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2002
Women and Marriage in Corneille's Theater
Nina Ekstein Trinity University, [email protected]
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Repository Citation Ekstein, N. (2002). Women and marriage in Corneille's theater. In R. G. Hodgson (Ed.), La femme au XVIIe siècle: Actes du colloque de Vancouver, University of British Columbia, 5-7 Octobre 2000 (pp. 391-405). Narr.
This Contribution to Book is brought to you for free and open access by the Modern Languages and Literatures Department at Digital Commons @ Trinity. It has been accepted for inclusion in Modern Languages and Literatures Faculty Research by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Women and Marriage in Corneille's Theater
Nina Ekstein (Trinity University)
Marriage is ubiquitous in Corneille's theater: there is not a single one of his plays in which marriage is not an issue, in which at least one union is not proposed. I In part this state of affairs is due to the fact that the vast majority of Corneille's characters are marriageable. While marriageability is hardly unusual among the young, Corneille inevitably takes his char acters at precisely the dramatic moment when the choice of life partner is to be made. For Corneille, that moment is not even limited to the young; not infrequently older characters are in need of a spouse as well. One could argue that marriage is simply a commonplace of seventeenth century theater.2 Indeed, the central role of marriage in the perpetuation of society at all levels makes it a rich choice.3 And while there is nothing inherently theatrical about marriage, per se, it is an ideal vehicle for inte grating the sentimental and the political, two central concerns in Corneille's work. On the other hand, there is something quite unusual about the omnipresence of marriageability and marriage plans in Corneille's theater. First, Corneille rarely limits himself to a single couple, and frequently moves beyond even a triangle to multiple possible couplings and even multiple marriages. Second, marriage is a preoccupation traditionally asso-
I Rathe's important work on the subject, La Reine se marie, while limited in scope to ten plays, does touch upon the widespread nature of maniage in Corneille: "Le projet de mariage, topos qui, repris avec des nuances toujours nouvelles, revele la richesse d'invention de !'auteur et la flexibilite de son art" (p. 9). 2 Couton views maniage as merely a means of tying up all loose ends: "Une piece doit se terrniner sans qu'il reste d'incertitude sur le sort d'aucun personnage et comme normalement elle comporte au moins un interet d'amour, on marie !es amants qui ont pu survivre: Cinna avec Emilie et un jour le Cid avec Chimene. Mais l'interet de la piece n'est pas ll'I. Le mariage sanctionne un retour l'l l'ordre normal des choses, apres !'incur sion dans une vie passionnee, herolque et dangereuse. On dirait volontiers qu'il est un post scriptum l'l l'usage des ames sensibles" (La Vieillesse de Corneille, p. 243). 3 In his discussion of maniage in the Middle Ages, Georges Duby says: "C'est par !'institution matrimoniale, par les regles qui president aux alliances, par la maniere dont sont appliquees ces regles que les societes humaines, celles mSmes qui se veulent les plus libres et qui se donnent !'illusion de 1'€tre, gouvement leur avenir, tentent de se perpetuer dans le mainti en de leurs structures, en fonction d' un systeme symbolique de !'image que ces societes font de leur propre perfection" (p. 23).
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IA IA
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existence existence
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provides provides
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to to
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to to
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Nicomede), Nicomede),
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important important
phenomenon phenomenon
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sources sources
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of of
as as
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to to
and and
does does
four four
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of of
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part part
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concerns concerns
are are
work
the the
tragedies tragedies
this this
Corneille's Corneille's
las
it it
limited limited
are are
Corneille's Corneille's
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plays, plays,
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of of
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in in
terms terms
comedies comedies
two two
s s
per per
in in
of of
of of
pair pair
of of
in in
as as
L'lllusion L'lllusion
but but
the the
La La
created) created)
triangle triangle
Ekstein Ekstein
marriage marriage
thus thus
r r
extreme, extreme,
throne.4 throne.4
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between between
because because
Clitandre, Clitandre,
marry. marry.
women? women?
in in
(e.g. (e.g.
l l
Camille Camille
First, First,
plans plans
concerning concerning
level level
one one
of of
mean
from from
o o
r r
Nicomede; Nicomede;
political political
Dirce Dirce
while while
the the
t
multiplicity multiplicity
ith ith
names names
Nina Nina
o o
sweep sweep
even even
general general
royale, royale,
and and
characters characters
the the
n
act act
lower lower
w
numbe
er er
thirty-two thirty-two
and and
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characters characters
discussion discussion
Milite, Milite,
private, private,
where where
theater theater
requiring requiring
rd
a a
Hiraclius, Hiraclius,
found. found.
b
And And
a a
by by
do do
figures figures
of of
imperia
to to
the the
Cinna, Cinna,
the the
o
(and (and
While While
more, more,
mere mere
Place Place
in in
r
ranging ranging
imagination imagination
broad broad
marriage marriage
ex. ex.
is is
n n
in in
characte
be be
the the
to to
full full
l
e's e's
i
at at
in in
are are
the the
La La
here here
the the
a a
convey convey
rs rs
ill
s s r
rare rare
to to
distinction distinction no
level, level,
the the
Othon Othon
action. action.
but but
five five
te
gs gs
of of
often often
and and
comedies) comedies)
n
corpus corpus
have have
to to
is is
Furthe
marriageable marriageable
comp
degree, degree,
of of
AndromUe, AndromUe,
are are
For For
Theodore, Theodore,
Emilie Emilie
fourth fourth
women. women.
will will
s s
a a
of of
thus thus
e e
<:Edipe <:Edipe
aracte
comedies. comedies.
