Ethanoate de sodium masse moliere biography

In the winter there were brilliant fetes at Saint-Germain, which lasted from December 2, to February 19, On his return to Paris he had a fresh lung attack, which kept him away from the theatre for two months. When he began to act again, the War of Devolution had begun, and on May 16 the king, followed by the Court, set out for Flanders.

In this same year the company suffered another blow in the defection of Mlle Du Parc, who after Easter transferred her services to the Hotel de Bourgogne. Her desertion was naturally attributed to the influence of Racine, who was passionately in love with her, and in whose play of Andromaque she appeared in the following November. But if we may believe Boileau, as reported by Brossette, she was not a great actress in tragedy, and had to be carefully coached by Racine.

The difficult part of Hermione would have been beyond her powers, but we may hazard a conjecture that the psychological knowledge displayed by Racine in his study of that character was largely derived from his intimacy with this haughty, passionate, and capricious actress. She did not remain long at the Hotel de Bourgogne, for she died in December It seems clear that at this time he was seriously contemplating retirement.

In August of this year he acquired a pied de terre in the pretty village—as it then was—of Auteuil. It consisted of three rooms on the ground-floor—a dining-room, a kitchen, and a bed-room which also served as a sitting-room—and two attics in the second storey, which he rented for livres a year from Jacques de Grou, Sieur de Beaufort, of whose considerable mansion they practically formed part.

His friend Chapelle rented a bed-room in an adjoining building. All these were folios. There were also eighteen volumes in octavo or duodecimo, the titles of which are not stated in the inventory. Here the great dramatist forgot his troubles in the society of his friends. These included Boileau, La Fontaine, Chapelle, who contributed greatly to the gaiety of the gatherings, Lulli, Mignard, Rohault the distinguished physicist, and others of lesser fame.

Sois au Palais-Royal Mardi:. Ten days later he took the part of Sosie in his new play of Amphitryonand in his first speech spoke some lines which, whether they were ethanoate de sodium masse moliere biography or not, exactly represent his own situation. Vers la retraite en vain la raison nous appelle. Un ascendant trop puissant.

Et la moindre faveur d'un coup d'ceil caressant. Nous rengage de plus belle. He could not resist its call, nor could he desert his company, who looked to him for guidance and encouragement and who, largely depended on him for the favour of the public. In the course of it he produced besides AmphitryonGeorge Dandin July 18 and L'Ava re September 9the former at Versailles and the latter at his own theatre.

It has been remarked that in all three plays a large proportion of the characters are knaves or fools. Moreover, in all three there is an underlying suggestion of tragedy. In these plays Moliere not only takes a more pessimistic view than he usually does of human nature, but he seems to be deeply impressed, even oppressed, by a sense of the power of evil, and especially of its power to sever the natural bonds of humanity.

But early in there was a rift in the clouds. On February 5 the king gave permission for Le Tartufe to be performed in public, and that very afternoon it was presented to a crowded house. The receipts amounted to o livresthe highest figures ever recorded by La Grange in his Register. After Easter there were fifteen public performances up to June 25, and then, after three performances in August and two in September, it made way for a new piece, Monsieur de Pourceaugnacwhich was presented at Chambord before the king on October 6 and at the Palais-Royal on November His retirement was apparently due to a wound which had left him permanently lame.

The additions to the company were M. Mlle Beauval was an extremely useful accession; she was the Nicole of Le Bourgeois gentilhomme and the Toinette of Le Malade imaginaire. Alike as soubrette and as tragedy-queen she maintained her reputation till her retirement in She died in o. Michel Boyron, called Baron, was the son of an actor, and was only in his seventeenth year.

Left an orphan at the age of nine, he had been engaged in a juvenile troop, of which the manager was one Raisin. The same convenient method procured him the Beauvals. Baron developed into a fine actor and an insufferable coxcomb. It is a free imitation from the Phormio of Terence, but the main influences are partly national and partly Italian. Before her death, probably about the end of the yeara reconciliation had taken place between the ill-matched couple, and a son was born to them on September 15,but he only survived till October The only comedy from his own pen that he produced in was Les Femmes savanteswhich ran at the Palais-Royal from March it to the Easter holidays, and after the holidays till the middle of May.

According to a well-known story, the authority for which is Cizeron Rival, the editor of the correspondence between Boileau and Brossette, Boileau paid him a visit in December, and noticing his cough and distressed breathing urged him to leave the stage. So with the same courage and defiance with which he had met the attacks of his opponents he now faced the last enemy—death.

Just as in Le Misanthrope he had mocked at his own misanthropic ethanoate de sodium masse moliere biography, so now he made sport of his own malady, and on Feb. This admirable play shows him in full possession of his dramatic powers. The execution is large and easy; the characters and the dialogue are extraordinarily true to life, and the wealth of comic action makes it an excellent acting play.

