as the _Cid_." Criticism itself was silenced
for a while; carried along in the general twirl, bewildered by its
success, the rivals of Corneille appeared to join the throng of his
admirers; but they soon recovered their breath, and their first sign of
life was an effort of resistance to the torrent which threatened to carry
them away; with the exception of Rotrou, who was worthy to comprehend and
enjoy Corneille, the revolt was unanimous. The malcontents and the
envious had found in Richelieu an eager and a powerful auxiliary.

[Illustration: The Representation of "the Cid."----335]

Many attempts have been made to fathom the causes of the cardinal's
animosity to the _Cid_. It was a Spanish piece, and represented in a
favorable light the traditional enemies of France and of Richelieu; it
was all in honor of the duel which the cardinal had prosecuted with such
rigorous justice; it depicted a king simple, patriarchal, genial in the
exercise of his power, contrary to all the views cherished by the
minister touching royal majesty; all these reasons might have contributed
to his wrath, but there was something more personal and petty in its
bitterness. In tacit disdain for the work that had been entrusted to
him, Corneille had abandoned Richelieu's pieces; he had retired to Rouen;
far away from the court, he had only his successes to set against the
perfidious insinuations of his rivals. The triumph of the _Cid_ seemed
to the resentful spirit of a neglected and irritated patron a sort of
insult. Therewith was mingled a certain shade of author's jealousy.
Richelieu saw in the fame of Corneille the success of a rebel. Egged on
by base and malicious influences, he attempted to crush him as he had
crushed the house of Austria and the Huguenots.

The cabal of bad taste enlisted to a man in this new war. Scudery was
standard-bearer; astounded that such fantastic beauties should have
seduced knowledge as well as ignorance, and the court as well as the cit,
and conjuring decent folks to suspend judgment for a while, and not
condemn without a hearing _Sophonisbe, Cesar, Cleopdtre, Hercule,
Marianne, Cleomedon,_ and so many other illustrious heroes who had
charmed them on the stage." Corneille might have been satisfied; his
adversaries themselves recognized his great popularity and success.

A singular mixture of haughtiness and timidity, of vigorous imagination
and simplicity of judgment! It was by his triumphs that Cornei