe tendit, sous son influence, a sacrifier I'inspiration, le sentiment a la lettre, la pens^e au mdca- nisme, et la chaleur a la precision " (F. Wey, Hist, des rSvoln- tions du langage en France'). " Notre ennemi, c'est notre maitre. " — La Fontaine. If we compare the language of Shakespeare with that of Cor- neille, we find that, when the former chooses to use a periphrase or poetical equivalent, there is an abundance of resource which is not to be found in the works of the French poet-dramatists under the influence of Malherbe. Repetition of the ordinary term never causes the same impression as the repetition of an evidently sought-for equivalent. To take a single example, Corneille's synonymes for amour are ardeur, feu, flamme, which 42 Formulas in the Language recur with painful monotony. Compare these with the expres- sions for love in Shakespeare's Romeo and Juliet, 157-188 : " anything of nothing first created, O heavy lightness ! serious vanity ! Misshapen chaos of well-seeming forms ! Feather of lead, bright smoke, cold fire, sick health ! Still waking sleep that is not what it is ! This love feel I that feel no love in this." Vovpleurer Corneille's formulas are verser des larmes, verser des pleurs : compare these with Capulet's words as he enters and finds Juliet weeping : — When the sun sets the air doth drizzle dew. But for the sunset of my brother's son It rains downright. How now, a conduit, girl? what, still in tears? Evermore showering. In one little body Thou counterfeit' st a bark, a sea, a wind : For still thy eyes, which I may call sea, Do ebb and flow with tears : the bark thy body is. Sailing in this salt flood : the winds thy sighs. Says Godefroy in his " Lexique compart de la langue de Cor- neille " : " Le grand tragique ne cherchait pas a faire des mots, ni mSme des locutions, et n'affectait pas non plus la nouveaut^ des images ; il embellit les figures d'usage qui appartiennent &, la langue: il rechercha trds peu ces figures d'invention qui appartiennent k I'^crivain." Cause II. — The influence of I'hStel Rambouillet contributed undoubtedly to the formation of a style, which, although freed from the vulgarities of the school of Hardy, did not itself escape the charge of affectation and conventionalism. " Corneille ne s'affranchit pas du jargon pr^eieux." (Rambeet, — Oorneille, Raeine et Moliire'). La Harpe, IV. 295, speaks also of a "jargon des Pr^cieuses ridicules." M. Somaize in his " Dictionnaire des prgcieuses," gives a list of expressions which illustrate how the " terme pro- pre," was replaced by an evidently sought>-for equivalent in the affected style of the seventeenth century, M. Somaize does not of the French Foet-Dramatists. 43 pretend however that these were formulas ; in fact the inference is to the contrary, for the pr^cieuse sought not simply to avoid the common every-day expression, but took pride as well in the quality of originality. He cites none of his examples more than once. The following are some of them. Les dents : L'ameublement de Louche. Les sidges : Les commoditez de la conversation. Le soleil : Le flambeau du jour. Rhume : Je suis grandement enrhum^ : j'ay un grand escoul- lement de nez. Les poissons : Les habitans du royaume de Neptune. Pleuvoir : Le troisidme element tombe. The examples we give from the dictionary of Somaize illus- trate the excesses, the abuses, to which the true spirit of I'hfitel Rambouillet was carried. The list which we have collected shows how the " terme propre " was replaced in the language of poet-dramatists, and this in part owing to the influence of the pr^cieuses. Our examples are not to be considered so much as examples of affectation as examples of conventional formulas sanctioned, it might be said demanded, by the drama of the seventeenth century, owing partly to the influence of I'hfitel Rambouillet. They show more truly what I'hStel Rambouillet intended to accomplish, i. e. to remove from the French language any word or combination of words, which, of themselves or from their association, might suggest even indirectly the familiar, the impure, the vulgar. " Ce salon de beaux esprits, qui r^genta la littdrature pendant la premiere moiti^ du dix-septi^me sidcle, et qui fut I'arbitre du gout, le sanctuaire de la morale, I'acad^mie du beau langage." " Un centre d'opposition mod^rg qui com- battait indirectement les barbarismes et les d^sordres de la cour par la puretd du langage et des moeurs." Les scrupules des pr^- cieuses en matidre de langage les portaient a 6viter les mots vul- gaires et h, les remplacer par de nouvelles m^taphores et par des periphrases " (Geeusez, Mudes littSraires). 