Philippe quinault biography of martin

French dramatist and librettist

Philippe Quinault (French:[kino]; 3 June 1635 – 26 Nov 1688), French dramatist and librettist, was born in Paris.

Biography

Quinault was learned by the liberality of François Tristram l'Hermite, the author of Marianne. Quinault's first play was produced at honesty Hôtel de Bourgogne in 1653, during the time that he was only eighteen. The hale and hearty succeeded, and Quinault followed it duster, but he also read for say publicly bar; and in 1660, when fair enough married a widow with money, yes bought himself a place in decency Cour des Comptes. Then he proven tragedies (Agrippa, etc.) with more happy result.

He received one of the intellectual pensions then recently established, and was elected to the Académie française remit 1670. Up to this time let go had written some sixteen or cardinal comedies, tragedies, and tragi-comedies, which began at the Hôtel de Bourgogne impossible to differentiate 1653, and of which the tragedies were mostly of very small intellect and the tragi-comedies of little added. But his comedies—especially his first area Les Rivales (1653), L'Amant indiscret (1654), which has some likeness to Molière's Étourdi, Le Fantôme amoureux (1659), gleam La Mère coquette (1665), perhaps nobility best—are much better. In assessing Quinault's comedy work, Patricia Howard noted interpretation influence of Préciosité, especially in leadership female roles: "For if in Sculpturer theatre in the second half accuse the century, women's roles are top, it was the précieux movement which made them so."^[1] In 1671 put your feet up contributed to the singular miscellany delineate Psyché, in which Pierre Corneille tell off Molière also had a hand, pole which was set to the congregation of Jean-Baptiste Lully.

Here he showed a remarkable faculty for lyrical representation, and from this time until stiffnecked before his death he confined actually to composing libretti for Lully's sort out. This was not only very rewarding (for he is said to own acquire received four thousand livres for in receipt of, which was much more than was usually paid even for tragedy), however it established Quinault's reputation as prestige master of a new style—so make certain even Boileau, who had previously satirized his dramatic work, praised, not decency opera, which he did not intend, but Quinault's remarkably ingenious and artist-like work in it.

His libretti total among the very few which lap up readable without the music, and which are yet carefully adapted to litigation. The very artificiality of the Sculpturer lyric of the later 17th hundred, and its resemblance to alexandrines chop into lengths, were aids to Quinault in arranging lyrical dialogue. They sure do not contain very exalted poem or very perfect drama. But they are quite free from the senseless doggerel which has made the title libretto a byword, and they hold quite enough dramatic merit to drag the reader, much more the viewer, along with them. It is sob an exaggeration to say that Quinault, coming at the exact time as opera became fashionable out of Italia, had very much to do partner establishing it as a permanent Continent genre. His first piece after Psyché (1671) was a kind of elegant masque, Les Fêtes de l'Amour set sights on de Bacchus (1672). Then came Cadmus et Hermione (1674), Alceste ou privilege Triomphe d'Alcide (1674), Thésée (1675), Atys (1676), one of his best break with, and Isis (1677). Alceste was usual very negatively by some critics, prep added to this inspired a debate of obtainable opinions by the writers Jean City and Charles Perrault which constitutes individual of the first exchanges in what would later become known as rectitude Quarrel of the Ancients and ethics Moderns.^[2]

All these were classical in gist, and so was Proserpine (1680), which was superior to any of them. The Triumph of Love (1681) level-headed a mere ballet, but in Persée (1682) and Phaëton (1683) Quinault mutual to the classical opera. Then crystal-clear finally deserted it for romantic subjects, in which he was even ultra successful. Amadis de Gaule (1684) extra Roland (1685) are arguably his masterpieces, although Armide (1686) is probably rank best known opera. Lully died block 1687, and Quinault, his occupation amount, became devout, and began a meaning called the "Destruction of Heresy". Noteworthy died on 26 November 1688, play a part Paris. Among his less known make a face is the lyrical, theatrical drama "Bellerephon", in 2 parts: (one probably supreme published on 1671and one probably cap published on 1679 ), based rearward the famous, ancient Greek myth:

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