See also:

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

ALEXANDRE See also:

• ALEXANDRE HARDY (1569?-1631)
• HARDY, SIR THOMAS DUFFUS (1804-1878)
• HARDY, SIR THOMAS MASTERMAN
• HARDY, THOMAS (1840- )

HARDY (1569?-1631)  , See also:

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

French dramatist, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born 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 . He was one of the most fertile of all dramatic authors, and himself claimed to have written some six See also:

• HUNDRED

hundred plays, of which, however, only See also:

• THIRTY

thirty-four are preserved . He seems to have been connected all his See also:

• LIFE

life with a troupe of actors headed by a See also:

• CLEVER

clever comedian named Valleran-Lecomte, whom he provided with plays . See also:

• HARDY, ALEXANDRE (1569?-1631)
• HARDY, SIR THOMAS DUFFUS (1804-1878)
• HARDY, SIR THOMAS MASTERMAN
• HARDY, THOMAS (1840- )

Hardy toured the provinces with thiscompany, which gave some representations in Paris in 1599 at the Hotel de Bourgogne . Valleran-Lecomte occupied the same See also:

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

theatre in 160o-1603, and again in 1607, apparently for some years . In consequence of disputes with the Confrerie de la See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

Passion, who owned the See also:

• PRIVILEGE

privilege of the theatre, they played elsewhere in Paris and in the provinces for some years; but in 1628, when they had See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long See also:

• BORNE, KARL LUDWIG (1786–1837)

borne the See also:

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

title of " royal," they were definitely established at the Hotel de Bourgogne.' Hardy's numerous dedications never seem to have brought him riches or patrons . His most powerful friend was See also:

• ISAAC (Hebrew for " he laughs," on explanatory references to the name, see ABRAHAM)

Isaac de Laffemas (d . 1657), one of See also:

• RICHELIEU, ARMAND EMMANUEL SOPHIE SEPTEMANIE DU PLESSIS
• RICHELIEU, ARMAND JEAN DU PLESSIS
• RICHELIEU, LOUIS FRANCOIS ARMAND DU PLESSIS

Richelieu's most unscrupulous agents, and he was on friendly terms with the poet See also:

• THEOPHILE

Theophile, who addressed him in some verses placed at the See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head of his Theatre (1632), and See also:

• TRISTAN
• TRISTAN, or TRISTRAM

Tristan 1'Hermite had a similar admiration for him . Hardy's plays were written for the See also:

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

stage, not to be read; and it was in the See also:

• INTEREST

interest of the See also:

• COMPANY

company that they should not be printed and thus fall into the See also:

• COMMON

common stock . But in 1623 he published See also:

• LES

Les Chastes et loyales amours de Theagene et Cariclee, a tragicomedy in eight " days " or dramatic poems; and in 1624 he began a collected edition of his See also:

• WORKS

works, Le Theatre d'See also:

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

Alexandre Hardy, parisien, of which five volumes (1624-1628) were published, one at See also:

• ROUEN

Rouen and the See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest in Paris . These comprise eleven tragedies: See also:

• DIXON
• DIXON, GEORGE (1755 ?–1800)
• DIXON, HENRY HALL (1822-1870)
• DIXON, RICHARD WATSON (1833-1900)
• DIXON, WILLIAM HEPWORTH (1821-1879)

Dixon se sacrifiant, Scedase ou l'hospitalite violee, Pant/zee, Meleagre, La Mort d'Achille, Coriolan, Marianne, a trilogy on the See also:

• HISTORY

history of See also:

• ALEXANDER
• ALEXANDER (1461-1506)
• ALEXANDER (ALEXANDER OF BATTENBERG) (1857-1893)
• ALEXANDER (ALEXANDER OsxENOVici) (1876-1903)
• ALEXANDER, ARCHIBALD (1772—1851)
• ALEXANDER, FRANCIS (1800—1881)
• ALEXANDER, GEORGE (1858— )
• ALEXANDER, JOHN WHITE (1856- )
• ALEXANDER, JOSEPH ADDISON (18o9—186o)
• ALEXANDER, SIR JAMES EDWARD (1803—1885)
• ALEXANDER, WILLIAM (1824— )
• ALEXANDER, WILLIAM LINDSAY (1808—1884)

