See also:born in
See also:Paris on the 3rd of
See also:June 1635 . He was educated by the liberality of Tristan 1'Hermite, the author of Mariamne .
See also:Quinault's first
See also:play was produced at the Hotel de Bourgogne in 1653, when he was only eighteen . The piece succeeded, and Quinault followed it up, but he also read for the
See also:bar; and in 1660, when he married a widow with
See also:money, he bought himself a place in the Cour
See also:des Comptes . Then he tried tragedies (Agrippa, &c.) with more success than
See also:desert . He received one of the
See also:pensions then recently established, and was elected to the Academy in 1670 . Up to this
See also:time he had written some sixteen or seventeen comedies, tragedies, and tragi-comedies, of which the tragedies were mostly of very small value and the tragi-comedies of little more . But his comedies—especially his first piece
See also:Les Rivales (1653), L'Amant indiscret (16J4), which has some likeness to
See also:Moliere's Etourdi, Le Fantome amoureux (1659), and La Mere coquette (1665), perhaps the best—are much better . But in 1671 he contributed to the singular
See also:miscellany of
See also:Psyche, in which Corneille and Moliere also had a
See also:hand, and which was set to the
See also:music of Lulli . Here he showed a remarkable
See also:faculty for lyrical drama, and from this time till just before his
See also:death he confined himselfto composing libretti for Lulli's
See also:work . This was not only very profitable (for he is said to have received four thousand livres for each, which was much more than was usually paid even for tragedy), but it established Quinault's reputation as the
See also:master of a new
See also:style,—so that even Boileau, who had previously satirized his dramatic work, was converted, less to the
See also:opera, which he did not like, than to Quinault's remarkably ingenious and artist-like work in it . His libretti are among the very few which are readable without the music, and which are yet carefully adapted to it .
They certainly do not contain very exalted
See also:poetry or very perfect drama . But they are quite
See also:free from the ludicrous doggerel which has made the name libretto a byword, and they have quite enough dramatic merit to carry the reader, much more the spectator, along with them . It is not an exaggeration to say that Quinault, coming at the exact time when opera became fashionable out of Italy, had very much to do with establishing it as a permanent
See also:European genre . His first piece after Psyche was a kind of classical masque . Les Fetes de l'Amour et de .Bacchus (1672) . Then came
See also:Cadmus (1674), Alceste (1674), Thesee (1675), Atys (1676), one of his best pieces, and
See also:Isis (1677) . All these were classical in subject, and so was
See also:Proserpine (1680), which was
See also:superior to any of them . The
See also:Triumph of Love (1681) is a mere
See also:ballet, but in Persee (1682) and Phaeton (1683) Quinault returned to the classical opera . Then he finally deserted it for romantic subjects, in which he was even more successful . Amadis de Gaule (1684), Roland (1685), and Armide (1686) are his masterpieces, the last being the most famous and the best of all . The very artificiality of the French lyric of the later 17th century, and its resemblance to alexandrines cut into lengths, were
See also:aids to Quinault in arranging lyrical
See also:dialogue . Lulli died in 1687, and Quinault, his occupation gone, became devout, and began a poem called the " Destruction of
See also:Heresy." He died on the 26th of
See also:November 1688 The best edition of his
See also:works is that of '739'(Paris, 5 vols.) .
QUINAZOLINES (Phenmiazines or benzopyrimidines)
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