Veuve, Veuve,
Corne
a a
developed developed
marriageable marriageable
h
thi
makes makes
is is
that that
three three
charac
individuals individuals
obstacles obstacles
in in
Corneille's Corneille's
public public
La La
by by
mor
coupli
it it
It It
lesser lesser
his his
with with
and and
e e c
Pulchirie. Pulchirie.
dramatic dramatic
marriage, marriage,
comedy, comedy,
are are
l
g g
Berenice; Berenice;
include include
series series
are are
in in
entails entails
half half
overview overview
n
example example
ed ed
Menteur, Menteur,
does does
or or
in in
the the
a a
t
er er
a a
characters, characters,
Rodogune, Rodogune,
si
Pulcherie. Pulcherie.
the the and and
from from
six six
mathematical mathematical
examples examples
an an
Le Le
Heraclius). Heraclius).
succession succession
ri
with with
ica
as as
by by
of of
in in
ageab
There There
Others Others
and and
Tire Tire
pl
because because
drawn, drawn,
representative representative
multiple multiple
higher.s higher.s
far far often
Dealing Dealing
What What
s s
4 4
Pompee Pompee
Cid, Cid,
overcome overcome
few few
the the
perfect perfect
surp
greater greater
ated ated
impending impending
between between
vention"). vention").
A A
has has Wo~en Wo~en
largely largely
purely purely
A A
not not
n
marri
inevitably inevitably five five
a a
yet yet
marriageable marriageable
to to and and
are are the the
com is is
Menteur, Menteur,
marriageable marriageable
de de
Surena; Surena; viding viding
edies edies ciated ciated
heart heart combinations combinations
392 392
and and
Le Le
Irene Irene
-
Attila, Attila, Agisilas, Agisilas, 394 Nina Ekstein Women and Marriage in Corneille's Theater 395
such as Othon and Surena. With the exception of this last tragedy, Cor her: "Ne pensez plus, ma reine, a l'honneur que ma flamme I Yous devait neille never places women in the position of being more numerous than faire un jour de vous prendre pour femme" (II. 961-2). In these albeit limit men. Everywhere else we find either parity in the number of marriageable ed examples, Corneille shows a willingness to consider marriage in comedy women and men (13 cases)? or more marriageable men than women (the in ways outside of the orthodox lines of respect and seriousness generally 18 remaining plays). associated with the subject. A similar degree of variety is found in the number of marriages settled Between the beginning of a play and its denouement, the trajectory of a upon or at least possible by the end of the plays. Once again, it is the ex marriageable character is not always neat. While change is strongly frown tremes that are interesting. In five plays, no union is formed or envisioned: ed upon, multiple possible mates are nonetheless frequently considered. Medee, Horace (unless one wants to accept a joint tomb as a form of mar Three potential husbands for Angelique are suggested in La. Place Royale, riage), Polyeucte, Theodore, and Surena. It is worth noting that this brief as are three for Pulcherie in the play of that name. Kaleidoscopic marital list includes both of Corneille's martyr plays. The question of marriage to possibilities almost overwhelm the action of Othon and Agesilas. Overall, God is implicit in Polyeucte and explicit in Theodore. At the other extreme, almost half of the couples about to married at the denouements were Attila's denouement suggests that three weddings will take place, while formed during, rather than before, the action of the plays. Agesilas is explicit in finalizing three couples. The contrast with Racine's While marriage is the obvious outcome for Corneille's marriageable theater is striking: while all but the latter's two final religious tragedies pre characters (and occurs in approximately 60% of the cases), it is not the only sent marriageable characters, the majority end with no possibility of one. Death is another alternative. Seventeen of the marriageable characters marriage.8 die. The most extreme example is Theodore, where the play ends with The norm for Corneille's comedies seems to be two marriages settled Flavie, Theodore, and Didyme dead and Placide at death's door.JO The upon (found in 6 of the 8), but comedy is also a space in which Corneille periodic choice that Corneille made throughout the length of his career to plays with the concept of marriage. In the original ending of La. Suite du end marriage plans with death is a dramatic one, in the sense that it is sur Menteur, when Cliton complains that only one union has been formed, prising. Marriage obviously has strong associations with life, yet by Dorante immediately suggests three other possible couples. Corneille thus choosing to end his final play with the deaths of two marriageable char mocks his own proclivity for invraisemblable multiple unions. In Le acters and no possibility for other unions, Corneille suggests a certain am Menteur, Dorante invents a shotgun marriage for himself in order to avoid bivalence towards marriage, an ambivalence that echoes Dorante's flight having to marry his father's choice of bride. In La. Suite du Menteur, Do from such a union