See also:

• JEAN

JEAN See also:

• RACINE
• JEAN RACINE (1639-1699)
• RACINE, LOUIS (1692-1763)

RACINE (1639-1699)  , See also:

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

French tragic dramatist, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at La Ferte Milon in the old duchy of See also:

• VALOIS, COUNTS AND DUKES OF
• VALOIS, HENRI DE [VALESIUS] (1603-1676)

Valois on an uncertain date in See also:

• DECEMBER (Lat. decent, ten)

December 1639 . He was certainly christened on the 22nd, and the ceremony was at that 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 often, though not invariably, performed on the See also:

• CLAY (from O. Eng. claeg, a word common in various forms to Teutonic languages, cf. Ger. Klei)
• CLAY, CASSIUS MARCELLUS (1810-1903)
• CLAY, CHARLES (1801–1893)
• CLAY, FREDERIC (1838–1889)
• CLAY, HENRY (1777–1852)

clay of See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth . See also:

• RACINE
• RACINE, JEAN (1639-1699)
• RACINE, LOUIS (1692-1763)

Racine belonged to a See also:

• FAMILY

family of the upper bourgeoisie, which had indeed been technically ennobled some generations earlier, and See also:

• BORE

bore the punning arms of a See also:

• RAT (a word common to Teut. and Rom. languages; probably first adopted in Teut.; the ultimate origin is not known; Skeat suggests the root rad-, to scratch; cf. Ger. Ratte, Dan. rotte, Fr. rat, &c.)

rat and a See also:

• SWAN (A. S. swan and swan, Icel. svanr, Du. zwaart, Ger. Schwan)
• SWAN, J
• SWAN, JOHN MACALLAN (1847-1910)
• SWAN, SIR JOSEPH WILSON (1828– )

swan (rat, cygne) . The poet himself subsequently dropped the rat . His family were connected with others of the same or a slightly higher station in La Ferte and its neighbourhood—the See also:

• DESMOULINS, LUCIE SIMPLICE CAMILLE BENOIST (1760-1794)

Desmoulins, the Sconins, the Vitarts, all of whom appear in Racine's See also:

• LIFE

life . His See also:

• MOTHER

mother was Jeanne Sconin . His See also:

• FATHER

father, of the same name as himself, was only four-and-twenty at the time of the poet's birth . He seems to have been a See also:

• SOLICITOR

solicitor (procureur) by profession, and held, as his father, the grandfather of the dramatist, had done, the See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office of controleur au grenier d se/ . Racine was the eldest See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

child . Little more than a See also:

• YEAR

year afterwards his See also:

• SISTER

sister See also:

• MARIE

Marie was born and his mother died . See also:

• JEAN

Jean Racine the See also:

• ELDER (0. Eng. ellarn; Ger. Holunder; Fr. sureau)
• ELDER (Gr. 1rpev(3iTepos)

elder married again, but three months later he himself died, and the stepmother is never heard of in connexion with the poet or his sister . They were See also:

• LEFT

left without any See also:

• PROVISION (Lat. provisio)

provision, but their grandparents, Jean Racine the eldest and Marie Desmoulins, were still living, and took See also:

• CHARGE
• CHARGE (through the Fr. from the Late Lat. carricare, to load in a carrus or wagon; cf. " cargo ")

charge of them .

These grandparents had a daughter, See also:

• AGNES, SAINT

Agnes, who figures in Racine's See also:

• HISTORY

history . She was a See also:

• NUN (O. Eng. nunne, from Lat. nonnus, nonna, familiar terms for an old man or woman)

nun and later See also:

• ABBESS (Lat. abbatissa, fem. form of abbas, abbot)

abbess of See also:

• PORT

Port Royal under the See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style of See also:

• MERE
• MERE, ADALBERT (1838-1909)

Mere de Sainte Thecle, and the whole family had strong Jansenist k@anings . Jean Racine the eldest died in 1649, and the poet was sent to the See also:

• COLLEGE (Collegium)

College de See also:

• BEAUVAIS

Beauvais . This (which was the See also:

• GRAMMAR (from Lat. grammatica, sc. ars; Gr. ypaµ)

grammar-school of the See also:

• TOWN

town of that name, and not the famous College de Beauvais at 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) was intimately connected with Port Royal, and to this See also:

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

place Racine was transferred in See also:

• NOVEMBER (Lat. novem, nine)

November 1655 . His See also:

• SPECIAL

special masters there were See also:

• NICOLE, PIERRE (1625–1695)

Nicole and Le Maitre . The latter, in an extant See also:

• LETTER (through Fr. lettre from Lat. littera or litera, letter of the alphabet; the origin of the Latin word is obscure; it has probably no connexion with the root of linere, to smear, i.e. with wax, for an inscription with a stilus)

letter written to his See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil, speaks of himself as " votre papa." It is evident from documents that he was a very diligent student both at Beauvais and Port Royal . He wrote 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 both in Latin and French, and his Port Royal odes, which it has been the See also:

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

fashion with the more fanatical admirers of his later See also:

• POETRY

poetry to ridicule, are far from despicable . Racine stayed at Port Royal for three years, and left it, when nearly nineteen, in See also:

• OCTOBER

October 1658 . He was then entered at the College d'See also:

• HARCOURT
• HARCOURT, SIMON HARCOURT, 1ST VISCOUNT (c. 1661-1727)
• HARCOURT, SIR WILLIAM GEORGE GRANVILLE VENABLES VERNON (1827-1904)
• HARCOURT, WILLIAM VERNON (1789-1871)

Harcourt and boarded with his second See also:

• COUSIN (Fr. cousin, Ital. cugino, Late Lat. cosinus, perhaps a popular and familiar abbreviation of consobrinus, which has the same sense in classical Latin)
• COUSIN, JEAN (1500-1590)
• COUSIN, VICTOR (1792–1867)

cousin, See also:

• NICOLAS
• NICOLAS, SIR NICHOLAS HARRIS (1799–1848)

Nicolas Vitart, steward of the See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

duke of See also:

• LUYNES

Luynes . Later, if not at first, he lived in the Hotel de Luynes itself . It is to be observed that his Jansenist surroundings continued with him here, for the duke of Luynes was a severe Port Royalist . It is, however, clear from Racine's See also:

• CORRESPONDENCE
• CORRESPONDENCE (from med. scholastic Lat. correspondentia, corrcspondere, compounded of Lat. cum, with, and respond ere, to answer; cf. Fr. correspondance)

correspondence, which, as we have it, begins in 166o and is for some years very abundant and interesting, that he was not at all of an austere disposition at this time .

Occasionally the liveliness of the letters passes the See also:

• BOUNDS, BEATING THE

bounds of strict decency, though there is nothing very shocking in them, and those to Madame (or, as 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 the time called her, Mademoiselle) Vitart are See also:

• FREE

free from anything of this See also:

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

kind . It does not appear that Racine read much See also:

• PHILOSOPHY (Gr. gthos, fond of, and vo4 (a, wisdom)

philosophy, as he should have done, but he occasionally did some business in superintending See also:

• BUILDING

building operations at Chevreuse, the duke's 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 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 . He would seem, however, to have been already given up irrevocably to literature . This by no means suited the views of his devout relations at Port Royal, and he complains in one of his letters that an unlucky See also:

• SONNET (Ital. Sonetto, dim. of Suono, Fr. Sonnet)

sonnet on See also:

• MAZARIN, JULES (1602-1661)

Mazarin had brought down on him "excommunications sur excommunications." The See also:

• MARRIAGE

marriage of 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 XIV. was the occasion of anambitious See also:

• ODE (Gr. uiSri, from aei&ew, to sing)

ode, La nymphe de la See also:

• SEINE
• SEINE (Lat. Sequana)
• SEINE, or SEAN (O. Fr. seigne, mod. seine, Lat. sagena, Gr. vaytivrl, a draw-net)

Seine, which was submitted before publication to Jean See also:

• CHAPELAIN, JEAN (1595-1674)

Chapelain, the too famous author of the Pucelle . Chapelain made many suggestions which Racine duly adopted . Nor did the ode See also:

• BOUND, or BOUNDARY (from O. Fr. bonde, Med. Lat. bodena or butina, a frontier line)

bound his ambitions, for in 166o he finished one piece, Amasie, and undertook another, See also:

• LES

Les Amours d'Ovide, for the See also:

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

theatre . The first, however, was rejected by the actors of the Marais, and it is not certain that the other was ever finished or offered to those of the Hotel de Bourgogne . Racine's letters show that he was intimate with more than one actress at this time; he also made acquaintance with La See also:

• FONTAINE, PIERRE FRANCOIS LEONARD (1762-1853)

Fontaine, and the See also:

• FOUNDATIONS

foundations at any See also:

• RATE

rate of the legendary " society of four " (Boileau, La Fontaine, See also:

• MOLIERE (1622-1673)

Moliere and Racine) were thus laid . His relations were See also:

• PRETTY

pretty certainly alarmed by this very pardonable worldliness, though a severe expostulation with him for keeping See also:

• COMPANY

company with the abominable actors is perhaps later in date . Racine was accordingly disturbed in his easy-going life at Paris . In November 1661 he went to See also:

• UZES

Uzes in See also:

• LANGUEDOC

Languedoc to live with his See also:

• UNCLE

uncle the Pere Sconin, See also:

• VICAR (Lat. vicarius, substitute)

vicar-See also:

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

general of that See also:

• DIOCESE (formed on Fr. diocese, in place of the Eng. form diocess—current until the 19th century—from Lat. dioecesis, med. Lat. variant diocesis, from Gr. Swucio•tc, " house-keeping," " administration," &miceas, " to keep house," " to govern ")

diocese, whose attempts to secure a See also:

• BENEFICE (Lat. beneficium, benefit)

benefice for his See also:

• NEPHEW

nephew were, however, in vain . Racine was back in Paris before the end 'of 1663 .

