See also:

• GUILLAUME
• GUILLAUME, JEAN BAPTISTE CLAUDE EUGENE (1822-1905)

GUILLAUME See also:

• VICTOR
• VICTOR, GAIUS JULIUS (4th cent. A.D.)
• VICTOR, SEXTUS AURELIUS

VICTOR SMILE See also:

• GUILLAUME VICTOR SMILE AUGIER (182o-1889)

AUGIER (182o-1889)  , See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French dramatist, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• VALENCE

Valence, Dr6me, on the 17th of See also:

• SEPTEMBER (Lat. septem, seven)

September 182o . He was the See also:

• GRANDSON (Ger. Grandsee)

grandson of Pigault See also:

• LEBRUN, CHARLES FRANCCOIS
• LEBRUN, PIERRE ANTOINE (1785–1873)
• LEBRUN, PONCE DENIS ECOUCHARD (1729-1807)

Lebrun, and belonged to the well-to-do bourgeoisie in principles and in thought as well as by actual See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth . He received a See also:

• GOOD, JOHN MASON (1764-1827)

good See also:

• EDUCATION

education and studied for the See also:

• BAR
• BAR (0. Fr. barre, Late Lat. barra, origin unknown)
• BAR, CONFEDERATION OF
• BAR, FRANCOIS DE (1538-1606)
• BAR, THE

bar . In 1844 he wrote a See also:

• PLAY

play in two acts and in See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse, La Cigue, refused at the See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

Theatre See also:

• FRANCAIS, ANTOINE, COUNT (1756-1836)

Francais, but produced with considerable success at the Odeon . This settled his career . Thenceforward, at fairly See also:

• REGULAR

regular intervals, either alone or in collaboration with other writers—Jules See also:

• SANDEAU, LEONARD SYLVAIN JULIEN [JULES] (1811-1883)

Sandeau, See also:

• EUGENE

Eugene-See also:

• MARIE

Marie See also:

• LABICHE, EUGENE MARIN (1815-1888)

Labiche, Ed . Foussier—he produced plays which were in their way eventful . Le Fils de Giboyer (1862)—which was regarded as an attack on the clerical party in See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France, and was only brought out by the See also:

• DIRECT

direct intervention of the See also:

• EMPEROR (Fr. empereur, from the Lat. imperator)

emperor—caused some See also:

• POLITICAL

political excitement . His last See also:

• COMEDY

comedy, See also:

• LES

Les See also:

• FOURCHAMBAULT

Fourchambault, belongs to the See also:

• YEAR

year 1879 . After that date he wrote no more, restrained by an See also:

• HONOURABLE (Fr. honorable, from Lat. honorabilis, worthy of honour)

honourable fear of producing inferior See also:

• WORK

work . The See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy had See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long before, on the 31st of See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 1857, elected him to be one of its members . He died in his See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house at Croissy on the 25th of See also:

• OCTOBER

October 1889 .

Such, in briefest outline, is the See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story of a See also:

• LIFE

life which Angier himself describes as " without incident "—a life in all senses honourable . See also:

• AUGIER, GUILLAUME VICTOR SMILE (182o-1889)

Augier, with See also:

• DUMAS, ALEXANDRE
• DUMAS, ALEXANDRE [" DUMAS FILS"] (1824-1895)
• DUMAS, GUILLAUME MATHIEU, COUNT (1753-1837)
• DUMAS, JEAN BAPTISTE ANDRE (1800-1884)

Dumas fils and See also:

• SARDOU, VICTORIEN (1831-1908)

Sardou, may be said to have held the See also:

• AUGITE

AUGITE 9.0 I French See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage during the Second See also:

• EMPIRE

Empire . The See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man respected himself and his See also:

• ART

art, and his art on its ethical See also:

• SIDE
• SIDE (mod. Eski Adalia)

side—for he did not disdain to be a teacher—has high qualities of rectitude and self-See also:

• RESTRAINT (from " to restrain," Lat. restringere, to hold back, prevent)

restraint . Uprightness of mind and of See also:

• HEART
• HEART, LUNG

heart, generous honesty, as Jules See also:

• LEMAITRE, FRANCOIS ELIE JULES (1853— )

Lemaitre well said, constituted the very soul of all his dramatic work . L'Aventuriere (1848), the first of Augier's important See also:

• WORKS

works, already shows a deviation from romantic See also:

• MODELS

models; and in the Mariage d'Olympe (1855) the courtesan is shown as she is, not glorified as in Dumas's See also:

• DAME
• DAME (through the Fr. from Lat. domina, mistress, lady, the feminine of dominus, master, lord)

Dame aux Camelias . In Gabrielle (1849) the See also:

• HUSBAND

husband, not the See also:

• LOVER, SAMUEL (1797-1868)

lover, is the sympathetic, poetic See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character . In the Lionnes pauvres (1858) the wife who sells her favours comes under the lash . Greed of See also:

• GOLD
• GOLD [symbol Au, atomic weight 195.7(H = 1),197.2(0 =16)]

gold, social demoralization, See also:

• ULTRAMONTANISM (Lat. ultra, beyond, monies, the mountains)

ultramontanism, lust of See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power, these are satirized in Les Effrontes (1861), Le Fils de Giboyer (1862), Contagion, first announced under the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title of Le See also:

• BARON
• BARON (1835-1895)
• BARON, MICHEL (1653—1729)

Baron d'Estrigaud (1866), Lions et renards (1869)—which, with Le Gendre de M . Poirier (1854), written in collaboration with Jules Sandeau, reach the high-See also:

• WATER

water See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark of Augier's art; in Philiberte (1853) he produced a graceful and delicate See also:

• DRAWING

drawing-See also:

• ROOM

room comedy; and in See also:

• JEAN

Jean de Thommeray, acted in 1873 after the See also:

• GREAT

great reverses of 1870, the regenerating See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note of patriotism rings high and clear . His last two dramas, Madame Caverlet (1876) and Les Fourchambault (1879), are problem plays . But it would be unfair to suggest that Emile Angier was a preacher only . He was a moralist in the great sense, the sense in which the See also:

• TERM

term can be applied to See also:

• MOLIERE (1622-1673)

Moliere and the great dramatists—a moralist because of his large and sane outlook on life .

Nor does the See also:

• INTEREST

interest of his dramas depend on elaborate See also:

• PLOT
• PLOT, ROBERT (164o-1696)

plot . It springs from character and its See also:

• EVOLUTION

evolution . His men and See also:

• WOMEN

women move as See also:

• PERSONALITY (from Lat. persona, originally an actor's mask, from personare,1 to sound through)

personality, that mysterious See also:

• FACTOR (from Lat. facere, to make or do)

factor, dictates . They are real, several of them typical . Augier's first See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama, La Cigue, belongs to a See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time (1844) when the romantic drama was on the wane; and his almost exclusively domestic range of subject scarcely lends itself to lyric outbursts of pure See also:

• POETRY

poetry . But his verse, if not that of a great poet, has excellent dramatic qualities, while the See also:

• PROSE

prose of his prose dramas is admirable for directness, alertness, See also:

• SINEW (O. Eng. sinu, sionu, cf. Dutch zenuw, Ger. Sehne, possibly allied to Skt. snava, tendon, cf. Ger. Schnur, string)

sinew and a large and effective wit . Perhaps it wanted these qualities to enlist See also:

• LAUGHTER

laughter on his side in such a See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

war as he waged against false See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

passion and false sentiment . (F . T .