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CHENIER , See also:MARIE-See also:JOSEPH BLAISE DE (1764-1811), See also:French poet, dramatist and politician, younger See also:brother of See also:Andre de Chenier, was See also:born at See also:Constantinople on the 11th of See also:February 1764.1 He was brought up at See also:Carcassonne, and educated in See also:Paris at the See also:College de See also:Navarre. Entering the See also:army at seventeen, he See also:left it two years afterwards; and at nineteen he produced Admire, a two-See also:act See also:drama (acted in 1786), and See also:Edgar, ou le See also:page suppose, a See also:comedy (acted in 1785), which were failures. His See also:Charles IX was kept back for nearly two years by the See also:censor. Chenier attacked the censorship in three See also:pamphlets, and the commotion aroused by the controversy raised keen See also:interest in the piece. When it was at last produced on the 4th of See also:November 1789i it achieved an immense success, due in See also:part to its See also:political See also:suggestion, and in part to See also:Talma's magnificent impersonation of Charles IX. Camille See also:Desmoulins said that the piece had done more for the Revolution than the days of See also:October, and a See also:con-temporary memoir-writer, the See also:marquis de Ferriere, says that the See also:audience came away " ivre de vengeance et tourmente d'une soif de sang." The performance was the occasion of a split among the actors of the Comedic Francaise, and the new See also:theatre in the Palais Royal, established by the dissidents, was inaugurated with See also:Henri VIII (1791), generally recognized as Chenier's masterpiece; See also:Jean Galas, ou l'ecole See also:des juges followed in the same See also:year. In 1792 he produced his See also:Caius See also:Gracchus, which was even more revolutionary in See also:tone than its predecessors. It was nevertheless proscribed in the next year at the instance of the Montagnard See also:deputy Albitte, for an See also:anti-anarchical hemistich (Des leis et non du sang!) ; See also:Fenelon (1793) was suspended after a few representations; and in 1794 his Timolecn, set to See also:Etienne Maul's See also:music, was also proscribed. This piece was played after the fall of the Terror, but the fratricide of See also:Timoleon became the See also:text for insinuations to the effect that by his silence Joseph de Chenier had connived at the judicial See also:murder of Andre, whom Joseph's enemies alluded to as See also:Abel. There is absolutely nothing to support the calumny, which has often been repeated since. In fact, after some fruitless attempts to See also:save his brother, variously related by his biographers, Joseph became aware that Andre's only See also:chance of safety See also:lay in being forgotten by the authorities, and that See also:ill-advised intervention would only hasten the end. Joseph Chenier had been a member of the See also:Convention and of
1 This is the date given by G. de Chenier in his La Write sur to famille de Chenier (1844).
the See also:Council of Five See also:Hundred, and had voted for the See also:death 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 XVI.; he had a seat in the tribunate; he belonged to the committees of public instruction, of See also:general See also:security, and of public safety. He was, nevertheless, suspected of moderate sentiments, and before the end of the Terror had become a marked See also:man. His purely political career ended in 1802, when he was eliminated with others from the tribunate for his opposition to See also:Napoleon. In 18or he was one of the educational See also:jury for the See also:Seine; from 1803 to 18o6 he was inspector-general of public instruction. He had allowed himself to be reconciled with Napoleon's See also:government, and See also:Cyrus, represented in 1804, was written in his See also:honour, but he was temporarily disgraced in 18o6 for his Epitre a See also:Voltaire. In 18o6 and 1807 he delivered a course of lectures at the Athenee on the See also:language and literature of See also:France from the earliest years; and in 18o8 at the See also:emperor's See also:request, he prepared his Tableau historique de Petal et du progres de la litterature francaise depuis 1789 jusqu'a i8o8, a See also:book containing some See also:good See also:criticism, though marred by the violent prejudices of its author. He died on the loth of See also:January 1811. The See also:list of his See also:works includes See also:hymns and See also:national songs—among others, the famous See also:Chant du depart; odes, Sur la mart de See also:Mirabeau, Sur l'oligarchie de See also:Robespierre, &c.; tragedies which never reached the See also:stage, See also:Brutus et See also:Cassius, Philippe deux, Tibere; See also:translations from See also:Sophocles and Leasing, from See also:- GRAY
- GRAY (or GREY), WALTER DE (d. 1255)
- GRAY, ASA (1810-1888)
- GRAY, DAVID (1838-1861)
- GRAY, ELISHA (1835-1901)
- GRAY, HENRY PETERS (1819-18/7)
- GRAY, HORACE (1828–1902)
- GRAY, JOHN DE (d. 1214)
- GRAY, JOHN EDWARD (1800–1875)
- GRAY, PATRICK GRAY, 6TH BARON (d. 1612)
- GRAY, ROBERT (1809-1872)
- GRAY, SIR THOMAS (d. c. 1369)
- GRAY, THOMAS (1716-1771)
Gray and See also:Horace, from See also:Tacitus and See also:Aristotle; with elegies, dithyrambics and Ossianic rhapsodies. As a satirist he possessed See also:great merit, though he sins from an excess of severity, and is sometimes See also:malignant and unjust. He is the See also:chief tragic poet of the revolutionary See also:period, and as Camille Desmoulins expressed it, he decorated Melpomene with the tricolour See also:cockade.
See the Euvres completes de Joseph Chenier (8 vols., Paris, 1823–'826), containing notices of the poet by See also:Arnault and See also:Daunou; Charles Labitte, Etudes litieraires (1846) ; Henri Welschinger, Le Theatre revolutionnaire, 1789–1799 (1881); and A. Lieby, Etude sur le theatre de Marie-Joseph Chenier (1902).
End of Article: CHENIER
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