Prosper Jolyot Crebillon
Complete Works of CREBILLON , New Edition, Augmented & decorated with beautiful engravings.
In Paris, in bookstores associates, 1785. [Printing of Clousier].
3 volumes 8vo (20.5 x 13 cm) (6)-LXXVI-285, (4) -375 and (8) -333 pages. 1 portrait frontispiece of the author after De La Tour and engraved by Marillier and 9 Ingouf very beautiful etchings with the letter from the drawings engraved by Ingouf Marillier, Dambrun, Duponchel, etc..
full calf binding with marbled fawn acid, back short irons to smooth decorated gilt title piece of red morocco, part green morocco labels, gilt triple fillet coaching plates, liners, guards and marbled edges ( Binding of the time). Copy in excellent condition conservation, very fresh, some minor light rubbing, interior very white, very nice drawing prints.
NEW EDITION.
Crebillon father (1674-1762), a worthy child of Burgundy Belles-Lettres, was the author tragic fashion of the moment, between the death of Racine in 1699 and parts of Voltaire. After Idomeneo, Crebillon gave Atreus and Thyestes in 1707, remarkable work, one of the best known of the author, Elektra in 1708, and Zenobia Rhadamistus in 1711, which won a great success and went to his masterpiece, Xerxes in 1714, Semiramis in 1717. The last two pieces were received coldly, Xerxes had a single representation and Semiramis, only seven Crebillon conceived a deep despair and gave up the theater. Having lost his father, who died insolvent, then he struggled in money difficulties, the result of his extravagance, his carelessness, his taste for independence and the pleasures and his tendency to daydream. He lost his wife (1711), could not find the help he expected from his friends, and threw himself into misanthropy. He lived in an attic, surrounded by dogs, cats and crows, smoking incessantly and not seeing his son. In this solitude, he was busy composing in his head because he had an excellent memory, he neglected novels then down on paper. It was also the same for his tragedies, he composed in his head and wrote until the last moment. In 1726, Crebillon successfully gave a new tragedy, Pyrrhus (1726), which again called attention to himself. He was elected to the French Academy in 1731 and the Academy of Rouen in 1754. This innovation in the form by calling his acceptance speech into poetry. We kept the worms, which was warmly applauded as he seemed sincere, "No malice was never poisoned my pen. In 1733 he was appointed royal censor library for belles-lettres and history, and in 1735 royal censor performances. In 1745, Madame de Pompadour award him a pension of 1,000 pounds and a place of librarian of the king. These favors were primarily to raise a rival to Voltaire, who had displeased by launching gallant poems celebrating the love of Louis XV and the favorite, and whose reputation rested primarily on its then tragedies. Opponents of Voltaire Crebillon urged to give new tragedies. Ultimately, he finished and did represent his Catiline (1748), with great magnificence. The cabala in assuring success for 20 performances, but it did not last when the piece was printed, especially not when Voltaire had represented his Rome saved on the same subject. In 1754, the latest tragedy Crebillon, The Triumvirate, was received coldly. At his death in 1762, he left a draft Cromwell. Actors in Paris organized in his honor attended by a funeral service, with members of the Academy and many writers, many actors and actresses, the scandal of the Church.
The theater Crebillon holds an important place in literary history, both by its own value and the discussions which he has been. At a time when writers sought to imitate slavishly tragedies Jean Racine, like the Baron of Longepierre Hilaire, which is interesting to compare the tragedy Electra, founded in 1702, part of Crebillon given a few years later the same subject, with parts Crebillon innovation based less on psychology as a kind of "tragic situation" of a sudden horror, reconnaissance and other shots Theatre announcing the melodrama of the nineteenth century. "I like even better," he writes in the preface Rhadamistus and Zenobia, have loaded about my episodes of declamation. "The pieces include scenes of Crebillon striking, and to hit well, energetic, many of which are spent in maxims. But they also have serious drawbacks: the intrigues often very complicated, difficult to follow, and sometimes incorrect versification, often lax, style, hard hitting, sometimes obscure. Crebillon wrote quickly and with little care. It was incredibly easy: the story he remade in twenty-four hours while the last act of Idomeneo, which on opening night, did not please the public. The elegance was not his concern, and mythological and historical culture is often faulted.
Crebillon wrote d'Alembert showed human perversity in all its atrocity [...] He felt fulfilled by this means one of two major items that the Greeks regarded as the goal of tragedy, terror [. ..] This general purpose and unique pieces Crebillon gives them a dark color tone in which they all look like [...] They are still the means by which the author uses to produce theatrical situations, especially the recognition are those for whom it is most often used, but at least do him the justice to confess that he was the happiest use [...] Crebillon little as worms happy, but to what we remember in spite of themselves, to a character as original as proud, worms finally belonging to him, and whose harshness male expresses, so to speak, the physiognomy of the author. If the details of versification does not suffer from it the scrutiny, if the reading of his plays is rugged and difficult, the energy of its characters and the strong colors of his paintings always produce a large effect on the stage. But his characters lack depth and life, making his tragedies assembly strange energy and blandness, atrocities and inconsistency. (Source Wikipedia - compilation of authors cited)
This edition contains Volume 1: Crébilllon praised (by d'Alembert), ode on the death of Crebillon epistle to the King, foreword by the author, Idomeneo, Atreus & Thyestes, Electra. Volume 2: Rhadamisthe & Zenobia, Xerxes, Semiramis Pyrrhus. Volume 3: Catiline Catiline scene and found in the papers of Mr. Crebillon, Triumvirate, academic discourse, eulogy of Marshal Villars, to M. de Fontenelle, compliment to the King to the King, written by various authors and epitaph Mr. Crebillon.
