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See also: miscellaneous writer, was See also: born in See also: Paris in 1595
.
When he was about See also: thirty he was introduced to See also: Richelieu, and became one of the See also: band of writers who carried out the See also: cardinal's See also: literary ideas
.
See also: Desmarets's own inclination was to novel-writing, and the success of his See also: romance Ariane in 1631 led to his formal See also: admission to the circle that metat the See also: house of See also: Valentine Conrart and later See also: developed into the Academie Fran9aise
.
Desmarets was its first chancellor
.
It was at Richelieu's See also: request that he began to write for the theatre
.
In this kind he produced a See also: comedy long regarded as a masterpiece, See also: Les Visionnaires (1637); a See also: prose-tragedy, See also: Erigone (1638); and Scipion (1639), a tragedy in verse
.
His success led to official preferment, and he was made conseiller du roi, controleur-general de l'extraordinaire See also: des guerres, and secretary-general of the See also: fleet of the See also: Levant
.
His long epic See also: Clovis (1657) is noteworthy because Desmarets rejected the traditional See also: pagan background, and maintained that Christian imagery should supplant it
.
With this standpoint he contributed several See also: works in defence of the moderns in the famous See also: quarrel between the Ancients and Moderns
.
In his later years Desmarets devoted himself chiefly to producing a quantity of religious poems, of which the best-known is perhaps his verse See also: translation of the Office de la See also: Vierge (1645)
.
He was a violent opponent of the Jansenists, against whom he wrote a Reponse a l'insolente apologie de See also: Port-Royal
..
. (1666)
.
He died in Paris on the 28th of See also: October 1676
.
See also H
.
Rigault, Histoire de la querelle des anciens et des moderns (1856), pp
.
8o-103
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