Usually Corneille worked within strict limits of morality and good taste, but his ‘Théodore' offended against both, though certainly this was not his intention. The failure of his later pieces grieved and mortified him profoundly, and in 1653 he gave up writing for the stage. He and his far less celebrated brother Thomas married sisters, daughters of the Lieutenant-General De Lampérière, who at first positively rejected the great dramatist's proposals, on the reasonable ground that his daughter had very little money, and her suitor none at all. Richelieu happening to hear of this, and finding that Corneille was too unhappy and troubled to compose, sent for M. de Lampérière, who came up to Paris much alarmed by this summons from the terrible minister, and was so much relieved to find that he could satisfy him by giving his daughter to Corneille that he gladly consented to the match. The households of the two brothers were very happy ones. Ducis tells us so in his pretty verses on the two wives 'Ce n'était que de bonnes mères, 'Les deux maisons n'en faisaient qu'une; 'C'est ainsi qu'au sein du silence Corneille was not only a good husband, but a good son and brother, supporting a widowed mother, and dowering his many sisters, one of whom married a lawyer of Rouen, and was the mother of Fontenelle, who wrote his uncle's biography. Like Corneille, he gave up the bar for literature, and attempted dramatic poetry, with no result except to array four great satirists against him, two of whom were Racine and Boileau. He felt about unsuccessfully before he found out his real bent, which was then quite novel; namely, making scientific knowledge popular. His essay on the 'Plurality of Worlds' was a very remarkable work for that time, and his pleasant and limpid style brought abstruse subjects within the grasp of the general reader, and his knowledge was both great and varied. He lived to extreme old age, with hardly diminished powers, down to the time when the battle of the Encyclopædists raged most fiercely, and evidently alarmed him, though in earlier life he seemed to belong to that party. Hallam's view is that his best works were the Eulogies on the deceased members of the Academy of Sciences, of which he was President; he had abundant opportunities of pronouncing them, since this was his office during the long period of forty years. Of his 'History of Oracles,' Hallam says that it marks an important change then beginning to work in literature, bringing about a coalition of learning and letters, long so independent, and even hostile to one another. Fontenelle belongs to the Hôtel Rambouillet by his earliest works, and to the 18th century by his later ones. Although a striking figure in the history of literature, he was a man of talent, not genius, and in none of his works has he attained to the first rank among writers. Questions. 7. What was the state of the French drama before Corneille wrote? 8. Give a sketch of Corneille's life, and describe the plot of whichever you consider his best work, giving your reasons for this preference. 9. What merits and defects characterise Corneille ? 10. Mention some minor tragedians contemporary with Corneille. 11. Contrast the Romantic and Classical schools of tragedy. 12. Did Corneille create his audiences, or did he find it waiting for him? Books recommended: Roche, Hist. des écrivains français; Van Laun, Hist. of French Literature, vol. ii. FRENCH LITERATURE CLASS. Entrance fee, 2s. 6d. For an additional 2s. 6d. and postage, competitors may have their papers returned with criticisms. First prize, books to the value of £3 (not £5); second prize, books to the value of £2. The prizes are awarded to the most successful competitors in the series of six papers. Answers to be sent to Miss Norris, Walnut-Tree Road, Cockington, South Devon. DEBATABLE GROUND. Are elaborate musical and otherwise ornamental religious services conducive to devotion? The Church of England, in the present day, certainly appears to be answering this question in the affirmative, and Chelsea China supposes that many of her younger readers will be surprised at the need of asking it, having known no services which are not more or less ornamental and elaborate. Nevertheless, it is not an easy one to answer. Devotion consists in realising the presence of God, in conscious communion with Him. Whether this comes most easily through our intellect or through our emotions, is probably a question of temperament; whether, in fact, it is easier to think our prayers or to feel them. We are taught to use both our spirits and our understandings. Beautiful accessories, which appeal to the senses, raise sensitive natures to a certain pitch of exaltation which lays them open to devotional feelings, and makes this realisation easy to them. But it is still easier to realise only that the flowers are beautifully arranged, and the music sweet and appropriate, and, as things often go in this imperfect world, it is easiest of all to realise that Johnny Green is singing out of tune, and that the arum in the second vase on the right hand side has turned the wrong way and spoilt the effect. Or, to discover that they managed the stringed instruments better last week at St. So-and-So's, but that we have a great many more Eucharis lilies. This is not devotion, and can hardly be said to lead to it. Permanent beauty of architecture, sculpture, and painting, about which there is no change or fuss, must surely be always soothing and elevating; and though music cannot be permanent, it can be so in accordance with the spirit of the place, and within the powers of the performers, as to produce the same effect of ease and matter-of-courseness. The sense of effort has many advantages, but it hardly conduces to devotion. Chelsea China does not lose sight of the many lads who enjoy singing in choirs and carrying banners, and are at least kept in safe company by so doing, nor of the girls to whom decorations' are at once a pleasure and a duty. But all these should remember that 'devotion' lies above and beyond this innocent sense of being useful and offering service, even when no self-importance comes to mar it. The wings of the soul float easily in an atmosphere of congenial beauty. They may be hindered from mounting high