in Le Menteur. rante calls into question the finality of the plans for marriage found in most In contrast to the numerous marriageable characters found in Cor of Corneille's denouements by running out on the marriage planned at the neille's theater, we find remarkably few married couples.II And of these end of Le Menteur, taking with him the dowry of his betrothed.9 Mata fourteen pairings, a number are of an older generation, others suffer severe more's attitude towards marriage is equally skittish. Voluble and eager to trauma to their marriage, and two have spouses who do not appear on stage, discuss his conquests, both military and amorous, he remains oddly silent leaving only Pertharite and Rodelinde, who are reunited as a couple only at on the subject of marriage until after he cedes Isabelle to Clindor, saying to the end of the play .12 The image we find of actual, as opposed to desired,
7 La Galerie du palais, Medee, Le Cid, La Mort de Pompee, Le Menteur, Theodore, IOAlso strongly marked by the death of marriageable characters (two apiece) are Heraclius, (Edipe, La Conquete de la Toison d'or, Sophonisbe, Agesilas, Tite et Bere Medee, Horace, Sertorius, and Surena. The other plays containing one such death each nice, and Pulcherie. are: L'lllusion comique, Rodogune, Andromede, Sophonisbe, Othon, and Attila. 11 Oddon notes "le peu d'importance des roles d'epoux et d'epouse. Si dans Ho 8 The exceptions are Alexandre with two couples formed, Mithridate with Xiphar~s race, Polyeucte, Pertharite, ils renforcent la ' pitie', dans !es autres cas, ils traduisent la and Monime united, and Racine's sole comedy, Les Plaideurs, at the end of which all domination de l'epouse sur l'epoux, et sont un symptome de la degradation de J'univers obstacles to Leandre and Isabelle's union have been overcome. lphigenie is an inter mllle" (p. 257). esting case: on the one hand, Achille and lphigenie are free to marry, but the spectator's knowledge of Achille's fate forecloses that possibility. Marriage in Racine's universe - l2 Older couples: Auguste and Livie in Cinna, Valens and Marcelle in Theodore, precisely as an integration of the personal and the political - is a mad, fantastic dream. Cephee and Cassiope in Andromede, Prusias and Arsinoe in Nicomede; couples who suffer trauma: Medee and Jason in Medee, Sabine and Horace in Horace, Polyeucte and 9 For an interesting discussion of Dorante's deep-seated fear of marriage see Pauline in Polyeucte, Gender is pertinent to the issue of choice, although political motivation doesn't want to be given by Attila to Valamir (II. 481-3); later Attila con is by no means the domain of men, nor is love the exclusive province of templates giving Ildione to someone else because he is scared of his own women. While the intertwining of love and political considerations is char feelings for her (II. 904-7); finally, lldione informs Honorie that she is acteristic of the majority of Corneille's characters, the power of choice is giving Attila to her (II. 941-2). While we find a male donor here, as we do not apportioned as evenly. La. Veuve provides a clear example of the op in La. Place Royale (Alidor wants to give Angelique to Cleandre) and in La posing positions women may find themselves in: Clarice as a widow is free Suite du Menteur where Dorante pushes Melisse to marry Philiste because to make the choice of a husband on her own; Doris, on the other hand, is of his own sense of obligation (II. 1782-86), seeking to choose the spouse promised by her mother to Florange while her brother promises her to Alci of the beloved is a move associated in Corneille's theater with female char don, neither of whom hold any interest for her.16 Pauline in Polyeucte and acters. Indeed, the only one to actually control the choice of spouse is Pul Daphnis in La Suivante, among others, are mere objects, victims bartered cherie; she determines the marriage of Leon and Justine, as well as her own for political or personal advantage. The vast majority of female characters, marriage to Martian. however, struggle with some degree of power over their own marital fate, reaching or attempting to reach their own decisions: Andromede, Pulcherie * (Heraclius), Isabelle (L'/llusion comique and Don Sanche d'Aragon), Vi * * riate and Aristie (Sertorius), Sophonisbe, Domitie and Berenice (Tire et Be renice). Even the powerless Elpinice and Aglatide are given some weight The norm in Corneille's theater as far as marriage is concerned is the by opening the play Agesilas with a discussion of their relative dissatis presence of a number of marriageable characters who seek to marry and faction with their father's choice of husbands for them. In Le Menteur, Cla who share a common understanding of the obligations of marriage. A rice goes on at some length about the problem of knowing someone well number of deviations from these norms occur. The most important concern enough to decide whether you should accept his marriage proposal (II. 404- is the issue of change. On the one hand, change is considered reprehen 