44 Formulae in the Language Cause III. — The attempt to avoid the ordinary term could not go so far as to introduce constantly new expressions with which the hearer was unfamiliar. For this reason a happy equivalent once found was constantly repeated, inasmuch as the first requisite in the theatre is to enable a person quickly and easily to understand. It is because Corneille kept this fact in mind that he knew better than Eacine how to meet the require- ments of the stage, where each expression must be understood as soon as uttered, lest the hearer become fatigued and disin- terested. " La po^sie dramatique a pour but le seul plaisir des spectateurs" (Corneille — Disoours du poSsie dramatique'). For reading, where leisure is given for the full comprehension of each less familiar word or figure, Racine gives more enjoy- ment. Cattse IV. — The frequency with which a large number of the cited expressions occur at the end of the line shows that their use was largely owing to the influence of the rhyme. In the instances where ardeur is rhymed with froideur, herceau with tomheau, and similar cases, the effect of contrast is appreciated until this effect is more than counterbalanced by the striking recurrence of the same words in rhyme with each other. A consultation of \the preceding list will show that at least twenty- five per cent of the examples given occur at the end of the line. One of the rules of Malherbe was to reject those rhymes which wer^ of frequent occurrence. " II d^daignait les rimes qui s'offraient d'elles-mSmes, qui ^taient tourn^es et retourn^es par les pontes " (Beckmann, Emil, Etude sur la lang'ue et la versification de Malherhe). The repetition of the same combi- nations, used evidently for the purpose of filling out the line, shows how far the writers cited were from the spirit of this law. " La rime est una esclave et ne doit qu'ob6ir." BoiLEAu, L'art poetique. That these combinations were those of the poet-dramatists, and the result of the use of the Alexandrine, and the close criticism of the French Poet-Dramatists. 45 of Malherbe, leading to a poverty of expression wMeh in our day would meet with nothing but ridicule, but which corres- ponded with a period in which imitation was more highly prized than originality, be it in matters of dress, conduct or language, is shown by the fact that we do not find them in the prose works of such contemporaries as Voltaire and Balzac. Catjse V. — In the portraying of feelings the French tragedy kept itself within prescribed limits, and therefore within a limited vocabulary, to the extent of becoming unnatural. We have the expressions of restrained passion instead of the more energetic forms, such as are met in ordinary life ; we find the milder forms instead of the sudden and stronger outbursts of momentary excitement. Boileau regretted the rich vocabulary and daring attempts of the Pl^iade, and foresaw that the result of the reaction which announced itself with Malherbe could in the long run be only poverty and constraint. Corneille blames himself in the following : — Et je n'ai jamais vu de cervelles bien faites Qui traitassent ramour comme font les pontes, O pauvre com^die ! objet de tant de peines. Si tu n'es qu'un portrait des actions humaines. On te tire souvent sur un original A qui, pour dire vrai, tu ressembles fort mal. Says Mme. de Stael : " Une sorts d'esprit madrigalique attestoit le sang-froid alors mSme qu'on voulait peindre I'entrainement, et Ton se servoit souvent d'un langage qui n'appartenoit ni h la raison ni h I'amour." Cause VI. — A dramatic theory of limited action and interest like that of the French drama of the seventeenth century tended i}0 produce types of character rather than individuals. "Tar- iuffe is embodied hypocrisy, Alceste an embodied impatience of that with which he does not sympathize. lago is rather influenced by devilish special purpose than wholly diabolical " (Saintsbury's Hist, of French Literature). Also the types of heroes represented in the French theatre were few in number, Bnd this accounts for the repetition of the same qualities. " Ses 46 Formulas in the Language heroines, ses adorables furies, se ressemblent presque toutes " (Sainte Beuve, Portraits litt^raires, Corneille). Admiration of moral grandeur and love-making are two themes constantly recurring. Glory is the key-word to the plays of Corneille ; woman and love are the subjects of Racine. That a repetition of the same types was accompanied by a repetition of the same expressions is not surprising. That a conventional assortment of characters, of ' cut and dried personages,' produced a conven- tional phraseology and a limited vocabulary, was but a natural result. Conclusion I. — We are able to see from what precedes that a large number of the conventional forms which have been given, although of most frequent occurrence in Corneille, are to be found in the works of Grarnier, or those of Mairet and of Rotrou, which precede those of Corneille, and therefore that the remark of Marty-Lavaux in our introduction is verified. Cor- neille did not seek for new words or new phrases ; he cared little about inventing