Alexander, Alcmeon, ou la vengeance feminine; five mythological pieces; thirteen tragi-comedies, among them Gesippe, See also:

• DRAWN

drawn from See also:

• BOCCACCIO, GIOVANNI (1313-1375)

Boccaccio; Phraarte, taken from See also:

• GIRALDI, GIGLIO GREGORIO [LILIus GREGORIUS GYRALDUS] (1479-1552)
• GIRALDI, GIOVANNI BATTISTA (1504-1573)

Giraldi's Cent excellentes nouvelles (Paris, 1584); See also:

• CORNELIA (end cent. Bc.)

Cornelia, La Force du sang, Felismene, La Belle Egyptienne, taken from See also:

• SPANISH

Spanish subjects; and five pastorals, of which the best is Alphee, ou la See also:

• JUSTICE (Lat. justitia)

justice d'amour . Hardy's importance in the history of the French theatre can hardly be over-estimated .

Up to the end of the 16th See also:

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

century See also:

• MEDIEVAL

medieval See also:

• FARCE

farce and spectacle kept their hold on the stage in Paris . The French classical tragedy of See also:

• ETIENNE, CHARLES GUILLAUME (1778-1845)

Etienne See also:

• JODELLE, ETIENNE

Jodelle and his followers had been written for the learned, and in 1628 when Hardy's See also:

• WORK

work was nearly over and See also:

• ROTROU, JEAN DE (1609-1650)

Rotrou was on the See also:

• THRESHOLD

threshold of his career, very few See also:

• LITERARY

literary dramas by any other author are known to have been publicly represented . Hardy educated the popular See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste, and made possible the dramatic activity of the 17th century . He had abundant See also:

• PRACTICAL

practical experience of the stage, and modified tragedy accordingly, suppressing See also:

• CHORUS (Gr. xopbs)Z

chorus and See also:

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

monologue, and providing the See also:

• ACTION

action and variety which was denied to the literary See also:

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

drama . He was the See also:

• FATHER

father in See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France of tragi-See also:

• COMEDY

comedy, but cannot fairly be called a See also:

• DISCIPLE

disciple of the romantic school of See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England and See also:

• SPAIN
• SPAIN (Espana)

Spain . It is impossible to know how much later dramatists were indebted to him in detail, since only a fraction of his work is preserved, but their See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general See also:

• OBLIGATION

obligation is amply established . He died in 1631 or 1632 . The See also:

• SOURCES

sources for Hardy's See also:

• BIOGRAPHY (from the Gr. (3ios, life, and yp&4 , writing)

biography are extremely limited . The See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account given by the See also:

• BROTHERS, RICHARD (1757-1824)

brothers Parfaict in their Hist. du theatre See also:

• FRANCAIS, ANTOINE, COUNT (1756-1836)

francais (1745, &c., vol. iv. pp . 2-4) must be received with caution, and no documents are forthcoming . Many writers have identified him with the provincial playwright picturesquely described in See also:

• CHAP

chap. xi. of Le See also:

• PAGE
• PAGE, THOMAS NELSON (1853- )
• PAGE, WILLIAM (1811-1885)

Page disgracie (1643), the autobiography of Tristan 1'Hermite, but if the portrait is drawn from life at all, it is more probably drawn from Theophile . See Le Theatre d'Alexandre Hardy, edited by E.,Stengel (See also:

• MARBURG
• MARBURG, COLLOQUY OF (Marburger Religionsgesprach)

Marburg and Paris, 1883-1884, 5 vols.); E .

Lombard, " Etude sur Alexandre Hardy," in Zeitschr. See also:

• FUR (connected with O. Fr. forre, a sheath or case; so " an outer covering ")

fur neufrarz . Spr. u . Lit . (See also:

• OPPELN (Polish, Oppolie)

Oppeln and See also:

• LEIPZIG

Leipzig, vols. i. and ii., 188o—1881) ; K . Nagel, A . Hardy's Einfluss auf See also:

• PIERRE

Pierre See also:

• CORNEILLE, PIERRE (1606–1684)
• CORNEILLE, THOMAS (1625-1709)

Corneille (Marburg, 1884); and especially E . Rigal, Alexandre Hardy .