Until 1640 he remained silent. In that illustrious year _Horace_ and _Cinna_ were presented in rapid succession. From Spain, the land of chivalric honour, the dramatist passed to antique Rome, the mother and the nurse of heroic virtue. In the _Cid_ the dramatic conflict is between love and filial duty; in _Horace_ it is between love, on the one side, united with the domestic affections, and, on the other, devotion to country. In both plays the inviolable will is arbiter of the contention. The story of the Horatii and Curiatii, as told by Livy, is complicated by the union of the families through love and marriage; but patriotism requires the sacrifice of the tenderer passions. It must be admitted that the interest declines after the third act, and that our sympathies are alienated from the younger Horace by the murder of a sister; we are required to feel that a private crime, the offence of overstrained patriotism, is obliterated in the glory of the country. In _Cinna_ we pass from regal to imperial Rome; the commonwealth is represented by Augustus; a great monarchy is glorified, but in the noblest way, for the highest act of empire is to wield supreme power under the sway of magnanimity, and to remain the master of all self-regarding passions. The conspiracy of Cinna is discovered; it is a prince's part to pardon, and Augustus rises to a higher empire than that of Rome by the conquest of himself. In both _Horace_ and _Cinna_ there are at times a certain overstrain, an excess of emphasis, a resolve to pursue heroism to all extremities; but the conception of moral grandeur is genuine and lofty; the error of Corneille was the error of an imagination enamoured of the sublime. But are there not heroisms of religion as pure as those of patriotism? And must we go back to pagan days to find the highest virtue? Or can divine grace effect no miracles above those of the natural will? Corneille gives his answer to such a challenge in the tragedy of _Polyeucte_ (1643). It is the story of Christian martyrdom; a homage rendered to absolute self-devotion to the ideal; a canticle intoned in celebration of heavenly grace. Polyeucte, the martyr, sacrifices to his faith not only life, but love; his wife, who, while she knew him imperfectly, gave him an imperfect love, is won both for God and for her husband by his heroism; she is caught away from her tenderness for Severe into the flame of Polyeucte's devout rapture; and through her Severe himself is elevated to an unexpected magnanimity. The family, the country, the monarchy, religion--these in turn were honoured by the genius of Corneille. He had lifted the drama from a form of loose diversion to be a great art; he had recreated it as that noblest pastime whose function is to exercise and invigorate the soul.