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 See also:

• MAURICE (1521–1553)
• MAURICE (MAURICIUS FLAVIUS TIBERIUS) (c. 539–602)
• MAURICE [or MAURITIUS], ST (d. c. 286)
• MAURICE, JOHN FREDERICK DENISON (1805-1872)

MAURICE See also:

• CHARLES MAURICE DONNAY (1859– )

DONNAY (1859– )  , See also:

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

French dramatist, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born of See also:

• MIDDLE

middle-class parents 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 in 18J9 . He made his serious debut as a dramatist on the little See also:

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

stage of the Chat Noir with See also:

• PHRYNE

Phryne (1891), a See also:

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

series of See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek scenes . Lysistrata, a four-See also:

• ACT (Lat. actus, actum)

act See also:

• COMEDY

comedy, was produced at the See also:

• GRAND

Grand See also:

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

Theatre in 1892 with Mme See also:

• REJANE, GABRIELLE

Rejane in the See also:

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

title See also:

• PART

part . Later plays were Folle Entreprise (1894); See also:

• PENSION (Lat. pensio, a payment, from pendere, to weigh, to pay)

Pension de famille (1894); Complices (1895), in collaboration with M . Groselande; Amants (1895), produced at the See also:

• RENAISSANCE, THE

Renaissance theatre with Mme Jeanne Granier as Claudine Rozeray; La Douloureuse (1897); L'Affranchie (1898); Georgette Lemeunier (1898); Le Torrent (1899), at the Comedie Fran9aise; See also:

• EDUCATION

Education de See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

prince (Igoo); La Clairiere (Igoo), and Oiseaux de passage (1904), in collaboration with L . Descaves; La Bascule (Igor); L'Autre danger, at the Comedie Fran9aise (1902); Le Retour de See also:

• JERUSALEM (Heb. ^S0-r, Yerushalaim, pronounced as a dual)
• JERUSALEM, SYNOD OF (1672)

Jerusalem (1903); L' scalade (1904); and Paraftre (1906) . With Amants he won a See also:

• GREAT

great success, and the See also:

• PLAY

play was hailed by Jules See also:

• LEMAITRE, FRANCOIS ELIE JULES (1853— )

Lemaitre as the See also:

• BERENICE
• BERENICE, or BERNICE

Berenice of contemporary French See also:

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

drama . Very advanced ideas on the relations between the sexes dominate the whole series of plays, and the witty See also:

• DIALOGUE

dialogue is written with an apparent carelessness that approximates very closely to the See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language of every 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 .