new figures, but made a free and accurate use of those already existing. Racine took from Corneille a large number of expressions, but invented much more than he borrowed, and " fit faire le plus de progr^s jt, la langue propre- ment dite " ( Godbfeoy, Lexique eomparS de la langue de Corneille'). CoNCLxrsiON II. — The words most frequently represented by other expressions are tuer, mourir, pleurer, mariage, passion, mort, amour. The most common adjective and noun combina- tions are beau feu, beaux yeux, grand courage, grand ccEur, haute vertu, haut rang, juste courroux, coup mortel. The most common phrases are jusqu'au dernier soupir, percer le coeur, jusqu'au fond de mon ^me, parler avec franchise, allumer le flambeau d'Hymen. Conclusion III. — As has been already suggested in Con- clusion I., Corneille is specially open to the charge of repetition. of the French Poet-Dramatists. 47 Not to mention the instances before referred to, the words grand, grandeur, occur as follows in Attila I. 2, a scene of about 225 lines : grand cceur, grand roi, grandeur, grands discours, grand destin, grands ordres, grand homme, grands hym^nees, grande journ^e, grand corps, grand caract^re, grand M^roii^e, grand choix, grandeur : that is fourteen times. Racine shows a special preference for the sense of sight, so that we have in Britannicus yeux, a ses yeux, de ses yeux, beaux yeux, forty-eight times. Transports, inhumaine, funeste, are other favorites of Racine. Rotrou, in Laure Pers^cut^e, 1637, uses the conventional vocabu- lary to a greater extent than elsewhere. Garnier and Mairet resort frequently to cent, mille, mille et mille ; the former shows a special liking for the word " dextre" in the sense of courage, puissance, which does not occur in the other authors whom we mention, except in Corneille, La Veuve, III. I. Conclusion IV. — The following expressions are found first in Corneille : allumer la flamme, auteur de mes jours, au bord du precipice, beau feu, belle fiamme, briser la chaine, briser les fers, faire couler les larmes, faire couler les pleurs, conserver le jour, doux entr^tiens, en I'air, esprit flottant, flots de sang, grand dessein, haute fortune, haut rang, illustre rang, imprimer sur (&,) un front, jusqu'au fond de mon ^me, manquer de foi, mettre au jour, mettre en peine, nceud de I'hymen, parler avec franchise, percer le flanc, premier mouvement, respirer le jour, secret mouvement, tache noire, tant de fois, tigre altdr^, verser des larmes, verser des pleurs (34). In Garnier we notice first : allumer le feu, allumer le flam- beau d'hymen, 4me g^n^reuse, a genoux, au dernier point, beaux yeux, beau tr^pas, belle mort, cent et cent, chaste amour, coeui" magnanime, cceur g^n^reux, faire couler le sang, conseil salutaire, coup mortel, courage g^n^reux, dessiller les yeux, dures lois, foudre de guerre, fr^mir d'horreur, fruit cueillir, fumer de sang, grand cceur, grand courage, heureux hymen, jusqu'au fond de mon cceur, juste courroux, laver les mains dans le sang, lien conjugal, mettre en poudi-e, mille et mille, nceud 48 Formulas in the Language conjugal, nuit ^ternelle, nuit et jour, percer le coeur, repandre un sang, sous sa loi, tirer de peine, trancher les jours, tremper de sang, verser du sang (41). In Mairet occur for the first time : belle action, aux depens de ma vie, coup fatal, couper la frame, gloire fl^trie, hauts faits, haute vertu, jusqu'au dernier soupir, lien sacr^, nceud sacr^, noire action, perc^ de coups, prefer le bras, remords cuisant (14). In Rotrou we notice for the first time : a (centre) un foueil se briser, juste colore, noble ardeur, percer le sein (4). Conclusion V. — It is clear that the French dramatists of the seventeenth century, with Corneille at their head, not only made a free use of the characters and methods of treatment employed by Garnier, but also of the very forms used by their predecessor in the adaptation to the French theafre of the Senecan tragedy. Whether Garnier was indebted to the Latin for the expressions which have just been given we are not prepared to assert. In speaking of Corneille, Godefroy (" Lex- ique compart de la langue de Corneille") remarks: "Dans les patientes Etudes auxquelles se soumit le genie de Corneille pour se preparer a ces fortes creations, il se p^n^tra intimement de la langue comme des id^es des grands ^crivains latins." That Garnier borrowed freely froni Latin originals may be seen in two doctor's dissertations; one by Mr. Max Schmidt Warten- burg on " Seneca's Influence on Garnier." This we have been able to glance at only hurriedly in the library of Cornell Uni- versity, and were unable to have it at hand for comparison. The other dissertation to which we refer is that of Mr. Hans Raeder, "Die Tropen und Figuren bei R. Garnier mit lateinischen Vorlage verglichen." This we examined, but found nothing bearing directly upon the point at issue.