FLORENT CARTON See also:

• FLORENT CARTON DANCOURT (1661-1725)

DANCOURT (1661-1725)  , See also:

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

French dramatist and actor, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• FONTAINEBLEAU

Fontainebleau on the 1st of See also:

• NOVEMBER (Lat. novem, nine)

November 1661 . He belonged to a See also:

• FAMILY

family of See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank, and his parents entrusted his See also:

• EDUCATION

education to Pere de la See also:

• RUE (Fr. rue, Lat. ruta, from Gr. pur)

Rue, a Jesuit, who made See also:

• EARNEST (probably a corruption of the obsolete arles or erles, adapted from Lat. equivalent arrha, due to a confusion with the adjective " earnest," serious, O. Eng. eornust, cognate with Ger. ernst)

earnest efforts to induce him to join the 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 . But he had no religious vocation and proceeded to study See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law . He practised at the See also:

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

bar 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, but his See also:

• MARRIAGE

marriage to the daughter of the comedian See also:

• FRANCOIS (1558-1614)

Francois Lenoir de la Thorilliere led him to become an actor, and in 1685, in spite of the strong opposition of his family, he appeared at the See also:

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

Theatre See also:

• FRANCAIS, ANTOINE, COUNT (1756-1836)

Francais . His gifts as a comedian gave him immediate and marked success, both with the public and with his See also:

• FELLOW

fellow actors . He was the spokesman of his See also:

• COMPANY

company on occasions of See also:

• STATE
• STATE, GREAT OFFICERS OF

state, and in this capacity he frequently appeared before See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

Louis XIV., who treated him with See also:

• GREAT

great favour . One of his most famous impersonations was Alceste in the Misanthrope of See also:

• MOLIERE (1622-1673)

Moliere . His first See also:

• PLAY

play, Le Notaire obligeant, produced in 1685, was well received . La Desolation See also:

• DES

des joueuses (1687) was still more successful . Le See also:

• CHEVALIER, ALBERT (1861– )
• CHEVALIER, MICHEL (1806-1879)
• CHEVALIER, ULYSSE (1841– )

Chevalier a la mode (1687) is generally regarded as his best See also:

• WORK

work, though his claim to See also:

• ORIGINAL

original author-See also:

• SHIP

ship in this and some other cases has been disputed . In Le Chevalier a la mode appears the bourgeoise infatuated with the See also:

• DESIRE

desire to be an aristocrat . The type is See also:

• DEVELOPED

developed in See also:

• LES

Les Bourgeoises a la mode (1692) and Les Bourgeoises de gualite (1700) .

See also:

• DANCOURT, FLORENT CARTON (1661-1725)

Dancourt was a prolific author, and produced some sixty plays in all . Some years before his See also:

• DEATH

death he terminated his career both as an actor and as an author by retiring to his See also:

• CHATEAU (from Lat. castellum, fortress, through O. Fr. chastel, chasteau)

chateau at Courcelles le Roi, in See also:

• BERRY, CHARLES ALBERT (1852-1899)
• BERRY, CHARLES FERDINAND
• BERRY, JOHN, DUKE OF (1340-1416)
• BERRY, or BERRI

Berry, where he employed himself in making a poetical See also:

• TRANSLATION

translation of the See also:

• PSALMS, BOOK
• PSALMS, BOOK OF, or PSALTER

Psalms and in See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing a sacred tragedy . He died on the 7th of See also:

• DECEMBER (Lat. decent, ten)

December 1725 . The plays of Dancourt are faithful descriptions of the See also:

• MANNERS, CHARLES (1857– )

manners of the time, and as such have real See also:

• HISTORICAL

historical value . The characters are See also:

• DRAWN

drawn with a realistic See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch that led to his being styled by 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 Palissot the See also:

• TENIERS

Teniers of See also:

• COMEDY

comedy . He is very successful in his delineation of See also:

• LOW, SETH (1850- )
• LOW, WILL HICOK (1853- )

low See also:

• LIFE

life, and especially of the peasantry . The See also:

• DIALOGUE

dialogue is sparkling, witty and natural . Many of the incidents of his plots were derived from actual occurrences in the " fast " and scandalous life of the See also:

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

period, and several of his characters were drawn from well-known personages of the See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day . Most of the plays incline to the type of See also:

• FARCE

farce rather than of pure comedy . See also:

• VOLTAIRE, FRANCOIS MARIE AROUET DE (1694–1778)

Voltaire defined his See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent in the words: " Ce que See also:

• REGNARD, JEAN FRANCOIS (1655-1709)

Regnard etait a 1' egard de Moliere dans la haute comedic, le comedien Dancourt 1' etait clans la farce." His two daughters, Manon and See also:

• MARIE

Marie See also:

• ANNE (1665-1714)
• ANNE (1693-1740)

Anne (Mimi), both obtained success on the See also:

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

stage of the Theatre Francais . The See also:

• COMPLETE

complete See also:

• WORKS

works of Dancourt were published in 176o (12 vols . 12mo) .

An edition of his Theatre choisi, with a See also:

• PREFACE (Med. Lat. prefatia, for classical praefatio, praefari, to speak beforehand)

preface by F . See also:

• SARCEY, FRANCISQUE (1827-1899)

Sarcey, appeared in 1884 .