de par, in the name of

1017. Gampistron. While the genius of Corneille and Racine had been able to develop in spite of these narrow limitations, Campistron (1656-1723), bound down by them, was weak and effeminate, and he and his party were spoken of contemptuously by Corneille in his later days as Les Doucereux,

1053. les douaniers de la pensée, tJie censors of thought.

1060. Mairet (1604-1686), tragic poet ; Glaveret (1590-1666), one of Corneille's rivals; D'Aubignac (1604-1676), a dramatic critic; Scudéri (1605-1667), dramatic poet ; were among Comeille's literary critics after the appearance of Le Cid in 1636.

1062. se font tout blancs d'Aristote, jmtify themselves by means of,

1065. Scaliger, a French scholar (1540-1609). Heinsius, a Dutch scholar (1580-1665).

1080. face, tor fasse.

1082. ouy bien, oui Uen^certainly. This is an old use of oui to strengthen the adverbial expression.

1087. Guarini, an Italian poet (1537-1612), author of the Pastor ildo, a pastoral drama which later influencied Sir Philip Sidney in his Arcadia^ and D^Urfé in his Astrée.

1003. Byron (1788-1824). Beference is here made to the sât'flg'e attack made upon Byron in the Edinburgh Review after the appearance of his first volume, Hours of Idleness^ in 1807, and to which he replied in 1809, with his now celebrated English Bards and Scotch Bevieioers.

1007. Mélite (1628) 6t la Galerie du Palais (1688), comedies.

1107. cette tragi-comédie, i.e., this ridiculous attack.

1118. ynziôme = onzième,

1117. Jephté was written by George Buchanan, the Scotch scholar, who was Montaigne's teacher at the College de Bordeaux (1506-1582).

1118. ikj&z. was the bravest of the Greeks before Troy, after Achilles. Still, when Achilles died, his armor was given to Odysseus, whereat AJax sought to kill Agamemnon who was responsible for this slight. Athena darkened his eyes, however, and turned his wrath against the flocks of the Greeks.

1122. Nopces = noces. Although the exact reference is not clear, allusion is evidently made to some learned work wherein the subject Nbpces is treated in such a way as to throw discredit upon the conclusion of the Cid.

1123. l'Académie, V Académie française, ionnded in' 1685. Au cardinal, lie., Richelieu.

1125. Chapelain. At Richelieu's request, Chapelain drew up the decision of the Academy in the quarrel over the Cid,

1 ISO. tout nourri du moyen âge et de l'Espagne. These words descriptive of Corneille would apply equally well to Hugo and it is evident that he is aware of the fact.

1132. Rome castillane, i.e., the plays of Corneille based on Boman history and tradition, but strongly colored by the Spanish predilections of the author.

1138. Nicomdde, one of Comeille's later tragedies which appeared in 1650.

1 140. Esther . . . Athalie, the last two plays by Bacine, which were greatly criticized when given, and never appreciated until after his death.

1144. Locuste, etc. In this sentence, reference is made to Bacine's Britannicus, which is based on Roman history, but fails to contain some of the historical characters and incidents of the true story, such as the woman Locusta, employed by Nero in poisoning Britannicus, and the scene here referred to.

ftâS NOTES

li47. élôvé de Séndque, Tfero, who had Seneca as his tutor for a time.

1140. récipient pneumatique, M2 iar. The sentence means that genius cannot be confined.

1156. comme le géant hébreu. A reference to the 3rd verse of chapter 16, Book of Judges, wherein Samson carries away the gates of the city of Gaza.

1178. Hippol3rte. The Mj)poZ£f^i/« of Euripides was presented in 428 B.c. and is the earliest example of a romantic subject in Greek drama. In it Poseidon, to avenge Theseus, for insult offered to his wife Phaedra, sent a bull out of the sea against Hippolytus as he was riding along the shore in his chariot. His horses became frightened and he was thrown upon the ground and dragged until dead.

1 180. Philoctôte. In Sophocles' play PMloctetes, the hero, was bitten by a snake while rashly treading on the ground sacred to the nymph after whom the island of Chryse was named.

1 1 94. ma, the Italian for mais,

1201. que lui Importe? How does that concern artt

12 12. refacclmlento, for rifacimento, the Italian for reatortp- Uon.

1233. Bichelet, a French grammarian (1631-1698).

1247. Quando he de escrivir, etc., when I have a comedy to write^ I lock up (he rules with six keys.

1255. SOBle, a character in Molière's Amphitryon^ whose name has become proverbial in designating a man who imitates another closely.

1263. le fablier. literally, a writer of fables. Reference is undoubtedly made, however, to the medisBval peddler minstrel who strolled from place to place singing his songs, telling his stories, and at the same time selling the various articles which he had in his pack. Hence the phrase "storyteller's pack."

1283. Charles Hodier, a French novelist, grammarian, and critic (1780-1844).

1284. l'école d'Alexandrie. After the time of Alexander, Grecian literature flourished nowhere so conspicuously as at Alexandria in Egypt, under the auspices of the Ptolemies. In connection with the immense library which was located there, great offices were established in which the precious manuscripts of the collection were transcribed, for the benefit of libraries all > 5ver Europe. This copying industry may be considered as typical

of the spirit of the Alexandrian school, which greatly lacked originality.

1828. Vaugelas et Riohelet, both grammarians and savants of the 17th century.

1848. léguée, subject to.

1400. au balancier, t^ die.

1416. se redresser, e<nrect an error,

1426. Delllle, a didactic poet and translator who enjoyed an extraordinary reputation in his day (1738-1818). His translation of the Greorgics was supposed to make him the equal of Vergil and he was hailed for a time, almost up to his death, as one of the greatest of French poets. His longest original composition, Le$ Jardins, is commonplace in the extreme, being filled with a long description of the most prosaic things. The enumeration following, of the things which inspired his muse, speaks for itself.