33). The choice to accept or refuse at least remains the woman's in these sible. Fidelity is a basic value of Cornelian marriage; its abandonment cases. Both Pulcherie and Eurydice (Surena) exercise the power of refusal, beyond the threshold of marriage is the sin of adultery. At the same time, but Pulcherie goes further and makes her own choice of a substitute. however, change is precisely what allows these marriage plots to be dra A curious variant of women's choice in marriage, and no doubt a conse matic, and it is thus found in a number of Corneille's plays, both comedies quence of their very limited power, is the preoccupation with giving the and tragedies. Jason in both Medee and La. Toison d'or is a perfect figure of beloved to a spouse of one's choice. Creating a structure of triangulation is change; Massinisse abandons Eryxe for Sophonisbe; Andromede moves a means of exerting control over a situation of loss. In Le Cid, !'Infante has from Phinee to Persee; Othon trades Plautine for Camille. The comedies given Rodrigue to Chimene because she cannot marry him herself are rife with figures of change, from Philandre who abandons Cloris for (Boorsch, "Remarques" 122). In the second scene of Sophonisbe, the epon Melite, to Dorante who switches his affections from Clarice to Lucrece (Le ymous character tells her confidant that she wants to determine whom Mas Menteur). One variant of change is the desire to marry too many women: sinisse marries; she rejects Eryxe, of whom she is jealous, and suggests Pompee wants to be married to Aristie but does not want to anger Sylla by rather her own elderly husband's sister. In Tire et Berenice, Berenice ex divorcing the latter's daughter (Sertorius); neither Sertorius nor Attila are presses the desire to pick Tite's spouse on two occasions (III, 5 and IV, 1). able to choose between two possible wives; Don Sanche is accused of not In the place of Domitie she wants to install her own "creature" (I. 1132). being willing to choose between his loyalty to Elvire and to Isabelle. Some Again in Surena, Eurydice wants to control Surena's marriage, proposing times these issues spill over into the territory of marriage itself. In both some unnamed substitute for Mandane. Attila carries the theme to extreme Pertharite and Sophonisbe the issue of bigamy is raised as Grimoald tries levels of complication.17 In an inversion of the usual situation, Honorie to coerce Rodelinde to marry him (admittedly, Grimoald drops his court ship when Pertharite reappears), and Sophonisbe marries Massinisse while Syphax still believes her to be his wife. In another deviation from the norm, 16 See Biet for a discussion of the status of the widow in La Veuve. incest is a concern in Heraclius and a a e e g g r al al t at at of of u to to in in to to of of of of du du c the the his his his his icit icit a the the can can and and l own own th 401 401 u exu P pour pour from from found found ion ion ove effort effort . . soci ddin of of imag of of eleve eleve ee ee under- ye rush rush to to my my , , l both both Sopho Sanche Sanche conser exp vis s s ed ed to to order order humaines humaines with with o o o i t amorous amorous lf we nc t lid lid a is is Que Que abandons abandons the the P God characters characters arital arital enacts enacts auline auline " dispense, dispense, se in in a a m H unconsum Corneille's Corneille's part part so fia of of t t from from n n P son son : : o o m couples couples Don Don i we we n t made made all all love love constraints constraints of of ot. ot. of of her an an made made as as its its and and s s Sophonisbe Sophonisbe ar because because veuille veuille ers ers protec n ale, ale, of of and and ! the the societ6s societ6s is is by by fiancee, fiancee, whe are are in in is is ld · headlong headlong iff ce ce with with although although e e or or ipion a a it it l mp d ost ost n one one she she l olyeucte olyeucte at at , , des des yie feelings feelings be be Sc ow ow h P where where rted rted co ge kind kind Qu'il Qu'il structure structure being being l ove ove as as 9-20). 9-20). 111 even even that that H l and and w coup d, d, I I sse's sse's a a to to to to s s h et et i officielleme only only Sophonisbe Sophonisbe n between between 11 example example e, e, cou marriage marriage stoire stoire Y is is husband husband effort effort in in Theater Theater a the the au au her her r 1 the the beyond Cid, Cid, Polyeucte Polyeucte indu h and and ou ou is is out out tetralogy, tetralogy, is is the the bear ssin l'hi Massinisse, Massinisse, ay ay time time um, um, 's 's on on II II for for the the Le Le l ment ment that that (II. (II. s only only ndeed, ndeed, religious religious is is n it p Seve the the de de s s I Ma en en married married legally love love husband husband s s pe110 pe110 divorce, divorce, io acts acts of of i other other In In olyeucte olyeucte attribue attribue that that this this Marriage Marriage begins, begins, acts acts a a h in in ip P the the wh this this idea idea e e to to un un this this Severe Severe marriage marriage martyrdom? martyrdom? and and ll comm norm Corneille's Corneille's been been the the Sc de de that that e e f f Chimene Chimene beyond beyond resists resists depends depends n n n for for of of 1592-1604). 