ere is hardly a weak point. The magnificent
and terrible character of Cleopatre, and the contrasted dispositions of
the two princes, of course attract most attention. But the character of
Rodogune herself, which has not escaped criticism, comes hardly short of
these. _Heraclius_, despite great art and much fine poetry, is injured
by the extreme complication of its argument and by the blustering part
of Pulcherie. _Andromede_, with the later spectacle piece, the _Toison
d'or_, do not call for comment, and we have already alluded to the chief
merit of _Don Sanche_. _Nicomede_, often considered one of Corneille's
best plays, is chiefly remarkable for the curious and unusual character
of its hero. Of _Pertharite_ it need only be said that no single critic
has to our knowledge disputed the justice of its damnation. _OEdipe_
is certainly unworthy of its subject and its author, but in _Sertorius_
we have one of Corneille's finest plays. It is remarkable not only for
its many splendid verses and for the nobility of its sentiment, but from
the fact that not one of its characters lacks interest, a commendation
not generally to be bestowed on its author's work. Of the last six plays
we may say that perhaps only one of them, _Agesilas_, is almost wholly
worthless. Not a few speeches of _Surena_ and of _Othon_ are of a very
high order. As to the poet's non-dramatic works, we have already spoken
of his extremely interesting critical dissertations. His minor poems and
poetical devotions are not likely to be read save from motives of duty
or curiosity. The verse translation of a Kempis, indeed, which was in
its day immensely popular (it passed through many editions), condemns
itself.

BIBLIOGRAPHY.--The subject of the bibliography of Corneille was
treated in the most exhaustive manner by M. E. Picot in his
_Bibliographie Cornelienne_ (Paris, 1875-1876). Less elaborate, but
still ample information may be found in J. A. Taschereau's _Vie_ and
in M. Marty-Laveaux's edition of the _Works_. The individual plays
were usually printed a year or two after their first appearance: but
these dates have been subjected to confusion and to controversy, and
it seems better to refer for them to the works quoted and to be
quoted. The chief collected editions in the poet's lifetime were those
of 1644, 1648, 1652, 1660 (with important corrections), 1664 and 1682,
which gives the definitive text. In 1692 T. Corneille published a
com