See also:

• CLAQUE (Fr. claquer, to clap the hands)

CLAQUE (Fr. claquer, to clap the hands)  , an organized See also:

• BODY

body of professional applauders in the See also:

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

French theatres . The See also:

• HIRING (from O. Eng. hyrian, a word common to many Teutonic languages cf. Ger. heuern, Dutch huren, &c.)

hiring of persons to applaud dramatic performances was See also:

• COMMON

common in classical times, and the See also:

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

emperor See also:

• NERO (37-68)

Nero, when he acted, had his performance greeted by an encomium chanted by five thousand of his soldiers, who were called Angustals . The recollection of this gave the 16th-See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century French poet, See also:

• JEAN

Jean See also:

• DAURAT (or DORAT), JEAN (in Lat. AURATUS), (1508–1588)

Daurat, an See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea which has See also:

• DEVELOPED

developed into the See also:

• MODERN

modern See also:

• CLAQUE (Fr. claquer, to clap the hands)

claque . Buying up a number of tickets for a performance of one of his plays, he distributed them gratuitously to those who promised publicly to See also:

• EXPRESS (through the French from the past participle of the Lat. exprimere, to press out, by transference used of representing objects in painting or sculpture, or of thoughts, &c. in words)

express their approbation . It was not, however, till 1820 that a M . Sauton seriously undertook the systematization of the claque, and opened an See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office in See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris for the See also:

• SUPPLY (through Fr. from Lat. supplere, to fill up)

supply of claqueurs . By 1830 the claque had become a See also:

• REGULAR

regular institution . The manager of a See also:

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

theatre sends an See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order for any number of claqueurs . These See also:

• PEOPLE

people are usually under a chef de claque, whose See also:

• DUTY (from " due," that which is owing, O. Fr. deu, dil, past participle of devoir; Lat. debere, debitum; cf. " debt ")

duty it is to See also:

• JUDGE (Lat. judex, Fr. juge)

judge where their efforts are needed and to start the demonstration of approval . This takes several forms . Thus there are commissaires, those who learn the piece by See also:

• HEART
• HEART, LUNG

heart, and See also:

• CALL (from Anglo-Saxon ceallian, a common Teutonic word, cf. Dutch kallen, to talk or chatter)

call the See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention of their neighbours to its See also:

• GOOD, JOHN MASON (1764-1827)

good points between the acts . The rieurs are those who laugh loudly at the jokes .

The pleureurs, generally See also:

• WOMEN

women, feign tears, by holding their See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand-kerchiefs to their eyes . The chatouilleurs keep the See also:

• AUDIENCE (from Lat. audire, to hear)

audience in a good See also:

• HUMOUR (Latin humor)

humour, while the bisseurs simply clap their hands and cry bisl Ns/ to secure encores .