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Cardinal Richelieu
by [?]

The present anecdote concerning Cardinal Richelieu may serve to teach the man of letters how he deals out criticisms to the great, when they ask his opinion of manuscripts, be they in verse or prose.

The cardinal placed in a gallery of his palace the portraits of several illustrious men, and was desirous of composing the inscriptions under the portraits. The one which he intended for Montluc, the marechal of France, was conceived in these terms: Multa fecit, plura scripsit, vir tamen magnus fuit. He showed it without mentioning the author to Bourbon, the royal Greek professor, and asked his opinion concerning it. The critic considered that the Latin was much in the style of the breviary; and, had it concluded with an allelujah, it would serve for an anthem to the magnificat. The cardinal agreed with the severity of his strictures, and even acknowledged the discernment of the professor; “for,” he said, “it is really written by a priest.” But however he might approve of Bourbon’s critical powers, he punished without mercy his ingenuity. The pension his majesty had bestowed on him was withheld the next year.

The cardinal was one of those ambitious men who foolishly attempt to rival every kind of genius; and seeing himself constantly disappointed, he envied, with all the venom of rancour, those talents which are so frequently the all that men of genius possess.

He was jealous of Balzac’s splendid reputation; and offered the elder Heinsius ten thousand crowns to write a criticism which should ridicule his elaborate compositions. This Heinsius refused, because Salmasius threatened to revenge Balzac on his Herodes Infanticida.

He attempted to rival the reputation of Corneille’s “Cid,” by opposing to it one of the most ridiculous dramatic productions; it was the allegorical tragedy called “Europe,” in which the minister had congregated the four quarters of the world! Much political matter was thrown together, divided into scenes and acts. There are appended to it keys of the dramatis personae and of the allegories. In this tragedy Francion represents France; Ibere, Spain; Parthenope, Naples, etc. and these have their attendants:–Lilian (alluding to the French lilies) is the servant of Francion, while Hispale is the confidant of Ibere. But the key to the allegories is much more copious:–Albione signifies England; three knots of the hair of Austrasie mean the towns of Clermont, Stenay, and Jamet, these places once belonging to Lorraine. A box of diamonds of Austrasie is the town of Nancy, belonging once to the dukes of Lorraine. The key of Ibere’s great porch is Perpignan, which France took from Spain; and in this manner is this sublime tragedy composed! When he first sent it anonymously to the French Academy it was reprobated. He then tore it in a rage, and scattered it about his study. Towards evening, like another Medea lamenting over the members of her own children, he and his secretary passed the night in uniting the scattered limbs. He then ventured to avow himself; and having pretended to correct this incorrigible tragedy, the submissive Academy retracted their censures, but the public pronounced its melancholy fate on its first representation. This lamentable tragedy was intended to thwart Corneille’s “Cid.” Enraged at its success, Richelieu even commanded the Academy to publish a severe critique of it, well known in French literature. Boileau on this occasion has these two well-turned verses:–

“En vain contre le Cid, un ministre se ligue;
Tout Paris, pour Chimene, a les yeux de Rodrigue.”

“To oppose the Cid, in vain the statesman tries;
All Paris, for Chimene, has Roderick’s eyes.”

It is said that, in consequence of the fall of this tragedy, the French custom is derived of securing a number of friends to applaud their pieces at their first representations. I find the following droll anecdote concerning this droll tragedy in Beauchamp’s Recherches sur le Theatre.