See also:

• JEAN

JEAN See also:

• JEAN RICHEPIN (1849- )

RICHEPIN (1849- )  , See also:

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

French poet, novelist and dramatist, the son of an See also:

• ARMY
• ARMY (from Fr. armee, Lat. armata)

army See also:

• DOCTOR (Lat. for " teacher ")

doctor, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• MEDEA (Gr. Mi/Seta)

Medea (See also:

• ALGERIA
• ALGERIA (Algerie)

Algeria) on the 4th of See also:

• FEBRUARY

February 1849 . At school and at the Ecole normale he gave See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence of brilliant, if somewhat undisciplined, See also:

• POWERS, HIRAM (1805-1873)

powers, for which he found See also:

• PHYSICAL

physical vent in different directions—first as a See also:

• FRANC

franc-tireur in the Franco-See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German See also:

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

War, and afterwards as actor, sailor and See also:

• STEVEDORE

stevedore—and an intellectual outlet in the See also:

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

writing of poems, plays and novels which vividly reflected, his erratic but unmistakable 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 . A See also:

• PLAY

play, L'Etoile, written by him in collaboration with See also:

• ANDRE, JOHN (1751-178o)

Andre Gill (184o-1885), was produced in 1893; but See also:

• RICHEPIN, JEAN (1849- )

Richepin was virtually unknown until the publication, in 1876, of a See also:

• VOLUME

volume of 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 entitled Chanson See also:

• DES

des See also:

• GUEUX, LES

gueux, when his outspokenness resulted in his being imprisoned and fined for See also:

• OUTRAGE (through O. Fr. ultrage, oltrage, oultrage, from Lat. ultra, beyond, exceeding, cf. Ital. oltraggio; the meaning has been influenced by connexion with " rage," anger)

outrage aux See also:

• MEW

mew's . The same quality has characterized his succeeding volumes of verse: See also:

• LES

Les Caresses (1877), Les Blasphemes (1884), La Mer (1886), See also:

• MES

Mes paradis (1894), La Bombarde (1899) . His novels have See also:

• DEVELOPED

developed in See also:

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

style from the morbidity and brutality of Les Meets bizarres (1876), La Glu (1881) and Le Pave (1883) to the more thoughtful See also:

• PSYCHOLOGY
• PSYCHOLOGY (>Guxrl, the mind or soul, and X yos, theory)

psychology of Madame Andre (1878), Sophie See also:

• MONNIER, MARC (1827-1885)

Monnier (1884), Cesarine (1888), L'Aime (1893), Grandes amoureuses (1896) and Lagibasse (1899), and the more See also:

• SIMPLE

simple portrayal of See also:

• LIFE

life in Miarka (1883), Les Braves Gens (1886), Truandailles (189o), La Miseloque (1892) and Flamboche (1895) . His plays, though occasionally marred by his characteristic proneness to violence of thought and See also:

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

language, constitute in many respects his best See also:

• WORK

work . The most notable are Nana See also:

• SAHIB

Sahib (1883), See also:

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

Monsieur Scapin (1886), Le Filibustier (1888), See also:

• PAR (Lat. par, equal)

Par le glaive (1892), Vers la foie (1894), Le Chemineau (1897), Le Chien de garde (1898), Les Truands (1899), See also:

• DON
• DON (anc. Tanais)

Don Quichotte (1905), most of which were produced at the Comedie frangaise . He also wrote Miarka (1905), adapted from his novel, for the See also:

• MUSIC

music of See also:

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

Alexandre Georges, and Le Mage (1897) for the music of Jules See also:

• MASSENET, JULES SMILE FREDERIC (1842– )

Massenet . His son, Jacques Richepin (b . 188o), the author of La Reine de See also:

• TYR

Tyr (1899), La See also:

• CAVALIERE, EMILIO DEL

Cavaliere (1901), See also:

• CADET (through the Fr. from the Late Lat. capitettum, a diminutive of caput, head, through the Provencal form capdet)

Cadet-Roussel (1903) and Falstaff (1904), based on See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare's See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry IV., gave promise of making his See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark as a dramatist .