Meaning: The quote "The subject of a good tragedy must not be realistic" by Pierre Corneille, a renowned French dramatist, is a thought-provoking statement that challenges the conventional notion of tragedy in literature. Corneille, who lived in the 17th century, was known for his significant contributions to French classical tragedy, and his words continue to hold relevance in the realm of literary criticism and dramatic theory.

In order to fully understand this quote, it is essential to delve into the context of Corneille's time and the principles that guided the creation of tragedies during the classical period. The genre of tragedy, as it was understood in ancient Greece and later adopted and adapted by writers like Corneille, often revolved around the depiction of noble and heroic figures who faced inevitable downfall due to their fatal flaws or external circumstances. Tragic narratives were typically rooted in the portrayal of human suffering and the exploration of profound moral and existential dilemmas.

Corneille's assertion that the subject of a good tragedy must not be realistic challenges the traditional belief that tragedies should reflect the real-life experiences and struggles of individuals. Instead, he seems to advocate for a departure from strict realism in tragic storytelling. This perspective aligns with the classical notion of tragedy as a form of elevated and stylized art that transcends mundane reality to convey universal truths and timeless themes.

One possible interpretation of Corneille's statement is that he believed tragedies should not be bound by the constraints of everyday life. Rather, they should aspire to evoke profound emotions and provoke intellectual contemplation by presenting larger-than-life characters and situations. In this sense, the "unrealistic" nature of tragedy allows for the exploration of grand themes such as fate, honor, ambition, and the human condition without being limited by the mundane details of ordinary existence.

It is important to note that Corneille's view on the unrealistic nature of tragedy does not imply a complete detachment from human experience or emotions. On the contrary, his plays often delved into complex psychological and ethical dilemmas, and his characters grappled with inner conflicts and moral choices that resonated with audiences. Therefore, while Corneille advocated for a departure from strict realism, his tragedies remained deeply rooted in the portrayal of profound human emotions and struggles.

Moreover, Corneille's assertion may also be understood in the context of the artistic conventions and expectations of his time. The classical French tragedy, as exemplified in Corneille's works such as "Le Cid" and "Cinna," adhered to the principles of unity of action, time, and place, and emphasized the portrayal of noble characters facing moral dilemmas and tragic consequences. Within this framework, the "unrealistic" nature of the subject matter allowed for a more stylized and structured approach to storytelling, where the focus was on the timeless and universal aspects of human experience rather than the mundane details of everyday life.

In conclusion, Pierre Corneille's statement that "The subject of a good tragedy must not be realistic" offers valuable insights into the nature of tragic storytelling and the artistic principles that guided classical French drama. By challenging the notion of realism in tragedy, Corneille invites readers and scholars to contemplate the broader artistic and philosophical dimensions of the genre. His assertion underscores the enduring relevance of classical tragedy as a vehicle for exploring profound themes and universal truths that transcend the boundaries of everyday reality.