by the sweet and lovely sights and sounds around them, they are perhaps more frequently ruffled by sounds that are not sweet, and sights that are not lovely. It is not always the most musical or the most artistic people to whom elaborate services give the most unmixed satisfaction. Chelsea China cannot settle the question, but she thinks that one piece of practical advice is, to do nothing that cannot be done well, at least relatively to the requirements of the congregation. Papers received from Taffy, A Northumberland Lassie, F. L. C., Bildad, Ein Mädchen, Semibreve, and Lucciola. All are favourable except the last, which is given, as well as A Northumberland Lassie's. Chelsea China thinks the perfection of the performance is rather too much taken for granted by her correspondents, and would point out to some of them that the word elaborate occurred in the question, which was not intended to refer to simple hymns and chants or Christmas holly. She does not think the subject has been exhausted. A very difficult question. What I say springs from no lack of power to appreciate musical excellence. I am musical myself. But public worship is in its first principle-the Voice of a Body. Its prayers, psalms, canticles, are not individual expression of personal devotion, but the united adoration of the whole Church. That being the principle, surely the worship will be the fuller, the more its musical portion is kept to the level of ordinary capacities. That many educated persons find great opportunity for their own personal devotion, and take great pleasure in elaborate musical services, I do not doubt; but that the simpler and heartier service is a greater aid to general worship, I think is beyond question. I am aware that Cathedrals and their choirs occupy somewhat different ground; and that this rule cannot be hardly pressed upon them. A highlytrained choir must sing music of an entirely different character from that which an ordinary congregation can attempt, and this ornate music, properly and reverently rendered, is in itself an offering to God. No attempt should be made by the congregation to join in this music, or a want of seemliness and reverence is certain to be the result. But further, this question deals, I think, with the 'special services,' ornate musical performances which are becoming more and more a feature of the present day—cantatas, organ recitals, selections from oratorios, and so on-concerts of sacred music, in short-held in our churches. They are very often used as an occasion of meeting the expenses of the choir, through the offertory which accompanies the performance. If I am asked, do these 'sacred concerts' conduce to devotion, I am obliged to say, I think not. Some of the objections to bazaars held for Church work seem to me to apply here. To raise funds for the use of the Sanctuary in such a manner seems quite as objectionable; if not more so. Are we not fostering the growing spirit of getting all the personai enjoyment we can out of everything-even of that which we profess to be offering unto God? And does not that desire of self-pleasing mix itself with many of the efforts now made to render our services 'ornamental,' at the cost of simplicity and fervour? It is a difficult question, I again repeat. LUCCIOLA. An elaborate musical and otherwise ornamental religious service is undeniably conducive to devotion, both to educated and uneducated people. To a large number of uneducated people, beautiful music is the most adequate expression of what is noblest and best in their character; it lifts them up above the worry and turmoil of this world, and makes them realise to a certain extent the never-ending music of Heaven. The beautiful accessories of such a service will have the same effect on people, who, though educated, are not musical. The eye appeals far more forcibly to uneducated people than the ear. A rough working lad, on seeing a crucifix for the first time, said, with tears in his eyes, 'I never knew what crucified meant before.' To poor people a beautiful church and service will be all the more attractive from the contrast to their own homes. As music and art are both God's gifts, we ought surely to put them to their highest use by making the services of His Church beautiful by their means. A NORTHUMBRIAN LASSIE. VULGARITY. Chelsea China thinks Sunflower's paper on vulgarity may find a place this month. The difficulty of the discussion lies in the fact that, like the opposing words, lady-like, etc., vulgarity is two-sided, and stands for the opposite of polish of manner, as well as for the want of refinement. I think vulgarity comes from one of two causes, viz.: (1) love of display, (2) a tendency to impurity. It is by no means confined to the poorer classes; far from it. George Macdonald says something to the effect that a lady may live in a cottage, but a title is not always borne by one! Vulgarity cannot be excused as the outcome of a lower state of life or occupation, though doubtless it arises from a low train of thoughts. Vulgarity in display is shown in dress, in manners, and in conversation. Since the aim and object is self, there is an utter want of modesty and of real self-respect, and a tendency to deceit in appearing to be more than one is. When vulgarity comes from a delight in what is impure, it is seen in looks, in gestures, in coarse language, and very often in flirting. True, much vulgarity arises from utter ignorance, and vulgar people may be unconscious of their faults if their eyes are not opened by some thing or some one more refined. I say something because I think the beauties of Nature and the study of art may often serve to wean a mind from vulgarity, and tune ears, that have listened with the greatest delight to the world's music, to something more sublime. Ruskin* truly says that a person's character may be judged from his or her taste, and if the taste is low the character is pretty sure to deteriorate. The true kill-weed for vulgarity is the motto, Whatsoever things are true, whatsoever things are pure, whatsoever things are lovely, whatsoever things are of good report; if there be any virtue, and if there be any praise, think on these things.' SUNFLOWER. * Read Ruskin's lecture on Traffic' in 'The Crown of Wild Olive.' |