1592-1604). the the between between play play o of of i isbe, isbe, God God o o creatrice creatrice say, say, t on on n clu ian ian here here ement, ement, e e clear clear l r et et 426-7). 426-7). have have beg beg as as o r order order to to in th th 1 (II. (II. the the l l h between between i "Cornei level level choose choose play, play, to to . . sac contains contains extend extend ream ream mean mean in in w overcome overcome consummated consummated ore ore Sophonisbe Sophonisbe e e d they they l (II. (II. Pauline Pauline Sop featu here here m'ordon the the it it valence valence Corne consummation. consummation. similar similar immediately. immediately. not not to to i Marriage Marriage motrice motrice r r nfante; nfante; Sophonisbe Sophonisbe ] ] I olyeucte olyeucte par par n n m before before latter latter n of of fo been been nts nts !' freely, freely, n n P nd nd ather ather that that o married married i equ i Needless Needless a and and e e chimerica does does rious rious R sacrifices sacrifices Severe Severe marriage eve concludes: concludes: quite quite whether whether consummation consummation ipi the the make make u by by not not an an l'otant" l'otant" c are are c as as Pauline. Pauline. Polyeucte Polyeucte n n fonction fonction him; him; He He mpossible mpossible . . Sophonisbe Sophonisbe agree agree arriage's arriage's r r I [S for for i aside aside shortly shortly is is d d ade ade up up does does which that that la la tously, tously, outside outside i i same same relationship relationship constra me me m has has sse sse i now now to to What What i noble noble d d sacerdotale sacerdotale m Women Women It It marriag e, e, an loved loved s s gs gs 413) e e l a a e a a 968-76). 968-76). othe c c the the er er divorce. divorce. t h ie en en atu sets sets n in would would is is is is l r h While While (p. (p. Th place place is is clear clear effortlessly effortlessly g A (ll. (ll. . . respects. respects. coup God. God. place place n n it it has has as as nonetheless nonetheless d d r r brus feel fantastic fantastic promiscuous promiscuous digni convince convince should should Massini bien bien , , parallel parallel f f yet yet Severe Severe life. life. a a is is another another marriage marriage discuss discuss for for salut" salut" ma ma d d de de to to o God offers offers take gs present present indissoluble, indissoluble, othe are are n l l marriage? marriage? her her to to a Fumaroli Fumaroli a in tetralogy tetralogy her: her: and and scarde of of yet yet the the to to makes makes explicitly explicitly Rodrigue Rodrigue leur leur d mon mon marriageable.t9 marriageable.t9 Romans Romans I9 I9 mpt mpt Polyeucte Polyeucte sorte sorte Comelian Comelian ted ted s s di t t e most most the the oor de de rendre rendre tt ne n n plays plays ma nisbe nisbe between between matrimony. matrimony. fac whom whom berance, berance, few few p ver ver be be m scan i wife wife a Pauline Pauline the the that that Polyeucte Polyeucte love love line line come come Polyeucte Polyeucte openly openly rivalries rivalries ordinary ordinary having having and and role role une une are are mariage mariage the the i in in et et : : r r s s a a in in e ot ot sa sa as as be be re the the ex the the the the n ace ace one one and and ld l die as as very very case case mar , , to to Mar o play char orius orius some some clius, clius, p t artian artian of of rt lcherie lcherie arriage arriage trop trop newly charac n n n n the the e e crece's crece's charac the the u M the the a and and a amorous amorous negative negative age age (Corneille (Corneille r r m par Se th e e when when P point point ste's ste's l Polyeucte Polyeucte continues continues Lu ait ait before before of of th lf lf Hera y y in in closely closely is is a of of takes takes l in in occur occur s s daughter daughter h Lucrece, Lucrece, for for se r m in in one, one, nt nt g g olde marriageable marriageable as as course course ntir Pleirante Pleirante sbe, sbe, s s ne ne i to to oses oses Gera Cid. Cid. fe in o with with man's man's Couton Couton se cl of of him and and present present Ildi understood understood with with own own the the the the weeks weeks forcing forcing ome artne Le Le h h by by that that s s extreme extreme o o p ood ood decided concerns concerns marriageable marriageable i norm t or or eponymous eponymous younger younger m off off t and and iately, iately, ic fun fun of of grouped grouped wedd ly ly older older his his in in Cela Cela a a t d y y h disparity disparity older older two two s s ivante: ivante: an an ring ring Sophon l ge ge I I Leontine Leontine rie rie n u the the the the w age age the the as as of of ders o woman woman the the on on S play play du are are ria Geronte Geronte nd nd ru norm norm the the rab few few the the beyond beyond of of a un imme ar her her La La but but Hon ide on on of of is is