Professor de Sumichrast gave the first of his series of lectures on the French Psychological Drama of the Seventeenth Century, yesterday afternoon in Sever 11. It was enjoyed throughout by an audience composed largely of students. who fully appreciated the charm which Professor de Sumichrast gave to his subject.

In the first place he said that although his subject touched upon the most renowned period in the history of the French Drama, yet there was demand for discussion on just this time, for, though famous, it was to many completely unknown.

Classical Drama, as such, he admitted, was dead with all its faults and beauties, but it is still most interesting from a psychological standpoint for the French artists of this period devoted all their energies to the development of the varying moods of the heart: it was suffering and torment which these men strove so successfully to paint and these characteristics of mankind have always had a most human interest, not that man might revel in the sufferings of others, but that he might learn how another has endured what he in his turn may have to bear.

Few indeed can describe intelligently their own sufferings, but still fewer can describe those of others; this called for the genius of a Corneille or a Racine. This power of living, for the time being, the lives of others is peculiar to the highest development of English as well as French Drama.

At the time of Corneille's Cid man was constantly called upon to fight either for his country or honor, so that strength of character and firmness of will were as necessary to existence as life itself. Corneille put Don Rodrique face to face with fate and then left him to conquer or perish as might be. It is the wonderful consistency with which the character of the Cid is developed in relation to the other personages in the play which mark the genius of Corneille.

The crisis of the play occurs when the Cid is called upon to avenge the insult offered to his own father by Don Gormas whose daughter he has loved for years. Here we seem to have a glimpse at the workings of his heart, he must choose either life-long disgrace or mortal conflict with the father of Chimene. He hesitates but a moment while he looks over the blasted hopes of the life which has just begun, then he turns sternly to his duty, with death or a life without Chimene as the only possible prospect for the future.

At this crisis and also at the moment when the Cid throws his life at the feet of Chimene we feel the full influence of the master hand of Corneille. Le Cid is as remarkable an example of the true loving sympathy of youth as the two old men are of the prating foolishness of advanced years. In fact the only really weak character in the whole play is that of the King who has no distinctive personality or firmness whatever.

The next lecture of the series will be given on Friday afternoon.