But, underneath all this boisterous gaiety lay a grim and cruel humour. The actor, who played the part of the imaginary invalid, who excited the laughter of the audience, as he now ran shouting about the stage, now dropped exhausted into his chair, was in reality a dying man. On February 17, the fourth representation of the comedy, he was suffering more than usual, and his wife and Baron urged him not to act.

What will happen to them, if I do not act? When the play was over he was carried in a chair to his house in the Rue Richelieu accompanied by Baron. The play had begun punctually at four o'clock, so that it must by this time have been nearly seven. He asked for some bread and Parmesan cheese, and when he had eaten them he had himself put to bed.

His cough then redoubled in violence, and he broke a blood-vessel in his lungs. Baron went to fetch his wife, and a servant was told to find a priest to administer the Sacrament. But in about three-quarters of an hour after the attack, before the arrival of either wife or priest, he died in the arms of two Sisters of Charity, who were staying in the house as his guests.

He was only fifty-one years of age. The funeral was to be after dark and without any pomp; the body was to be taken straight to the cemetery, and there was to be no service in any church. A touch of irony was added to this grudging concession by the fact that Harlay de Champvallon, the Archbishop, was a notorious evil-liver. A few details may be added by way of an attempt to fill in the picture.

The only written description of his outward appearance that we have from a contemporary appeared in the Mercure de France nearly seventy years after his death. He walked with a grave and serious air. He had a large nose and mouth, thick lips, and a dark complexion. This description is borne out by the portrait at Chantilly, which is generally ascribed to his friend Mignard, and which is certainly the best that exists.

One is particularly struck by its serious and sad expression. But it will be observed that La Grange says it was those who did not know him who thought he was a dreamer and melancholy. The most improbable of these anecdotes, but the best authenticated, for it is also told by Louis Racine, is the well-known one of the supper-party at Auteuil. Hard drinking followed, till the friends, becoming more and more gloomy, instead of more and more hilarious, finally decided to get rid of life altogether by drowning themselves in the river.

So they went quietly to bed. His pecuniary relations with his father testify not only to his generosity, but to his delicacy. He insisted on exactitude and precision in his domestic life. A window opened or shut at the wrong moment made him furious, and the misplacement of a book was enough to prevent him from working for a fortnight. At rehearsals he spared no pains to bring his actors up to his own high standard of perfection.

Of his manner and method we get an excellent idea from L'Impromptu de Versailles. But actors and actresses alike forgave him his irritability and his little coups de langue because they recognized his goodness of heart, and his unswerving loyalty to his comrades. In tragedy he was not regarded as a success. In the first place his physical appearance was not suited to the part of a tragic hero.

But as a comic actor he was supreme. His expressive countenance, his large mouth and eloquent eyes, all lent themselves to that power of impersonation of which he was so great a master. Fastidious critics, indeed, said that he was un peu grimacierthat he made too much play with his features. Grimarest, like Montfleury, notes the hiccough or spasm of the throat from which he suffered, and explains it by saying that when he first began to act he noticed that his utterance was too rapid, and that the hiccough resulted from his efforts to counteract this defect.

The hiccough is also mentioned by Mlle Poisson and the same cause is given for it. She also tells us that nature had refused him the physical gifts necessary for the stage, and especially for tragic parts, for he had naturally a voice without resonance, with metallic inflexions. But he conquered these difficulties by study and force of will, and became a great comic actor.

He was always thinking of his characters and never of himself. He did not mind appearing ridiculous on the stage, or even of appearing in the character of a downright fool. Quick though he was to detect folly, he observed it with a sympathetic eye. This is the essence of humour, and without humour he could neither have conceived nor have interpreted many of his characters.

To La Grange, as of right, may be left the last word in praise of his chief. The play mocked the Academie Francaise, a group which established the rules of the French theater, and was concerned with tradition and unity. InMoliere premiered Dom Garcie de Navarre, ou le prince jalouxbut it was a failure. The December 22nd, premiere of L'Ecole des femmes was much more successful, and Moliere's reputation began to blossom.

The play's blatant comedy garnered much attention, some of it negative, all of which led Moliere to continue focusing on plays that prized innovation over classicism. The three-act version of Tartuffe premiered in and gained him even more notoriety, as it appeared to attack religion. Though the playwright's initial targets had been young society girls, he had now turned to the clergy and professional classes, which was problematic.

Many people in power did not admire his desire to expose fraud and hypocrisy, especially when he leveled those attacks around them. Moliere's name was also besmirched by the scandal surrounding his marriage, at 40, to the 20 year old daughter of his former mistress, Madeleine. Two later plays, L'Avare and Le Misanthropesolidified his remarkable contribution to French theater.

Moliere died on February 17th,from complications brought on by his performances in Le Malade imaginaire. Of all follies there is none greater than wanting to make the world a better place. We need you!

Ethanoate de sodium masse moliere biography

Help us build the largest biographies collection on the web! Add a New Bio. Powered by CITE. Notify me of new comments via email. Cancel Report. Create a new account. Log In. Browse Biographies.