His letters from Uzes to La Fontaine, to Le Vasseur, and others are in much the same See also:

• STRAIN (through O. Fr. straindre, estraindre, mod. i treindre, from Lat. stringere, to draw tight, related to stress, stretch, string, &c.)

strain as before, but there is here and there a marked See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone of cynicism in them . He also attempted a little courtiership . An ode on the recovery of Louis XIV. from a slight illness probably secured him the promise of a See also:

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

pension, of which he speaks to his sister in the summer of 1664 . It is uncertain whether this pension is identical with " gratifications " which we know that Racine for some years received, and which were sometimes eight and sometimes six See also:

• HUNDRED

hundred livres . It would seem not, as one of these gratifications had been allotted to him the year before he so wrote to his sister . The ode in which he thanked the See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king for his presents, La Renommee, is said to have introduced him to Boileau, to whose censorship there is no doubt that he owed much, if not everything; and from this date, November 1663, the familiarity of " the four " seems to have existed in full force . Unfortunately it is precisely at this date that his correspondence ceases, and it is not renewed till after the See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close of his brief but brilliant career as a dramatist (See also:

• ESTHER

Esther and Athalie excepted) . From this time forward the See also:

• GOSSIP (from the O.E. godsibb, i.e. God, and sib, akin, standing in relation to)

gossip of the See also:

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

period, and the Life by his son Louis, are the See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief See also:

• SOURCES

sources of See also:

• INFORMATION (from Lat. informare, to give shape or form to, to represent, describe)

information . Unfortunately Louis Racine, though a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man of some ability and of unimpeached See also:

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

character, was only six years old when his father died, and had no See also:

• DIRECT

direct knowledge . Still his See also:

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

account represents family papers and traditions; and seems to have been carefully, as it is certainly in the See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main impartially, written . From other sources—notably Boileau, See also:

• CLAUDE, JEAN (1619-1687)

Claude Brossette and Jean See also:

• BAPTISTE

Baptiste de Valincourt—a See also:

• GOOD, JOHN MASON (1764-1827)

good See also:

• DEAL

deal of pretty certainly See also:

• AUTHENTIC (from Gr. aOO 'rns, one who does a thing himself)

authentic information is obtainable, and there exists a considerable See also:

• BODY

body of correspondence between Boileau and the poet during the last ten years of Racine's life . The first but the least characteristic of the dramas by which Racine is known, La Thebaide, was finished by the end of 1663, and on See also:

• FRIDAY (A.S. frige-dreg, fr. frige, gen. of frigu, love, or the goddess of love—the Norse Frigg,—the dreg, day; cf. Icelandic frjddagr, O.H. Ger. friatag, frigatag, mod. Ger. Freitag)

Friday 20th See also:

• JUNE

June 1664 it was played by Moliere's company at the Palais Royal theatre .

Some editors assert that Moliere himself acted in it, but the earliest account of the See also:

• CAST (from the verb meaning " to throw "; the word is Scand. in origin, cf. Dan. kaste, and Swed. kasta; " cast " in Middle Eng. took the place of the A.S. weor pan, cf. Ger. werf en)

cast we have, and that is sixty years after date, omits his name, though those of Madeleine Bejard and Mademoiselle de See also:

• BRIE (Briegus saltus, from Celtic briek, clay)

Brie occur . There is also a tradition that Moliere suggested the subject; but Louis Racine distinctly says that his father wrote most of the See also:

• PLAY

play at Uzes before he knew Moliere . From Racine's own earlier letters it appears that the play was de-signed for the See also:

• RIVAL

rival theatre, and that " La Dehanchee," Racine's See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar name for Mademoiselle de Beauchateau, with whom he was intimate, was to play See also:

• ANTIGONE, (I)

Antigone . The play itself is by far the weakest of Racine's See also:

• WORKS

works . He has borrowed much from See also:

• EURIPIDES (48o–4o6 B.C.)

Euripides and not a little from Jean de See also:

• ROTROU, JEAN DE (1609-1650)

Rotrou; and in his general style and See also:

• PLAN
• PLAN (from Lat. planes, flat)

plan he has as yet struck out no See also:

• GREAT

great variation, from See also:

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

Corneille . It was acted twelve times during the first See also:

• MONTH
• MONTH (a common Teutonic word, cf. Ger. Mond, Du. maand, Dan. maaned, &c., and cognate with Lat. mensis, Gr. µi7v, &c., in other branches of the Indo-Germanic family; all ultimately from the root seen in the word for the moon in nearly all those languages

month, and was occasionally revived during the year following . This is apparently the date of the pleasant picture of the four See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends which La Fontaine draws in his See also:

• PSYCHE (//vxi7)

Psyche, Racine figuring as Acante, "qui aimait extremement les jardins, les fleurs, les ombrages," in which surroundings he helped to compose the See also:

• LAMPOON

lampoon of C/zapelain decoiffe on a writer who had helped him with See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

criticism, obtained royal gifts for him, and, in a fashion, started him in the See also:

• LITERARY

literary career . We have no definite details as to Racine's doings during the year 1664, but in See also:

• FEBRUARY

February 1665 he read at the Hotel de See also:

• NEVERS

Nevers before La Rochefoucauld, Madame de la Fayette, Madame de See also:

• SEVIGNE, MARIE DE

Sevigne, and other scarcely less redoubtable See also:

• JUDGES, THE BOOK OF

judges the greater See also:

• PART

part of his second acted play, See also:

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

Alexandre le See also:

• GRAND

Grand, or, as Pomponne (who tells the fact) calls it, See also:

• PORUS (4th century B.C.)