making making m the the each each intelligen later, later, Cornelian Cornelian lian lian only only where where r figures figures just just takes takes in in they they suggestion suggestion age age place place young young less less remarriage remarriage character character suggestion suggestion n n uncomfortable uncomfortable refroidie, refroidie, odogune, odogune, ion ion t t for for rne response response cons 's 's the the e e t e e the the R between between y y or or Dorante Dorante the the ca Syphax Syphax the the year year l tl move move either either e e Rodogune Rodogune i th is is s s Florise Florise Co career career whether whether r r t in in i a a y y takes takes it it trop trop th n n e e e e enac occurs occurs i e e side side r nd nd between between i marriage marriage discussed discussed issue issue of of Ekstein Ekstein r a mere more more the the ut the the afte mockery mockery to to er Florice is is Sertorius, Sertorius, marr o Cleopatre. Cleopatre. peu peu an an least least presenta selfish selfish the the with with whe generations generations Sophonisbe Sophonisbe Leon, Leon, thus thus age age to to marriage marriage Nina Nina to to a a while while only only age age before before including including and and at at concerns concerns un un for for The The y, y, feels feels , , of of play play interestingly, interestingly, t t from from in in Attila Attila Pulch wedding wedding theatrical theatrical ll as as ed ed met met The The the the or or even even t Pulcherie Pulcherie than than (Cleopat III play play no s s whether whether e, e, palais, palais, ca i ile ile furthest furthest is is is is the the ga hi deux deux c Menteur: Menteur: h only only es, es, of of li not not e e i ri auvre, auvre, s s and and 237). 237). w funeral funeral Pauline Pauline li mixing mixing Typi older older A is is ob Heraclius, Heraclius, ed falls, falls, t t 1825-6). 1825-6). a a du du Polyeucte. Polyeucte. the the cally, cally, II II arry arry deviation deviation PulcMrie's PulcMrie's (p. (p. tous tous period. period. a r r of of monstrous, monstrous, deviation deviation Pulcherie, Pulcherie, Disparity Disparity s s ni the the m o Sanche); Sanche); i presented presented th of of sacrifice sacrifice begin nd nd of of n n (II. (II. is is action action m co en en transformed, transformed, unmarried unmarried ro into into i of of d d a it it acts acts feels feels I is is l from from place. place. n n Suite Suite is is as as find find Galerie Galerie du woman: woman: arriage arriage the the curtain curtain a the the the the ou e. e. age age later. later. i Don Don area area Sophonisbe, Sophonisbe, plays plays middle middle Sweetser Sweetser h M area area I' I' Corneille's Corneille's decidedly decidedly pathetic pathetic more s Viriate Viriate La La wedding wedding of of we we n n vows, vows, but but problem problem La La the the akes akes s s I Phocas Phocas t varies varies in in i .18 .18 n n and and Florise Florise Mart two two n n because because out out Geronte Geronte in in er er of of 1 e between between que que Corneille Corneille e e I the the t comedie" comedie" r r h o o h , , final final h The The 5 t Even Even begins; begins; s age, age, af n Pulcheri months months t w ngs. ngs. either either presented presented Sophonisbe Sophonisbe like like i 18 18 de de A A Another Another The The 1665) 1665) s or or several several marry marry ange ange arriageable arriageable e e eono r nd nd h Outre Outre ters ters merely merely m throug a and and ported ported moment. moment. play play places places actio time time wedding wedding of of weds. weds. problem problem ter, ter, to to fin fin feel Chrysante Chrysante acters. acters. L " III, III, tian, tian, Corneille's Corneille's 30 30 two two c a well. well. that that involves on on dowry, dowry, riage riage cast cast 400 400 402 Nina Ekstein Women and Marriage in Corneille's Theater 403 stand the relationship of marriage to Christian belief? Polyeucte enacts the three plays, explicitly. We mentioned earlier that the subject of royal mar scandal of human marriage and a jealous God. 20 riage is found virtually everywhere in the second half of Corneille's reuvre. One of the basic preoccupations of any such union is inevitably dynastic: * heirs must be created to carry on the royal line. Certainly Corneille was * * aware of the many years Anne of Austria and Louis XIII took to produce an heir to the French throne. Yet no reference is made until Tite et Berenice To conclude, I would like to bring up two subjects that are vitally asso to such a function of marriage. What are we to make of Corneille's silence ciated with marriage and yet are almost never discussed or alluded to in on the subject? Are we prepared to read the dissociation of children and Corneille's theater, namely sex and children. Given the bienseances of the marriage as an ironic commentary on the quasi-miraculous birth of Louis period, it is of cours.e not surprising that little mention is made of sex. XIV after 23 years of marriage without offspring? Pulcherie provides the