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 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:

• ALFRED

ALFRED DE See also:

• LOUIS CHARLES ALFRED DE MUSSET (1810-18S7)

MUSSET (1810-18S7)  , See also:

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

French poet, See also:

• PLAY

play-writer and novelist, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born on the 11th of See also:

• DECEMBER (Lat. decent, ten)

December 18,o in a See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house in the See also:

• MIDDLE

middle of old 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, near the Hotel See also:

• CLUNY, or CLUGNY

Cluny . His See also:

• FATHER

father, See also:

• VICTOR
• VICTOR, GAIUS JULIUS (4th cent. A.D.)
• VICTOR, SEXTUS AURELIUS

Victor de See also:

• MUSSET, LOUIS CHARLES ALFRED DE (1810-18S7)

Musset, who traced his descent back as far as 1140, held several ministerial posts of importance . He brought out an edition of J . J . See also:

• ROUSSEAU, JACQUES (1633-1693)
• ROUSSEAU, JEAN BAPTISTE (1671-1741)
• ROUSSEAU, JEAN JACQUES (1712-1778)
• ROUSSEAU, PIERRE ETIENNE THEODORE (1812–1867); French painter of the Barbizon school, was born in Paris on the 15th of April 1812, of a bourgeois family which included one or two artists. At first he received a business training, but soon displayed aptitu

Rousseau's See also:

• WORKS

works in 1821, and followed it soon after with a See also:

• VOLUME

volume on the Genevan's See also:

• LIFE

life and See also:

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

writing .. In See also:

• ALFRED

Alfred de Musset's childhood there were various things which fostered his imaginative See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power . He and his See also:

• BROTHER

brother See also:

• PAUL
• PAUL (PAULUS)

Paul (born 1804, died x88o), who afterwards wrote a See also:

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

biography of Alfred, delighted in See also:

• READING

reading old romances together, and in assuming the characters of the heroes in those romances . But it was not until about 1826 that Musset gave any definite sign of the See also:

• MENTAL

mental force which afterwards distinguished him . In the summer of 1827 he won the second See also:

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

prize (at the See also:

• COLLEGE (Collegium)

College See also:

• HENRI

Henri IV.) by an See also:

• ESSAY, ESSAYIST (Fr. essai, Late Lat. exagium, a weighing or balance; exigere, to examine; the term in general meaning any trial or effort)

essay on "The Origin of our Feelings." In 1828, when See also:

• EUGENE

Eugene See also:

• SCRIBE, AUGUSTIN EUGENE (1791-1860, French dramatist, was born in Paris on the 24th of December 1791. His father was a silk merchant, and he was well educated, being destined for the bar. But, having a real gift for the theatre, a gift which unfortunately

Scribe, See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph See also:

• DUVEYRIER, HENRI (184o-1892)

Duveyrier, who under the name of Melesville, was a prolific playwriter and sometimes collaborator with Scribe, and others of See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note were in the See also:

• HABIT (through the French from Lat. habitus, from habere, to have, hold, or, in a reflective sense, to be in a certain condition; in many of the English senses the French use habitude, not habit)

habit of coming to Mme de Musset's house at Auteuil, where See also:

• DRAWING

drawing-See also:

• ROOM

room plays and charades were constantly given, Musset, excited by this companionship, wrote his first poem . This, to See also:

• JUDGE (Lat. judex, Fr. juge)

judge from the extracts preserved, was neither better nor worse than much other See also:

• WORK

work of See also:

• CLEVER

clever boys who may or may not afterwards turn out to be possessed of See also:

• GENIUS (from Lat. genere, gignere)

genius . He took up the study of 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, threw it over for that of See also:

• MEDICINE

medicine, which he could not endure, and ended by adopting no set profession . Shortly after his first See also:

• ATTEMPT (Lat. adtemptare, attentare, to try)

attempt in See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse he was taken by Paul Foucher. to Victor See also:

• HUGO, GUSTAV VON (1764–1844)
• HUGO, VICTOR MARIE (1802-1885)

Hugo'$ house, where he met such men as Alfred de See also:

• VIGNY, ALFRED DE (1797-1863)

Vigny, Prosper See also:

• MERIMEE, PROSPER (1803-1870)

Merimee, 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:

• NODIER, CHARLES (1780-1844)

Nodier and Sainte-Beuve .