Porus . It was anxiously expected by the public, and Moliere's company played it on the 4th of December—See also:

• MONSIEUR (Fr., formed from men, my, and sieur, lord)

Monsieur, his wife Henrietta of See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England, and many other distinguished persons being See also:

• PRESENT

present . The gazetteer, Adrien Perdou de Subligny vouches for its success, and the receipts were good and steady . But a fortnight afterwards Alexandre was played, " de complot avec M . Racine," says La See also:

• GRANGE (through the A.-Fr. graunge, from the Med. Lat. granea, a place for storing grain, granum)

Grange, by the rival actors (who had four days before performed it in private) at the Hotel de Bourgogne .

A vast amount of See also:

• INK (from Late Lat. encaustum, Gr. gysavorov, the purple ink used by Greek and Roman emperors, from iyKaiew, to burn in)

ink has been spilt on this question, but no one has produced any valid See also:

• JUSTIFICATION

justification for Racine . That the piece failed at the Palais Royal, as is stated in the earliest See also:

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

attempt to excuse Racine, and the only one made in his lifetime, is not true . His son simply says that he was " mecontent See also:

• DES

des acteurs," which indeed is self-evident . It is certain that Moliere and he ceased to be friends in consequence of this proceeding; and that Moliere was in See also:

• FAULT (Mid. Eng. faute, through the French, from the popular Latin use of fallere, to fail; the originallof the Latin being replaced in English in the 15th century)

fault no one who has studied the character of the two men will easily believe . If, however, Alexandre was the occasion of showing the defects of Racine's character as a man, it raised him vastly in public estimation as a poet . He was now for the first time proposed as a serious rival to Corneille . There is a See also:

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

story that he read the piece to the author of the See also:

• CID, THE

Cid and asked his See also:

• VERDICT (O. Fr. verdit, Lat. vere dictum, truly said, used in Late Latin in one word with its present significance)

verdict . Corneille praised the piece highly, but not as a See also:

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

drama, " Il l'assurait qu'il n'etait pas propre a la poesie dramatique." There is no See also:

• REASON (Lat. ratio, through French raison)

reason for disbelieving this, for the character 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 could not fail to See also:

• SHOCK, or COLLAPSE

shock Corneille, and he was notorious for not mincing his words . The contrast between the two even at this See also:

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

early period was accurately apprehended and put by See also:

• SAINT (lat. sanctus, " holy ")

Saint Evremond in his masterly Dissertation sur l' Alexandre, but this was not published for a year or two . To this 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 it is the best criticism of the faults of Racine, though not, it may be, of the merits, which had not yet been fully seen . It may be added that in the See also:

• PREFACE (Med. Lat. prefatia, for classical praefatio, praefari, to speak beforehand)

preface of the printed play the poet showed the extreme sensitiveness to criticism which perhaps excuses, and which certainly often accompanies, a tendency to criticize others . These defects of character showed themselves still more fully in another See also:

• MATTER

matter .

The Port Royalists, as has been said, detested the theatre, and in See also:

• JANUARY

January 1666 Nicole, their chief writer, spoke in one of his Leltres sur les visionnaires, directed against Desmurets de Saint-Sulin, of dramatic poets as " empoisonneurs publics." Racine immediately published a letter to the author . It is very smartly written, and if Racine had contented himself with protesting against the exaggeration of the decriers of the See also:

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

stage there would have been little harm done . But he filled the piece with personalities, telling an absurd story of Mere Angelique See also:

• ARNAULD

Arnauld's supposed intolerance, See also:

• DRAWING

drawing a ridiculous picture of Le Maitre (a dead man and his own special teacher and friend), and sneering savagely at Nicole himself . The latter made no reply, but two See also:

• LAY

lay adherents of Port Royal took up the See also:

• QUARREL

quarrel with more zeal than discretion or ability . Racine wrote a second pamphlet as See also:

• BITTER, KARL THEODORE FRANCIS (1867– )

bitter and See also:

• PERSONAL

personal as the first, but less amusing, and was about to publish it when fortunately Boileau, who had been absent from Paris, returned and protested against the publication . It remained accordingly unprinted till after the author's See also:

• DEATH

death, as well as a pre-See also:

• FACE (from Lat. fades, derived either from facere, to make, or from a root fa-, meaning " appear "; cf. Gr. cbatvstv)

face to both which he had prepared with a view to See also:

• PUBLISHING

publishing them together and so discharging the accumulated resentment arising from a See also:

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

long course of " excommunications." . After this disagreeable See also:

• EPISODE

episode Racine's life, for ten years and more, becomes simply the history of his plays, if we excepthis liaisons with the actresses Mademoiselle du Parc and Mademoiselle de See also:

• CHAMPMESLE, MARIE (1642-1698)

Champmesle, and his See also:

• ELECTION
• ELECTION (from Lat. eligere, to pick out)

election to the See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy on the 17th of See also:

• JULY

July 1673 . Mademoiselle du Parc (marquise de Gorla) was no very great actress, but was very beautiful, and she had previously captivated Moliere . Racine induced her to leave the Palais Royal company and join the Hotel . She died in 1668, and long afterwards the infamous See also:

• CATHERINE
• CATHERINE, SAINT

Catherine Voisin accused Racine of having poisoned her . Mademoiselle de Champmesle was See also:

• PLAIN (O. Fr. plain, from Lat. plenum)

plain, but an admirable actress, and apparently very attractive in some way, for not merely Racine but 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 de Sevigne and many others adored her . For five years before his marriage Racine seems to have been her amant en titre, but long afterwards, just before his own death, when he heard of her mortal illness, he spoke of her to his son without a flash of tenderness .

The See also:

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

series of his unquestioned dramatic triumphs began with Andromaque, and this play may perhaps dispute with Phedre and Athalie the See also:

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

title of his masterpiece . It is much more uniformly good than Phedre, and the character of Hermione is the most personally interesting on the French tragic stage . It is said that the first See also:

• REPRESENTATION

representation of Andromaque was on loth November 1667, in public and by the actors of the Hotel de Bourgogne, but the first contemporary mention of it by the gazettes, See also:

• PROSE

prose and verse, is on the 17th, as performed in the See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

queen's apartment . See also:

• PERRAULT, CHARLES (1628-1703)

Perrault, by no means a friendly critic as far as Racine is concerned, says that it made as much 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 as the Cid, and so it ought to have done . Whatever may be thought of the tragedie pathetique (a less favourable criticism might See also:

• CALL (from Anglo-Saxon ceallian, a common Teutonic word, cf. Dutch kallen, to talk or chatter)

call it the " sentimental tragedy "), it could hardly be better exemplified than in this admirable play . A ferocious See also:

• EPIGRAM

epigram of Racine's own tells us that some critics thought See also:

• PYRRHUS (c. 318–272 B.C.)

Pyrrhus too fond of his See also:

• MISTRESS

mistress, and See also:

• ANDROMACHE

Andromache too fond of her See also:

• HUSBAND

husband, but in the contemporary depreciations is to be found the avowal of its real merit . Pyrrhus was taken by See also:

• FLORIDOR [JoslNs DE SOULAS, Sicur de Prinefosse] (d. c. 1671)

Floridor, the best tragic actor by See also:

• COMMON

common consent of his time, and See also:

• ORESTES

Orestes by See also:

• MONTFLEURY (d. 1667)

Montfleury, also an accomplished player . But Mademoiselle du Pak, who played Andromache, had generally been thought below, not above , her parts, and Mademoiselle des Oeillets, who played the difficult role of Hermione, was old and had few See also:

• PHYSICAL

physical advantages . No one who reads Andromaque without See also:

• PREJUDICE (Lat. praejudicium)

prejudice is likely to See also:

• MISTAKE (i.e. take amiss)

mistake the See also:

• SECRET (Lat. secretum, hidden, concealed)

secret of its success, which is, in few words, the application of the most delicate See also:

• ART

art to the conception of really tragic See also:

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

passion . Before leaving the play it may be mentioned that it is said to have been in the part of Hermione, three years later, that Mademoiselle de Champmesle captivated the author . Andromaque was succeeded, at the distance of not more than a year, by the charming comedietta of Les Plaideurs . We do not know exactly when it was played, but it was printed on the 5th of December 1668 .

Many anecdotes are told about its origin and See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition . The Wasps of See also:

• ARISTOPHANES
• ARISTOPHANES (c. 448–385 B.e.1)

Aristophanes, and the known fact that Racine originally destined it, not for a French company, but for the See also:

• ITALIAN

Italian troupe which was then playing the Commedia dell' arte in Paris, dispense us from enumerating them . The result is a piece admirably dramatic, but sufficiently literary to shock the profanum vulgus, which too frequently gives the tone at theatres . It failed completely, the chief favouring See also:

• VOICE (Fr. voix, from Lat. vox)

voice being, according to a story sufficiently well attested and worthy of belief even without See also:

• ATTESTATION (Lat. adtestare, attestare, to bear witness, testis, a witness)

attestation, that of the man who was best qualified to praise and who might have been most tempted to blame of any man then living . Moliere, says Valincourt, the special friend of Racine, said in leaving the house, " Que ceux qui se moquoient de See also:

• CETTE

cette piece meritoient qu'on se moquoient d'eux." But the piece was suddenly played at See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court a month later; the king laughed, and its fortunes were restored . It need only be added that, if Louis XIV. admired Les Plaideurs, See also:

• NAPOLEON

Napoleon did not, and excluded it from his travelling library . It was followed by a very different See also:

• WORK

work, See also:

• BRITANNICUS

Britannicus, which appeared on 13th December 1669 . This was much less successful than Andremaque, and seems to have held its own but a very few nights . Afterwards it became very popular, and even from the first the exquisite versification was not denied . But there is no doubt that in Britannicus the defects of Racine display themselves pretty clearly to any competent critic . The See also:

• COMPLETE

complete nullity of Britannicus himself and of Junie, and the insufficient attempt to display the complex and dangerous character of See also:

• NERO (37-68)

Nero are not redeemed by See also:

• AGRIPPINA

Agrippina, who is really good, and Burrhus, who is solidly painted as a secondary character . See also:

• VOLTAIRE, FRANCOIS MARIE AROUET DE (1694–1778)

Voltaire calls it " la piece des connaisseurs," a 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-edged compliment .