Indeed, the subj'ect of marriage 1itself serves as a convenient mediator for most peculiar case: Pulcherie must marry for dynastic reasons, yet she con sex ancl sexual desire. With a few exceptions early in Corneille's career, his structs a complex situation that is guaranteed to produce no heirs at a11.22 characters are far more comfortable on the terrain of marriage than that of The political necessity of offspring is acknowledged both in Tite et Bere sexuality. Indeed, the heat of passion can be said to breathe its last with nice (Berenice: "Yous vous devez des fils", l. 1751) and in Surena (Orode: Camille in Horace. Corneille's consciousness of the association between "II nous faut un hymen, pour nous donner des Princes I Qui soient I' appui sex and marriage, besides being obvious, is inscribed in his theater in two du sceptre, et l'espoir des provinces," IL 1029-30), but that necessity is not ways. First, as discussed above, we find in Sophonisbe the curious gap be acted upon. Furthermore, Corneille discusses explicitly the futility and even tween wedding and consummation. Second, and more frequent, is the sub the danger of offspring in each of the last three plays.23 Tite observes, ject of the mariage blanc, a permanently unconsummated marriage, found "Pour revivre en des fils, nous n'en mourons pas moins" (l. 1753); Pulch6- in three plays. In Theodore, Placide offers the eponymous character such an rie says, "Qu'ai-je affaire de race a me deshonorer" (l. 1535); Surena tells arrangement if she will consent to marry him (IL 85 1-54); Heraclius, Eurydice, "Que tout meure avec moi, madame" (l. 301), continuing in Martian, and Pulcherie, compelled by Phocas to decide whom Pulcherie is terms very close to Pulcherie's: "Ces neveux, qui peut-etre auront peine a to marry, momentarily seize upon the solution of a mariage blanc in order Jes [ces illustres Meux] suivre, I Peut-etre ne feront que Jes deshonorer" (11. to avoid incest (l. 1784). Finally, in Pulcherie, the mariage blanc moves 306-7). from suggestion to reality, as Pulcherie organizes two such couples, herself Perhaps we need to consider marriage in Corneille's theater as a pri and Martian, and Leon and Justine.21 Obviously, children are not to be ex marily dramatic vehicle, less vitally connected to either amorous or prac pected in marriages from which sexual relations are banished. In Pulcherie, tical considerations than might be expected. Almost infinitely adaptable in Corneille's penultimate dramatic work, marriage has been reduced to pure Corneille's hands, marriage becomes a locus for heroism in such plays as charade: no sex, no children. Agesilas or Pulcherie, for revolt in L'lllusion comique and Sophonisbe, for Children were not standard fare in the classical theater, so their absence imprisonment in Le Menteur, for coercion in Heraclius and any number of here, both literal and as an object of discussion, is not in itself surprising. others. For women characters, often subject to such coercion, marriage is Corneille, however, makes children an issue, both implicitly, and in his last 22 By marrying Martian and insisting that they not have marital relations, she in 20 Again, Fumaroli reads the play quite differently, arguing that in order for the sures that her line will end with her. It is an open question, as we saw above, whether union between Polyeucte and Pauline to be a perfect one, it must overcome its originary she is still of childbearing age. She goes to considerable lengths to ensure that Leon will "felure" of the preexisting "vraye amitie" between Pauline and Severe. "Pour que cette inherit her throne. We may thus consider Leon as a child-substitute. She forbids Leon to felure disparaisse, pour que le couple soit totalement soude, ii faut que Polyeucte quitte have children himself, however, by imposing a sexless marriage on him. Thus there will Pauline, se donne au Dieu chretien, subisse le martyre, et que Pauline le rejoigne en be no future heirs. Dieu. Ce que le mariage paten n'avait pas reussi, les noces de sang du martyre chretien vont l'accomplir" (p. 411). While I do not agree with his interpretation, it is coherent 23 Coulon notes that this theme appears for the first time in Tite et Berenice. He and disposes of the problem of scandal. terms it: "vanite d'avoir des descendants, qui bientot deviendra: danger d' avoir des des cendants," observing that "Ce theme se trouve de fa~onremarquable dans ses trois 21 Just how little Justine will get out of this arrangement is made explicit when dernieres pieces" (Corneille III, p. 1628; see also Couton, La Vieillesse de Corneille, p. Leon objects: "Et [que je] lui promette tout, pour ne Jui donner rien?" (I. 1708). 221). Ed. Ed. 405 405 Klinck Corneille. Corneille. 977. 977. 1 comelienne." comelienne." de de Paris: Paris: ambiguiles. ambiguiles. Droz, Droz, scene scene la la l'ceuvre l'ceuvre 97-104. 