It was under Hugo's See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence, no doubt, that he composed a play . The See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene was laid in See also:

• SPAIN
• SPAIN (Espana)

Spain, and some lines, showing a marked advance upon his first effort, are preserved . In 1828, when the See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

war between the classical and the romantic school of literature was growing daily more serious and exiting, Musset had published some verses in a See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country newspaper, and boldly recited some of his work to Sainte-Beuve, who wrote of it to a friend, " There is amongst us a boy full of genius." At eighteen years old Musset produced a See also:

• TRANSLATION

translation, with additions of his own, of De Quincey's " See also:

• OPIUM (Gr. amov, dim. from Orbs, juice)

Opium-Eater." This was published by Mame, attracted no See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention, and has been See also:

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

long out of See also:

• PRINT

print . His first See also:

• ORIGINAL

original volume was published in 1829 under the name of Conies d'Espagne et d'Italie, had an immediate and striking success, provoked See also:

• BITTER, KARL THEODORE FRANCIS (1867– )

bitter opposition, and produced many unworthy imitations . This volume contained, along with far better and more important things, a fantastic See also:

• PARODY (Gr. s-apybia, literally a song sung beside, a comic parallel)

parody in verse on certain productions of the romantic school, which made a See also:

• DEAL

deal of See also:

• NOISE (a word of doubtful origin; O. Fr. nogse or nose; Prov. nausa, which points to Lat. nausea, sickness, as the origin; others take Lat. noxia, harm, as the source)

noise at the 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 . This was the famous " See also:

• BALLADE

Ballade a la lune " with its recurring comparison of the See also:

• MOON (a common Teutonic word, cf. Ger. Mond, Du. maan, Dan. maane, &c., and cognate with such Indo-Germanic forms as Gr. µlip, Sans. ma's, Irish mi, &c.; Lat. uses luna, i.e. lucna, the shining one, lucere, to shine, for the moon, but preserves the word i
• MOON, SIR RICHARD, 1ST BARONET (1814-1899)

moon shining above a See also:

• STEEPLE (akin to " steep")

steeple to the dot over an i . It was, to Musset's delight, taken quite seriously by many worthy. folk . In December 183o Musset was just twenty years old, and was already conscious of that curious See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double existence within him so frequently symbolized in his plays—in See also:

• OCTAVE (from Lat. octavus, eighth, octo, eight)

Octave and Cello for instance (in See also:

• LES

Les Caprices de Marianne), who also stand for the two camps, the men of See also:

• MATTER

matter and the men of feeling—which he has elsewhere described as characteristic of his See also:

• GENERATION (from Lat. generare, to beget, procreate; genus, stock, race)

generation . At this date his piece the Nuit venitienne was produced by Harel, manager of the Odeon . The exact causes of its failure might now be far to seek; unlucky See also:

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

stage accidents had something to do with it, but there seems See also:

• REASON (Lat. ratio, through French raison)

reason to believe that there was a strongly organized opposition . However this may be, the result was disastrous to the French stage; for it put a See also:

• COMPLETE

complete damper on the one poet who, as he afterwards showed both in theoretical and in See also:

• PRACTICAL

practical writings, had the See also:

• FINE

fine insight which took in at a glance the merits and defects both of the classical and of the romantic See also:

• SCHOOLS

schools . Thus he was strong and keen to weld together the merits of both schools in a new method which, but for the fact that there has been no successor to grasp the wand which its originator wielded, might well be called the school of Musset .