The next play of Racine has, except Phedre, the most curious I history 'of all . " See also:

• BERENICE
• BERENICE, or BERNICE

Berenice," says See also:

• FONTENELLE, BERNARD LE BOVIER DE (1657-1757)

Fontenelle succinctly, " fut un See also:

• DUEL (Ital. duello, Lat. duellum—old form of bellum-from duo, two)

duel," and he acknowledges that his uncle was not the conqueror . Henrietta of See also:

• ORLEANS
• ORLEANS, CHARLES, DUKE OF (1391-1465)
• ORLEANS, DUKES OF
• ORLEANS, FERDINAND PHILIP LOUIS CHARLES HENRY, DUKE OF (1810-1842)
• ORLEANS, HENRI, PRINCE
• ORLEANS, HENRIETTA, DUCHESS
• ORLEANS, JEAN BAPTISTE GASTON, DUKE
• ORLEANS, LOUIS
• ORLEANS, LOUIS PHILIPPE JOSEPH
• ORLEANS, LOUIS PHILIPPE ROBERT, DUKE
• ORLEANS, LOUIS PHILIPPE, DUKE OF (1725–1785)
• ORLEANS, LOUIS, DUKE OF (1372–1407)
• ORLEANS, PHILIP I
• ORLEANS, PHILIP II

Orleans proposed (it is said without letting them know the double See also:

• COMMISSION (from Lat. commissio, committere)

commission) the subject to Corneille and Racine at the same time, and rumour gives no very creditable reasons for her choice of the subject . Her death preceded the performance of the two plays, both of which, but especially Racine's, were successful . There is no doubt that it is the better of the two, but Claude Chapelle's not unfriendly criticism in quoting the two lines of an old See also:

• SONG

song "See also:

• MARION
• MARION, FRANCIS (1732-1795)
• MARION, HENRI FRANCOIS (1846-1896)

Marion pleure, Marion crie,~ Marion veut qu'on la marie — is said to have annoyed Racine very much, and it has a most malicious appropriateness . Bajazet, which was first played on 4th January 1672, is perhaps better . As a play, technically speaking, it has great merit, but the reproach commonly brought against its author was urged specially and with great force against this by Corneille . It is impossible to imagine anything less See also:

• ORIENTAL

Oriental than the See also:

• ATMOSPHERE (Gr. fir µ6r, vapour; orkaipa, a sphere)

atmosphere of Bajazet; the whole thing is not only French but ephemerally French—French of the day and See also:

• HOUR

hour; and its ingenious scenario and admirable style scarcely See also:

• SAVE, or SAVA (Ger. Sau; Hungarian Szdva; Lat. Savus)

save it . This charge is equally applicable with the same reservations to Mithridate, which appears to have been produced on 13th January 1673, the day after the author's reception at the Academy . It was extremely popular, and Racine could hardly have lodged a more triumphant diploma piece . His next attempt, I phigenie, was a long step backwards and upwards in the direction of Andromaque . It is not that the characters are eminently See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek, but that Greek tragedy gave Racine examples which prevented him from flying in the face of the propriety of character as he had done in Berenice, Bajazet, and Mithridate, and that he here called in, as in Andromaque, other passions to the aid of the mere sighing and crying which See also:

• FORM (Lat. forma)

form the See also:

• SOLE (Solea)

sole See also:

• APPEAL

appeal of these three tragedies .

It succeeded brilliantly and deservedly, but, oddly enough, the date of its See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance is very uncertain . It was acted at court on the 18th of See also:

• AUGUST (originally Sextilis)

August 1674, but it does not seem to have been given to the public till the early See also:

• SPRING (from " to spring," " to leap or jump up," " burst out," O. Eng., springau, a common Teut. word, cf. Ger. springer, possibly allied to Gr. QnrFpxecOac, to move rapidly)

spring of 1675 . The last and finest of the series of tragedies proper was the most unlucky . Phedre was represented for the first time on New Year's Day 1677, at the Hotel de Bourgogne . Within a See also:

• WEEK (from A.S. wicu, Germanic *wikon, probably=change, turn)

week the opposition company or troupe du roi launched an opposition Phedre by Nicolas Pradon . This singular competition, which had momentous results for Racine, and in which he to some extent paid the See also:

• PENALTY (Lat. poena, punishment)

penalty of the lex talionis for his own rivalry with Corneille, had long been foreseen . Racine had from the first been bitterly opposed, and his enemies at this time had the powerful support of the duchess of See also:

• BOUILLON

Bouillon, one of Mazarin's nieces, together with her See also:

• BROTHER

brother the duke of Nevers and See also:

• DIVERS

divers other personages of high position . These persons of quality, guided, it is said, by Madame See also:

• DESHOULIERES, ANTOINETTE DU LIGIER DE LA GARDE (1638–1694)

Deshoulieres, selected Pradon, a *dramatist of little See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent but of much facility, to compose a Phedre in competition with that which it was known that Racine had been elaborating . The partisans on both sides did not neglect means for correcting See also:

• FORTUNE, ROBERT (1813-188o)

fortune . On her See also:

• SIDE
• SIDE (mod. Eski Adalia)

side the duchess of Bouillon is accused of having bought up the front places in both theatres for the first six nights; on his, Racine is said to have prevailed on the best actresses of the company that played Pradon's piece to refuse the title part . There is even some ground for believing that he endeavoured to prevent the opposition play from being played at all . It was of no value, but the See also:

• MEASURES

measures of the See also:

• CABAL (through the Fr. cabale from the Cabbala or Kabbalah, the theosophical interpretation of the Hebrew scriptures)

cabal had been so well taken that the finest tragedyof the French classical school was all but driven from the stage, while Pradon's was a See also:

• POSITIVE (or PORTABLE) ORGAN

positive success .

A See also:

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

war of sonnets and epigrams followed, during which it is said that the duke of Nevers menaced Racine and Boileau with the same treatment which See also:

• DRYDEN, JOHN (1631-1700)

Dryden and Voltaire actually received, and was only deterred by the See also:

• PROTECTION

protection which See also:

• CONDE
• CONDE, LOUIS DE BOURBON, PRINCE
• CONDE, LOUIS II
• CONDE, PRINCES OF

Conde extended to them . The unjust cabal against his piece no doubt made a deep impression on Racine . But it is impossible to decide exactly how much See also:

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

influence this had on the subsequent See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change in his life . For thirteen years he had been constantly employed on a series of brilliant dramas . He now See also:

• BROKE, or BROOKE, ARTHUR (d. 1563)
• BROKE, SIR PHILIP BOWES VERE, BART

broke off his dramatic work entirely and in the remaining twenty years of his life wrote but two more plays, and those under special circumstances and of quite a different kind . He had been during his early manhood a libertine in morals and See also:

• RELIGION
• RELIGION, FOLKLORE, CUSTOM

religion; he now married, became irreproachably domestic, and almost ostentatiously devout . No authentic account of this change exists; for that of Louis Racine, which attributes the whole to a sudden religious impulse, is manifestly little more than the theory of a son, pious in both senses of the word . Probably all, the motives which friends and foes have attributed entered more or less into his See also:

• ACTION

action . At any rate, what is certain is that he reconciled himself with Arnauld and Port Royal generally, accepted, with whatever sincerity, their See also:

• DOCTRINE

doctrine of the incompatibility of the stage and the See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

Christian life, and on the 1st of June married Catherine de Romanet and definitely settled down to a quiet domestic life, alternated with the duties of a courtier . For his repentance was by no means a repentance in sackcloth and ashes . The drama was not then very profitable to dramatists, but Louis Racine tells us that his father had been able to furnish a house, collect a library of some value, and save 6000 livres . His wife had See also:

• MONEY

money, and he had possessed for some time (it is not certain how long) the See also:

• HONOURABLE (Fr. honorable, from Lat. honorabilis, worthy of honour)

honourable and valuable See also:

• POST

post of treasurer of See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France at See also:

• MOULINS

Moulins .

His See also:

• ANNUAL

annual " gratification " had been increased from 800 to 1500 livres, then to 2000, and in the October of the year of his marriage he and Boileau were made historiographers-royal with a See also:

• SALARY

salary of 2000 crowns . Besides all this he had, though a layman, one or two benefices . It would have been pleasanter if Louis Racine had not told us that his father regarded His See also:

• MAJESTY (Fr. majeste; Lat. majestas, grandeur, greatness, from the base mag-, as in magnus, great, major, greater, &c.)

Majesty's choice as " an See also:

• ACT (Lat. actus, actum)

act of the See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

grace of See also:

• GOD

God to detach him entirely from poetry." For the historiographer of Louis XIV. was simply his chief flatterer . However, little came of this historiography . The See also:

• JOINT (through Fr. from Lat. junctum, jungere, to join)

joint incumbents of the office made some See also:

• CAMPAIGNS

campaigns with the king, sketched plans of histories and left a certain number of materials and See also:

• MEMOIRS

memoirs; but they executed no substantive work . Racine, whether this be set down to his See also:

• CREDIT (Lat. credere, to believe)

credit or not, was certainly a fortunate and apparently an adroit courtier . His very relapse into See also:

• JANSENISM

Jansenism coincided with his rise at court, where Jansenism was in no favour, and the fact that he had been in the good See also:

• GRACES, THE, (Gr. X&panes, Lat. Gratiae)

graces of Madame de See also:

• MONTESPAN

Montespan did not deprive .him of those of Madame de See also:

• MAINTENON

Maintenon . Neither in Esther did he hesitate to reflect upon his former patroness . But a reported sneer of the king, who was See also:

• SHARP, GRANVILLE (1735-1813)
• SHARP, JAMES (1618-1679)
• SHARP, JOHN (1645-1714)
• SHARP, RICHARD (1759-1835)
• SHARP, WILLIAM (1749-1824)
• SHARP, WILLIAM (1856-1905)

sharp-eyed enough, "Cavoie avec Racine se croit See also:

• BEL

bel esprit; Racine avec Cavoie se croit courtisan," makes it appear that his comparatively See also:

• LOW, SETH (1850- )
• LOW, WILL HICOK (1853- )

low birth was not forgotten at See also:

• VERSAILLES

Versailles . Racine's first See also:

• CAMPAIGN

campaign was at the See also:

• SIEGE (0. Fr. sege, siege, mod. siege, seat, ultimately from sedere, to sit, cf. Class. Lat. obsidium, a siege)

siege of See also:

• YPRES (Flemish Yperen)

Ypres in 1678, where some See also:

• PRACTICAL

practical jokes are said to have been played on the two civilians who acted this early and See also:

• PECULIAR

peculiar variety of the part of special correspondent . Again in 1683, in 1687 and in each year from 1691 to 1693 Racine accompanied the king on similar expeditions . The literary results of these have been spoken of .

His labours brought him, in addition to his other gains, frequent special presents from the king, one of which was as much as r000 pistoles . In 1690 he further received the office of " gentilhomme ordinaire du roi," which afterwards passed to his son . Thus during the later years of his life he was more prosperous than is usual with poets . His domestic life appears to have been a happy one . Louis Racine tells us that his mother " did not know what a verse was," but Racine certainly knew enough about verses for both . They had seven See also:

• CHILDREN, LAW RELATING TO

children . The eldest, Jean Baptiste, was born in 1678; the youngest, Louis, in 1692 . It has been said that he was thus too See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young to have many personal memories of his father, but he tells one or two stories which show Racine to have been at any rate a man of strong family See also:

• AFFECTION (Lat. ad, and facere, to do something to, sc. a person)

affection, as, moreover, his letters prove . Between the two sons came five daughters, Marie, See also:

• ANNE (1665-1714)
• ANNE (1693-1740)

Anne, See also:

• ELIZABETH
• ELIZABETH (1533-1603)
• ELIZABETH (1596-1662)
• ELIZABETH (1635–1650)
• ELIZABETH [ AMELIE EUGENIE ] (1837—1898)
• ELIZABETH [1lisabeth Philippine Marie Helene of France] (1764—1794)
• ELIZABETH [PAULINE ELIZABETH OTTILIE LOUISE] (1843– )
• ELIZABETH [PETROVNA] (1709-1762), EMPRESS
• ELIZABETH, SAINT (1207-1231)

Elizabeth, Frangoise and Madeleine . The eldest, after showing " vocation," married in 1699, Anne and Elizabeth took the See also:

• VEIL (O.Fr. veile, mod. voile, from Lat. velum, cloth, awning, sail)

veil, the youngest two remained single but did not enter the See also:

• CLOISTER (Lat. claustrum; Fr. cloitre; Ital. chiostro; Span. claustro; Ger. Kloster)

cloister . To complete the See also:

• NOTICE

notice of family matters—much of Racine's later correspondence is addressed to his sister Marie, Madame See also:

• RIVIERE, BRITON (1840- )

Riviere . The almost complete silence which Racine imposed on himself after the See also:

• COMPARATIVE

comparative failure of Phedre was broken once or twice even before the appearance of his two last exquisite tragedies .

The most honourable of these was the reception of See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas Corneille on 2nd January 1685 at the Academy in the See also:

• ROOM

room of his brother . The discourse which Racine then pronounced turned almost entirely on his great rival, of whom he spoke even more than becomingly . But it was an See also:

• ODD (in middle English odde, from old Norwegian oddi, an angle of a triangle; the old Norwegian oddamann is used of the third man who gives a casting vote in a dispute)

odd See also:

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

conjunction of the two reigning passions of the latter part of his life—devoutness and obsequiousness to the court—which made him once more a dramatist . Madame de Maintenon had established an institution, first called the Maison Saint Louis, and afterwards (from the place to which it was transferred) the Maison de Saint Cyr, for the See also:

• EDUCATION

education of poor girls of See also:

• NOBLE, SIR ANDREW (1832- )

noble family . The tradition of including acting in education was not obsolete . At first the governess, Madame de Grinon, composed pieces for representation, but, says Madame de See also:

• CAYLUS,

Caylus, a See also:

• WITNESS
• WITNESS (from O. Eng. witan, to know)

witness at first See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand and a good See also:

• JUDGE (Lat. judex, Fr. juge)

judge, they were " detestable." Then recourse was had to chosen plays of Corneille and Racine, but here there were obvious objections . The favourite herself wrote to Racine that " nos petites filles " had played Andromaque " a great deal too well." She asked the poet for a new play suited to the circumstances, and, though Boileau advised him against it, it is not wonderful that he yielded . The result was the masterpiece of Esther, with See also:

• MUSIC

music by See also:

• MOREAU, GUSTAVE (1826-1898)
• MOREAU, HEGESIPPE (18ro-1838)