97-104. sur sur Theater Theater Geneva: Geneva: Corneille: Corneille: pp. pp. dans dans psycholecture. psycholecture. forces forces 989, 989, 1 une une Pierre Pierre de de theme theme Corneille. Corneille. Corneille's Corneille's ress, ress, un un in in P de de sur sur rapports rapports Alta Alta Corneille: Corneille: Pulcherie." Pulcherie." de de Marriage Marriage 505-28. 505-28. farnHle: farnHle: dans dans pp. pp. Dramaturgie Dramaturgie and and de de Variations Variations Edmonton: Edmonton: La La rOles rOles Comedies Comedies 1990. 1990. (1989), (1989), , , Women Women Cercle Cercle des des marie; marie; Les Les Bareau. Bareau. n n Droz se se "Le "Le 16.31 16.31 L. L. 1979. 1979. l l Han. Han. Marie-Odile. Marie-Odile. Alice. Alice. Reine Reine PFSCL PFSCL sieck, sieck, Miche Geneva: Geneva: La La "Distributio Rathe, Rathe, Verhoeff, Verhoeff, -. -. Sweetser, Sweetser, -. -. et et er ses ses his his Ed. Ed. 190 190 set. set. P Pul opts opts final final Neo- free crea A A three three r exe Paris: Paris: y, y, n n la la has has restraint restraint the the Romanic Romanic Heros Heros rl Freeport, Freeport, between between and and l l the Si~cle Si~cle de de 1984). 1984). final final In In organisation organisation vols. vols. 1981. 1981. ajoute ajoute female female l' l' considerable considerable Yale Yale constructs constructs 3 3 and and Historical Historical Theater." Theater." Simila Peyre. Peyre. herself herself Voies Voies match match XVll' XVll' 'matrimoniales'?" 'matrimoniales'?" politica couple." couple." terms. terms. octobre octobre with with their their 1949. 1949. and and Les Les Tite, Tite, she she all all du du ove ove right. right. Hachette, Hachette, Henri Henri l Corneille Corneille (2-6 (2-6 Corneille; Corneille; s." s." own own Couton. Couton. Corneille's Corneille's compromise, compromise, CorneilJe CorneilJe be be that that Corneille." Corneille." Ed. Ed. the the moment." moment." marry marry In In women women to to tragedies tragedies s s her her Corneille's Corneille's Paris: Paris: Maloine, Maloine, 1996. 1996. not not refuses refuses de de Corneille Corneille to to to to un un Pierre Pierre Rouen Rouen associated associated on on in in Jes Jes , , not not which which a a comment comment de de 115-28. 115-28. Georges Georges 31. 31. no no aris: aris: dramaturgie dramaturgie allow allow who who - personnage able able ed ed P pretre. pretre. Press, Press, tandard choice. choice. libre would would it Pierre Pierre s to to dans dans pp. pp. Feuillerat. Feuillerat. with with tenu tenu ng ng le le be be 625 Ed. Ed. une une it it des des Surena Surena of of et et 399-413. 399-413. s s C ng ng Ekstein Ekstein to to chooses chooses pp. pp. sayi s s perversely perversely 1970, 1970, Corneille; Corneille; pp. pp. femme femme Albert Albert serves serves have have dramaturgique dramaturgique Eurydice, Eurydice, palette palette Corneille. Corneille. by by Nina Nina Mathematics Mathematics Origins; Origins; University University obeyi She She Work et et colloque colloque power power of of ngth 229-61. 229-61. femme femme is is 1985, 1985, l'univers l'univers e de de deciding deciding tragi-comedies tragi-comedies 996, 996, l'Mroi'sme l'Mroi'sme of of that that l the the of of la la chez chez Press, Press, 1 du du Polyeucte: Polyeucte: eir eir pp. pp. de de all all almost almost Completes. Completes. et et 101-62. 101-62. A A cannot cannot no, no, th . . veuve veuve PUF, PUF, Honor Honor marry. marry. gedy gedy great great Stanford Stanford pp technique technique freedom freedom Droz, Droz, Acres Acres Cid Cid she she in in say say for for palette palette devient devient them them to to to to Tra Vieillesse Vieillesse (1980), (1980), la la a a voluntarily voluntarily if if Libraries Libraries becomes becomes to to arice, arice, Paris: Paris: of of CEuvres CEuvres Chevalier, Chevalier, l 8 8 her her becomes becomes La La "Du "Du for for st. st. semantique semantique The The 33-41. 33-41. 1980-87. 1980-87. "Metaphors "Metaphors sur sur "Tragedies "Tragedies "L'invention "L'invention Le Le "C (forthcoming). (forthcoming). goes goes (1941), (1941), "Que "Que arena arena Essays Essays Geneva: Geneva: Stanford: Stanford: el el whom whom death death D. D. 18 18 Leon, Leon, pp. pp. auvre. auvre. freest freest ierre. ierre. Corneille: Corneille: C. C. an an P Nider Marc. Marc. is is for for universe, universe, freedom freedom Books Books Jean. Jean. marriage marriage thedtrale thedtrale Nina. Nina. h the the R. R. Georges. Georges. and and Marcel. Marcel. exercises exercises John John marriage marriage Georges. Georges. in in , , Berenice Berenice her her Christian. Christian. formelle formelle NY: NY: spective. spective. Pierre Pierre (1996), (1996), tion tion Alain Alain orateurs. orateurs. Studies Studies Gallimard, Gallimard, sources." sources." philologus philologus , , choosing choosing "Remarques "Remarques oorsch, oorsch, erself erself Lyons Knight, Knight, willingly willingly dramatic dramatic Ekstein, Ekstein, space space analysis, analysis, h Duby, Duby, Finally, Finally, in in plays, plays, Couton, Couton, cherie cherie cises cises Corneille, Corneille, dom. dom. 404 404 B frequently frequently Biet Oddon, Oddon, Fumaroli, Fumaroli, -. -.