The serious effect produced upon Musset by the failure of his Nuit venitienne is curiously illustrative of his See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character . A See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man of greater strength and with equal belief in his own genius might have gone on appealing to the public until he compelled them to hear him . Musset gave up the attempt in disgust, and waited until the public were eager to hear him without any invitation on his See also:

• PART

part . In the See also:

• CASE
• CASE, JOHN (d. 1600)

case of his finest plays this did not happen until after his See also:

• DEATH

death; but long before that he was fully recognized as a poet of the first 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 as an extraordinary See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of character and See also:

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

language in See also:

• PROSE

prose writing . In his complete disgust with the stage after the failure above referred to there was no doubt something of a not ignoble See also:

• PRIDE, THOMAS (d. 1658)

pride, but there was something also of weakness—of a See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of weakness out of which it must be said sprang some of his most exquisite work, some of the poems which could only have been written by a man who imagined himself the crushed victim of difficulties which were old enough in the experience of mankind, though for the moment new and See also:

• STRANGE, SIR ROBERT (1721-1792)

strange to him . Musset now belonged, in a not very whole-hearted See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion, to the " Cenacle," but the connexion came to an end in 1832 . In 1833 he published the volume called Un Spectacle clans un fauteuil . One of the most striking pieces in this—" Namouna" —was written at the publisher's See also:

• REQUEST, LETTERS OF

request to fill up some empty space; and this fact is noteworthy when taken in See also:

• CONJUNCTION (from Lat. conjungere, to join together)

conjunction with the horror which Musset afterwards so often expressed of doing anything like writing " to 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 "—of writing, indeed, in any way or at any moment except when the See also:

• INSPIRATION (Lat. inspirare, breathe upon or into)

inspiration or the See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy happened to seize him . The success of the volume seemed to be small in comparison with that of his Contes d'Espagne, but it led indirectly to Musset's beipg engaged as a contributor to the Revue See also:

• DES

des deux mondes . In this he published, in See also:

• APRIL

April 1833, See also:

• ANDRE, JOHN (1751-178o)

Andre del Sarto, and he followed this six See also:

• WEEKS, EDWIN LORD (1849-1903)

weeks later with Les Caprices de Marianne . This play afterwards took and holds rank as one of the classical pieces in the repertory of the See also:

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

Theatre See also:

• FRANCAIS, ANTOINE, COUNT (1756-1836)

Francais . After the retirement in 1887 from the stage of the brilliant actor See also:

• DELAUNAY, ELIE (1828-1891)
• DELAUNAY, LOUIS ARSENE (1826-1903)

Delaunay the piece dropped out of the Francais repertory until it was replaced on the stage by M .

Jules See also:

• CLARETIE, JULES

Claretie, See also:

• ADMINISTRATOR

administrator-See also:

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

general of the Comedie Francaise, on the 19th of See also:

• JANUARY

January 1906 . Les Caprices de Marianne affords a fine See also:

• ILLUSTRATION

illustration of the method referred to above, a method of which Musset gave something like a definite explanation five years later . This explanation was also published in the Revue des deux mondes, and it set forth that the war between the classical and the romantic schools could never end in a definite victory for either school, nor was it desirable that it should so end . " It was time," Musset said, " for a third school which should unite the merits of each." And in Les Caprices de Marianne these merits are most curiously and happily combined . It has perhaps more of the Shakespearian quality—the quality of artfully mingling the terrible, the See also:

• GROTESQUE

grotesque, and the high See also:

• COMEDY

comedy tones—which exists more or less in all Musset's long and more serious plays, than is found in any other of these . The piece is called a comedy, and it owes this See also:

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

title to its extra-See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary brilliance of See also:

• DIALOGUE

dialogue, truth of characterization, and swiftness in See also:

• ACTION

action, under which there is ever latent a sense of impending See also:

• FATE

fate . Many of the qualities indicated are found in others of Musset's dramatic works and notably in On ne badine pas avec l'amour, where the skill in insensibly preparing his hearers or readers through a See also:

• SUCCESSION (Lat. successio, from succedere, to follow after)

succession of dazzling comedyscenes for the See also:

• SWIFT
• SWIFT, JONATHAN (1667—1745)

swift destruction of the end is very marked . But Les Caprices de Marianne is perhaps for this particular purpose of illustration the most compact and most typical of all . The See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance of Les Caprices de Marianne in the Revue (1833) was followed by that of " Rolla," a symptom of the maladie du siecle . Rolla, for all the See also:

• SMACK

smack which is not to be denied of Wertherism, has yet a decided individuality . The poem was written at the beginning of Musset's liaison with See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George See also:

• SAND
• SAND, GEORGE (1804-1876)

Sand, and in December 1833 Musset started on the unfortunate See also:

• JOURNEY (through O. Fr. jornee or journee, mod. Fr. journee, from med. Lat. diurnata, Lat. diurnus, of or belonging to dies, day)

journey to See also:

• ITALY
• ITALY (Italia)

Italy . It was well known that the rupture of what was for a time a most passionate See also:

• ATTACHMENT

attachment had a disastrous effect upon Musset, and brought out the weakest See also:

• SIDE
• SIDE (mod. Eski Adalia)

side of his moral character .

He was at first absolutely and completely struck down by the See also:

• BLOW, JOHN (1648-1708)

blow . But it was not so well known until Paul de Musset pointed it out that the See also:

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

passion expressed in the Nuit de decembre, written about twelve months after the journey to Italy, referred not to George Sand but to another and quite a different woman . The See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story of the See also:

• ITALIAN

Italian journey and its results are told under the See also:

• GUISE
• GUISE, HOUSE OF

guise of fiction from two points of view in the two volumes called respectively See also:

• ELIE

Elie et lui by George Sand, and Lui et elle by Paul de Musset . As to the permanent effect on Alfred de Musset, whose irresponsible gaiety was killed by the breaking off of the connexion, there can be no doubt . During Musset's See also:

• ABSENCE (Lat. absentia)

absence in Italy Fanlasio was published in the Revue, Lorenzaccio is said to have been written at See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice, and not long after his return On ne badine pas avec Parlour was written and published in the Revue . In 1835 he produced Lucie, La Null de See also:

• MAI, ANGELO (1782—1854)

mai, La Quenouille de Barberine, Le See also:

• CHANDELIER

Chandelier, La Loi sur la presse, La Nuit de decembre, and La See also:

• CONFESSION (Lat. confessio, from confiteor, acknowledge, confess)

Confession d'un enfant du siecle, wherein is contained what is probably a true See also:

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

account of Musset's relations with George Sand . The Confession is exceptionally interesting as exhibiting the poet's See also:

• FRAME

frame of mind at the time, and the approach to a revulsion from the Bonapartist ideas amid which he had been brought up in his childhood . To the supreme power of See also:

• NAPOLEON

Napoleon he in this work attributed that moral sickness of the time which he described . " One man," he wrote, " absorbed the whole life of See also:

• EUROPE

Europe; 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 of the human See also:

• RACE

race struggled to fill their lungs with the See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air that he had breathed." When the See also:

• EMPEROR (Fr. empereur, from the Lat. imperator)

emperor See also:

• FELL
• FELL, JOHN (1625-1686)

fell, " a ruined See also:

• WORLD

world was a resting-See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place for a generation weighted with care." The Confession is further important, apart from its high See also:

• LITERARY

literary merit, as exhibiting in many passages the poet's tendency to shun or wildly protest against all that is disagreeable or difficult in human life—a tendency to which, however, much of his finest work was due . To 1836 belong the Nuit d'aoilt, the Lettre a Lamartine, the Stances a la See also:

• MALIBRAN, MARIE

Malibran, the comedy Il ne Taut jurer de rien, and the beginning of the brilliant letters of See also:

• DUPUIS, CHARLES FRANCOIS (1742-1809)

Dupuis and Cotonet on ro anticism . Il ne faut jurer de rien is as typical of Musset's comedy work as is Les Caprices de Marianne of the work in which a terrible fatality underlies the brilliant dialogue and keen polished characterization . In 1837 was published Un Caprice, which afterwards found its way to the Paris stage by a curious road .

