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    "source_title": "Encyclopaedia Britannica (1911)",
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    "chunk_id": "1911:corneille:f2f2f98e2544",
    "title": "CORNEILLE",
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    "verified_text": "corneille, thomas (1625-1709), french dramatist, was born at rouen on the 20th of august 1625, being nearly twenty years younger than his brother, the great corneille. his skill in verse-making seems to have shown itself early, as at the age of fifteen he composed a piece in latin which was represented by his fellow-pupils at the jesuits' college of rouen. his first french play, _les engagements du hasard_, was acted in 1647. _le feint astrologue_, imitated from the spanish, and imitated by dryden, came next year. at his brother's death he succeeded to his vacant chair in the academy. he then turned his attention to philology, producing a new edition of the _remarques_ of c. f. vaugelas in 1687, and in 1694 a dictionary of technical terms, intended to supplement that of the academy. a complete translation of ovid's _metamorphoses_ (he had published six books with the _heroic epistles_ some years previously) followed in 1697. in 1704 he lost his sight and was constituted a \"veteran,\" a dignity which preserved to him the privileges, while it exempted him from the duties, of an academician. but he did not allow his misfortune to put a stop to his work, and in 1708 produced a large _dictionnaire universel geographique et historique_ in three volumes folio. this was his last labour. he died at les andelys on the 8th of december 1709, aged eighty-four. it has been the custom to speak of thomas corneille as of one who, but for the name he bore, would merit no notice. this is by no means the case; on the contrary, he is rather to be commiserated for his connexion with a brother who outshone him as he would have outshone almost any one. but the two were strongly attached to one another, and practically lived in common. of his forty-two plays (this is the utmost number assigned to him) the last edition of his complete works contains only thirty-two, but he wrote several in conjunction with other authors. two are usually reprinted as his masterpieces at the end of his brother's selected works. these are _ariane_ (1672) and the _comte d' essex_, in the former of which rachel attained success. but of _laodice_, _camma_, _stilica_ and some other pieces, pierre corneille himself said that \"he wished he had written them,\" and he was not wont to speak lightly. _camma_ (1661, on the same story as tennyson's _cup_) especially deserves notice. thomas corneille is in many ways remarkable in the literary gossip-history of his time. his _timocrate_ boasted of the longest run (80 nights) recorded of any play in the century. for _la devineresse_ he and his coadjutor de vise (1638-1710, founder of the _mercure galant_, to which thomas contributed) received above 6000 livres, the largest sum known to have been thus paid. lastly, one of his pieces (_le baron des fondrieres_) contests the honour of being the first which was hissed off the stage. there is a monograph, _thomas corneille, sa vie et ses ouvrages_ (1892), by g. reynier. see also the _fragments inedits de critique sur pierre et thomas corneille_ of alfred de vigny, published in 1905. (g. sa.) cornelia (2nd cent. b.c.), daughter of scipio africanus the elder, mother of the gracchi and of sempronia, the wife of scipio africanus the younger. on the death of her husband, refusing numerous offers of marriage, she devoted herself to the education of her twelve children. she was so devoted to her sons tiberius and gaius that it was even asserted that she was concerned in the death of her son-in-law scipio, who by his achievements had eclipsed the fame of the gracchi, and was said to have approved of the murder of tiberius. when asked to show her jewels she presented her sons, and on her death a statue was erected to her memory inscribed, \"cornelia, the mother of the gracchi.\" after the murder of her second son gaius she retired to misenum, where she devoted herself to greek and latin literature, and to the society of men of letters. she was a highly educated woman, and her letters were celebrated for their beauty of style. the genuineness of the two fragments of a letter from her to her son gaius, printed in some editions of cornelius nepos, is disputed. see l. mercklin, _de corneliae vita_ (1844), of no great value; j. sorgel, _cornelia, die mutter der gracchen_ (1868), a short popular sketch.",
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