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This title is printed to order. This book may have been self-published. If so, we cannot guarantee the quality of the content. In the main most books will have gone through the editing process however some may not. We therefore suggest that you be aware of this before ordering this book. If in doubt check either the author or publisher’s details as we are unable to accept any returns unless they are faulty. Please contact us if you have any questions.
Le Cid is a five-act French tragicomedy written by Pierre Corneille, first performed in December 1636 at the Theatre du Marais in Paris and published the same year. It is based on Guillen de Castro’s play Las Mocedades del Cid. Castro’s play in turn is based on the legend of El Cid. An enormous popular success, Corneille’s Le Cid was the subject of a heated polemic over the norms of dramatic practice known as the Querelle du Cid (Quarrel of The Cid). Cardinal Richelieu’s Academie francaise acknowledged the play’s success, but determined that it was defective, in part because it did not respect the classical unities.
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This title is printed to order. This book may have been self-published. If so, we cannot guarantee the quality of the content. In the main most books will have gone through the editing process however some may not. We therefore suggest that you be aware of this before ordering this book. If in doubt check either the author or publisher’s details as we are unable to accept any returns unless they are faulty. Please contact us if you have any questions.
Le Cid is a five-act French tragicomedy written by Pierre Corneille, first performed in December 1636 at the Theatre du Marais in Paris and published the same year. It is based on Guillen de Castro’s play Las Mocedades del Cid. Castro’s play in turn is based on the legend of El Cid. An enormous popular success, Corneille’s Le Cid was the subject of a heated polemic over the norms of dramatic practice known as the Querelle du Cid (Quarrel of The Cid). Cardinal Richelieu’s Academie francaise acknowledged the play’s success, but determined that it was defective, in part because it did not respect the classical unities.