See also:

• BENOIT, PETER LEONARD LEOPOLD (1834—1901)

BENOIT See also:

• CONSTANT, BENJAMIN (1845-1902)

CONSTANT See also:

• BENOIT CONSTANT COQUELIN (1841-1909)

COQUELIN (1841-1909)  , See also:

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

French actor, known as See also:

• COQUELIN, BENOIT CONSTANT (1841-1909)

Coquelin aine, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• BOULOGNE, or BOULLONGNE

Boulogne on the 23rd of See also:

• JANUARY

January 1841 . He was originally intended to follow his See also:

• FATHER

father's See also:

• TRADE (O. Eng. trod, footstep, from tredan, to tread; in M. Eng. the forms teed, trod and trade appear, the last in the sense of a beaten track)
• TRADE, BOARD OF

trade of See also:

• BAKER, HENRY (1698-1774)
• BAKER, SIR BENJAMIN (1840-1907)
• BAKER, SIR RICHARD (1568-1644/5)
• BAKER, SIR SAMUEL WHITE (1821-1893)
• BAKER, THOMAS (1656-1740)
• BAKER, VALENTINE [BAKER PASHA] (1827-1887)

baker (he was once called un See also:

• BOULANGER
• BOULANGER, GEORGE ERNEST JEAN MARIE (1837-1891)

boulanger manque by a hostile critic), but his love of acting led him to the See also:

• CONSERVATOIRE (the Fr. equivalent of Ital. Conservatorio, Ger. Conservatorium, from Med. Lat. conservatorium, a place where anything is preserved, Lat. conservare, to preserve)

Conservatoire, where he entered See also:

• REGNIER, HENRI FRANCOIS JOSEPH DE (1864– )
• REGNIER, MATHURIN (1573–1613)

Regnier's class in 1859 . He won the first See also:

• PRIZE, or PRIZE OF WAR (Fr. prise, from prendre, to take)

prize for See also:

• COMEDY

comedy within a See also:

• YEAR

year, and made his debut on the 7th of See also:

• DECEMBER (Lat. decent, ten)

December 186o at the Comedie Fran9aise as the comic See also:

• VALET (Fr. valet; O. Fr. vaslet)

valet, See also:

• V11

v11 . 5Gros-Rene, in See also:

• MOLIERE (1622-1673)

Moliere's Depit amoureux, but his first See also:

• GREAT

great success was as See also:

• FIGARO

Figaro, in the following year . He was made societaire in 1864, and during the next twenty-two years he created at the See also:

• FRANCOIS (1558-1614)

Francois the leading parts in See also:

• FORTY

forty-four new plays, including See also:

• THEODORE
• THEODORE (602-690)
• THEODORE (Fedor) GRIGORIEVICH ORLOV, COUNT (1741–1796)
• THEODORE (Rus. Fedor, or Feodor)

Theodore de See also:

• BANVILLE, THEODORE FAULLAIN DE (1823-1891)

Banville's See also:

• GRINGOIRE (or GRINGORE), PIERRE (c. 148o-1539)

Gringoire (1867), See also:

• PAUL
• PAUL (PAULUS)

Paul See also:

• FERRIER, ARNAUD DU (c. 1508-1585)
• FERRIER, JAMES FREDERICK (1808-1864)
• FERRIER, PAUL (1843– )
• FERRIER, SUSAN EDMONSTONE (1782–1854)

Ferrier's See also:

• TABARIN (Fr. tabard, Ital. tabarrino, a small cloak)

Tabarin (1871), Emile See also:

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

Augier's Paul Forestier (1871), L'Etrangere (1876) by the younger See also:

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

Dumas, See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles Lomon's See also:

• JEAN

Jean See also:

• DACIER

Dacier (1877), See also:

• EDWARD

Edward See also:

• PAILLERON, EDOUARD JULES HENRI (1834-1899)

Pailleron's Le Monde on l'on s'ennuie (1881), Erckmann and Chatrian's See also:

• LES

Les Rantzau (1884) . In consequence of a dispute with the authorities over the question of his right to make provincial See also:

• TOURS

tours in See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France he resigned in 1886 . Three years later, however, the See also:

• BREACH (Mid. Eng. breche, derived from the common Teutonic root brec, which appears in " break," Ger. brechen, &c.)

breach was healed; and after a successful See also:

• SERIES (a Latin word from serere, to join)

series of tours in See also:

• EUROPE

Europe and the See also:

• UNITED

United States he rejoined the Comedie Fran9aise as pensionnaire in 189o . It was during this See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period that he took the See also:

• PART

part of Labussiere, in the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of See also:

• SARDOU, VICTORIEN (1831-1908)

Sardou's• See also:

• THERMIDOR (from Gr. BEpµrt, heat, and & pov, gift)

Thermidor, which was interdicted by the See also:

• GOVERNMENT
• GOVERNMENT (0. Fr. governement, mod. gouvernement, O. Fr. governer, mod. gouverner, from Lat. gubernare, to steer a ship, guide, rule; cf. Gr. xv(3epvav)

government after three performances . In 1892 he See also:

• BROKE, or BROOKE, ARTHUR (d. 1563)
• BROKE, SIR PHILIP BOWES VERE, BART

broke definitely with the Comedie Fran9aise, and toured for some 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 through the capitals of Europe with a See also:

• COMPANY

company of his own . In 1895 he joined the See also:

• RENAISSANCE, THE

Renaissance See also:

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

theatre 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, and played there until he became director of the See also:

• PORTE, THE SUBLIME (Arab. babi-'ali, the high gate, through the French translation la sublime porte)

Porte See also:

• SAINT (lat. sanctus, " holy ")

Saint See also:

• MARTIN (Martinus)
• MARTIN, BON LOUIS HENRI (1810-1883)
• MARTIN, CLAUD (1735-1800)
• MARTIN, FRANCOIS XAVIER (1762-1846)
• MARTIN, HOMER DODGE (1836-1897)
• MARTIN, JOHN (1789-1854)
• MARTIN, LUTHER (1748-1826)
• MARTIN, SIR THEODORE (1816-1909)
• MARTIN, SIR WILLIAM FANSHAWE (1801–1895)
• MARTIN, ST (c. 316-400)
• MARTIN, WILLIAM (1767-1810)

Martin in 1897 . Here he won successes in Edmond See also:

• ROSTAND, EDMOND (1869- )

Rostand's Cyrano de See also:

• BERGERAC

Bergerac (1897), Emile Bergerac s . Plus que See also:

• REIN

rein (1899),' Catulle Mendes' See also:

• SCARRON, PAUL (1610-166o)

Scarron (1905), and See also:

• ALFRED

Alfred See also:

• CAPUS, ALFRED (1858– )

Capus and Lucien Descaves' L'Attentat (1906) .

In 1900 he toured in See also:

• AMERICA

America with Sarah See also:

• BERNHARDT, SARAH (ROSINE BERNARD) (1845- )

Bernhardt, and on their return continued with his old colleague to appear in L'Aiglon, at the Theatre Sarah Bernhardt . He was rehearsing for the creation of the leading part in Rostand's Chanteder, which he was to produce, when he died suddenly in Paris, on the 27th of January 1909 . Coquelin was an Officier de 1'Instruction Publique and of the See also:

• LEGION (Lat. legio)

Legion of See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

Honour . He published L'See also:

• ART

Art et le comedien (188o), Moliere et le misanthrope (1881), essays on See also:

• EUGENE

Eugene See also:

• MANUEL, EUGENE (1823–1901)
• MANUEL, JACQUES ANTOINE (1775-1827)
• MANUEL, LOUIS PIERRE (1751-1793)

Manuel (1881) and See also:

• SULLY, JAMES (1842– )
• SULLY, MAXIMILIEN DE BETHUNE
• SULLY, THOMAS (1783—1872)

Sully-Prudhomme (1882), L'Arnolphe de Moliere (1882), Les Comediens (1882), L'Art de dire le See also:

• MONOLOGUE (from Gr. µovos, alone, and X yos, speech)

monologue (with his See also:

• BROTHER

brother, 1884), Tartuffe (1884), L'Art du comedien (1894) . His brother, ERNEST See also:

• ALEXANDRE, NOEL (NATALIS ALEXANDER) (1639-1724)

ALEXANDRE HONORS COQUELIN (1848-1909), called Coquelin See also:

• CADET (through the Fr. from the Late Lat. capitettum, a diminutive of caput, head, through the Provencal form capdet)

cadet, was born on the 16th of May 1848 at Boulogne, and entered the Conservatoire in 1864 . He graduated with the first prize in comedy and made his debut in 1867 at the Odeon . The next year he appeared with his brother at the Theatre Francois and became a societaire in 1879 . He played a great many parts, in both the classic and the See also:

• MODERN

modern repertoire, and also had much success in reciting monologues of his own See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition . He wrote Le Livre See also:

• DES

des convalescents (188o), Le Monologue moderne (1881), Fairiboles (1882), Le Rire (1887), Pirouettes (1888) . He died on the 8th of See also:

• FEBRUARY

February 1909 .