1483. Or Delille & passé dans la tragédie, i.e., Delille's influence has been felt in tragedy.

1452. purpureus assultur pannus, Horace, Ara Pœticaj 11. 15,16. "0«« or tioo verses of purple patch-work are tagged o»."

1458. roture du drame, commonplace dram4, . 1455. d'une bégueulerie rare, oomiic^.

1461. Of the four lines which follow the first is from CintM^ act 5, scene 1, the second from Le Cid, act 8, scene 4, the third and fourth from NicomèdCj act 1, scene 1, and act 3, scene 3.

1465. Elle a encore sur le coeur, it still resents.

1460. mis dans le lit, a reference to Britannicus, act 4, scene 2.

1478. M. Legouvé, French poet and dramatist (1764-1812). Reference is here made to his tragedy. La Mort de Henri IV.y which appeared in 1806. Ventre^aint^ris, was the favorite oath of this monarch.

1 496. fontes aquarum, springs of water.

1 508. pomposo, the pompous character.

1518. aux vers qu'il fallait s'en prendre, the verse should not he criticized. Hugo certainly has a right to defend the Alexandrine, as he showed himself a master of it.

1522. il est temps de faire Justice, it is tim^ to take ai their true worth.

1526. Palmas yere habet iste duas, he in truth had double laurels.

1555.^ Prêtée, a mythological sea-god who had the power of assuming different shapes.

1585. fait la petite bouche. Le. j fait le dijffUile, le dédaigneux.

1606. comme a;fait Shakespeare, as in Hamletj The Winter^s Taie, etc.

1 607. 7 avoir disparate, present a lack of harmony.

1620. Lhomond et de Restant, grammarians and classicists of the 18th century.

1620. Pégase, the winged horse of mythology, often used to symbolize the source of poetic inspiration.

1626. mène l'autre aux lisières, guides the other with leadingstrings.

1639. Montaigne represents the latter half of the 16th century, Rabelais the first half, Pascal the 17th century, Montesquieu, the 18th.

1651. II en est des idiomes humains comme de tout, it is with human speech as with other things.

1655. Josués, a reference to Joshua's command to the sun to stand still.

1660. Quoi qu'il advienne, wîiatever ma/y happen. This sentence comes after an omission of about 250 lines in which Hug'o discusses the play Cromwell in detail, and speculates as to whether or not the dramatic censor will allow it to be given.

1663. pas moins de la durée d'une représentation, not less than a whole evening. It is more common to find que than de after moins. On account of the brevity of the pieces in the classic repertory , two, and sometimes even three of them could be given the same evening.

1674. l'un refers to homme d'élite, and l'autre, in 1. 1681 refers to une époque de crise.

1600. de lui mesurer deux heures de durée, to limit it to two hours in order that the rest of the evening might be devoted to comic opera or farce. Another reference to the double and triple bills which were common and which still are seen to-day when the classic plays are given. It is us^^al under such circumstances to mingle comedy with tragedy. To illustrate these facts, the following cases maybe cited: December. 21, 1895, in celebrating the 256th anniversary of the birth of Racine at. the Comédie Française, Iphigênie was given first, then a modern à-propos in verse, by M. Paul Gruyer, entitled FatUbme, and last, Racine's comedy. Les Plaideurs. June. 6, 1896, in celebrating the 290th anniversary of Corneille, Horace was given and then Le Menteur. It muet not be supposed, however, that such programs are confined to special

PREFACE DE CROMWELL Ul

occasions, combinations like Le Dépit Amoureux, Britannicua and Le Médecin Malgré Lui, being very common.

1603. Bobèche, a French clown, well known under the Empire and the Restoration.

1606. paplUotage, eonfusion. In Hugo's attempt to get away from the narrow restrictions of the classic style, he goes to the opposite extreme, and praises in Shakespeare that profusion of incident and scene which is often to be criticized, and which is generrally eliminated in the acting versions of the plays. It should be said that Hugo himself rarely falls into this error.

1705. à la façon de Soudéri, a reference to 1. 1060 and ft. Dacier was a philologist and classical scholar, who translated and edited a number of texts, including Aristotle's Poetics, for the benefit of the Dauphin (1654-1730). It would seem as if this citation from Dacier was rather an argument for a multiple program and against Hugo's side of the question.

1710. trilogie de BeaumaroliaiB, the three plays. Le Ba/rhier de Seville, Le Mariage de Figaro, La Mère Coupable.

1771. Le Texople du Goût, a critical poem, partly in prose, which appeared in 1733. Le Devin du village, a short opera of no special merit, for which Rousseau wrote both words and music.

1770. des organes écoutés. Hugo has in mind here Le Olohe, a philosophical and literary journal, which was published from 1834-1831, and which took the side of the younger men in the struggle between the classic and romantic schools of thought. This was the most important of a great number of literary and political journals which appeared about this time, but which were short lived.

Page 106. sacro-sainte, an emphatic adjective form, meaningr Mint «t sacré, very holy or holy, as la tacro-êaInU EgUêe romaine, the holy Boman church.

Page 107. Saragosse, formerly the capital of the old kingdom of Aragon, and now of the province of Saragossa, in northeastern Spain, cousu de Jais, covered wilh jet, cousu is the past participle of coudre to sew. Isabelle la Catholique (1451-1504) , the Queen X)f Castile, who aided Columbus and brought about the unity of Spain by het marriage with Ferdinand of Aragon.

Line 2. sur le nés, dratvn aUxmt his face, sous le Jm,clo8ely.