Corneille's Literary Creation and the Society of Seventeenthcentury France

在本研究中，我主要关注科尔内耶戏剧与法国当代社会的关系，特别是他的赞助人黎塞留、马扎林等人对他戏剧创作的影响。科尔内耶在《三十年战争》和《前线》中表明了自己的立场，即通过对作品中关于赞助人的政治现实的反思来唤起观众的好奇心，同时他以一种完美的艺术形式赞扬和支持这些赞助人。但这并不一定意味着他一直忠于他们。因为他在他的戏剧中毫不犹豫地贬低他们，而在那个动荡的社会里，支持他们可能会危及他的地位或使他处于不利地位。从这个意义上说，他决不是专制主义的忠实支持者，而是一个机会主义者，他从事自己的创造性活动，满足于发挥他所选择的这两个因素中的后半部分。

In the present study, I focus my attention on the relationship between Corneille's drama and the contemporary society of France, and, in particular, to the influence which his patrons, Richelieu, Mazarin and others, had on his creation of dramas. Corneille made his stance clear in the midst of the Thirty Years' War and the Fronde ; that is, he aroused the curiosity of the audience by reflecting on his works the political reality about patrons, while at the same time he praised and supported these patrons in the artistic form which was brought to perfection in a superb way. But this does not necessarily mean that he was always loyal to them. For he did not scruple to disparage them in his dramas when in the turbulent society of the day to support them was likely to imperil his position or put him at a disadvantage. In this sense he was by no means a loyal supporter of absolutism but an opportunist, and he pursued his creative activity, contented to play that latter part of the two which he had chosen.