Mme See also:

• ALLAN, DAVID (1744–1796)
• ALLAN, SIR HUGH (1810–1882)
• ALLAN, SIR WILLIAM (1782–1850)

Allan-Despreaux, the actress, heard of it in St See also:

• PETERSBURG

Petersburg as a See also:

• RUSSIAN

Russian piece . On asking for a French translation of the play she received the volume Comedies et proverbes reprinted from the Revue des deux mondes . In 1837 appeared also some of the Nouvelles . In 1839 Musset began a See also:

• ROMANCE

romance called Le Toile dechu, of which the existing fragments are full of passion and insight . In 184o he passed through a See also:

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

period of feeling that the public did not recognize his genius—as, indeed, they did not—and wrote a very See also:

• SHORT, FRANCIS JOB (1857– )

short but very striking See also:

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

series of reflections headed with the words "A trente ans," which Paul de Musset published in his Life . In 1841 there came out in the Revue de Paris Musset's " Le Rhin allemand," an See also:

• ANSWER (derived from and, against, and the same root as swear)

answer to See also:

• BECKER, HEINRICH (1770-1822)
• BECKER, WILHELM ADOLF (1796—1846)

Becker's poem which appeared in the Revue des deux mondes . This fine war-See also:

• SONG

song made a See also:

• GREAT

great deal of noise, and brought to the poet quantities of challenges from See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German See also:

• OFFICERS

officers . Between this date and 1845 he wrote comparatively little . In the last named See also:

• YEAR

year the charming " proverbe " 11 faut qu'une See also:

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

porte See also:

• SOIL

soil ouverte ou fermee appeared . In 1847 entered the public service at an See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age and See also:

• ROSE
• ROSE (Rosa)
• ROSE, GEORGE (1744-1818)
• ROSE, HUGH JAMES (1795—1838)
• ROSE, WILLIAM STEWART (1775-1843)

rose rapidly, becoming See also:

• AMBASSADOR (also EMBASSADOR, the form sometimes still used in America; from the Fr. ambassadeur, with which compare Ital. ambasciatore and Span. embajador, all variants of the Med. Lat. ambassiator, ambassiator, ambasator, &c., derived from Med. Lat. amba

ambassador at Paris in 1834 and in See also:

• LONDON

London 1836, See also:

• MINISTER (Lat. minister, servant)

minister for See also:

• FOREIGN

foreign affairs 1837, again ambassador in London 1838, and in Paris 1841 . Appointed vali of See also:

• ADRIANOPLE
• ADRIANOPLE (anc. Hadrianopolis; Turk. Edirne, or Edreneh; Slay. Odrin)

Adrianople in 1843, he returned as ambassador to Paris in the same year . Between 1845 and 1857 he was six times See also:

• GRAND

grand See also:

• VIZIER

vizier .

One of the greatest and most brilliant statesmen of his time, thoroughly acquainted with See also:

• EUROPEAN

European politics, and well versed in affairs, he was a convinced if somewhat too ardent See also:

• PARTISAN, or PARTIZAN

partisan of reform and the See also:

• PRINCIPAL

principal author of the legislative remodelling of See also:

• TURKISH

Turkish administrative methods known as the Tanzimat . His ability was recognized alike by friend and by foe . In the See also:

• SETTLEMENT
• SETTLEMENT, ACT OF

settlement of the See also:

• EGYPTIAN

Egyptian question in 184o, and during the See also:

• CRIMEAN

Crimean War and the ensuing See also:

• PEACE
• PEACE, BREACH OF THE

peace negotiations, he rendered valuable services to the See also:

• STATE
• STATE, GREAT OFFICERS OF

state .