The prints of drawings by Marillier are "real caricatures" of the ancient tragedy. The features of the faces of the characters show the horror and amazement. They are very expressive.
Citation: Cohen, col. 264 (ed. 1912).
COPY IN NICE CONDITION FOR THE AGE.
Price: EUR 500
Complete Works of CREBILLON , New Edition, Augmented & decorated with beautiful engravings.
In Paris, in bookstores associates, 1785. [Printing of Clousier].
3 volumes 8vo (20.5 x 13 cm) (6)-LXXVI-285, (4) -375 and (8) -333 pages. 1 portrait frontispiece of the author after De La Tour and engraved by Marillier and 9 Ingouf very beautiful etchings with the letter from the drawings engraved by Ingouf Marillier, Dambrun, Duponchel, etc..
full calf binding with marbled fawn acid, back short irons to smooth decorated gilt title piece of red morocco, part green morocco labels, gilt triple fillet coaching plates, liners, guards and marbled edges ( Binding of the time). Copy in excellent condition conservation, very fresh, some minor light rubbing, interior very white, very nice drawing prints.
NEW EDITION.
Crebillon father (1674-1762), a worthy child of Burgundy Belles-Lettres, was the author tragic fashion of the moment, between the death of Racine in 1699 and parts of Voltaire. After Idomeneo, Crebillon gave Atreus and Thyestes in 1707, remarkable work, one of the best known of the author, Elektra in 1708, and Zenobia Rhadamistus in 1711, which won a great success and went to his masterpiece, Xerxes in 1714, Semiramis in 1717. The last two pieces were received coldly, Xerxes had a single representation and Semiramis, only seven Crebillon conceived a deep despair and gave up the theater. Having lost his father, who died insolvent, then he struggled in money difficulties, the result of his extravagance, his carelessness, his taste for independence and the pleasures and his tendency to daydream. He lost his wife (1711), could not find the help he expected from his friends, and threw himself into misanthropy. He lived in an attic, surrounded by dogs, cats and crows, smoking incessantly and not seeing his son. In this solitude, he was busy composing in his head because he had an excellent memory, he neglected novels then down on paper. It was also the same for his tragedies, he composed in his head and wrote until the last moment. In 1726, Crebillon successfully gave a new tragedy, Pyrrhus (1726), which again called attention to himself. He was elected to the French Academy in 1731 and the Academy of Rouen in 1754. This innovation in the form by calling his acceptance speech into poetry. We kept the worms, which was warmly applauded as he seemed sincere, "No malice was never poisoned my pen. In 1733 he was appointed royal censor library for belles-lettres and history, and in 1735 royal censor performances. In 1745, Madame de Pompadour award him a pension of 1,000 pounds and a place of librarian of the king. These favors were primarily to raise a rival to Voltaire, who had displeased by launching gallant poems celebrating the love of Louis XV and the favorite, and whose reputation rested primarily on its then tragedies. Opponents of Voltaire Crebillon urged to give new tragedies. Ultimately, he finished and did represent his Catiline (1748), with great magnificence. The cabala in assuring success for 20 performances, but it did not last when the piece was printed, especially not when Voltaire had represented his Rome saved on the same subject. In 1754, the latest tragedy Crebillon, The Triumvirate, was received coldly. At his death in 1762, he left a draft Cromwell. Actors in Paris organized in his honor attended by a funeral service, with members of the Academy and many writers, many actors and actresses, the scandal of the Church.
The theater Crebillon holds an important place in literary history, both by its own value and the discussions which he has been. At a time when writers sought to imitate slavishly tragedies Jean Racine, like the Baron of Longepierre Hilaire, which is interesting to compare the tragedy Electra, founded in 1702, part of Crebillon given a few years later the same subject, with parts Crebillon innovation based less on psychology as a kind of "tragic situation" of a sudden horror, reconnaissance and other shots Theatre announcing the melodrama of the nineteenth century. "I like even better," he writes in the preface Rhadamistus and Zenobia, have loaded about my episodes of declamation. "The pieces include scenes of Crebillon striking, and to hit well, energetic, many of which are spent in maxims. But they also have serious drawbacks: the intrigues often very complicated, difficult to follow, and sometimes incorrect versification, often lax, style, hard hitting, sometimes obscure. Crebillon wrote quickly and with little care. It was incredibly easy: the story he remade in twenty-four hours while the last act of Idomeneo, which on opening night, did not please the public. The elegance was not his concern, and mythological and historical culture is often faulted.
Crebillon wrote d'Alembert showed human perversity in all its atrocity [...] He felt fulfilled by this means one of two major items that the Greeks regarded as the goal of tragedy, terror [. ..] This general purpose and unique pieces Crebillon gives them a dark color tone in which they all look like [...] They are still the means by which the author uses to produce theatrical situations, especially the recognition are those for whom it is most often used, but at least do him the justice to confess that he was the happiest use [...] Crebillon little as worms happy, but to what we remember in spite of themselves, to a character as original as proud, worms finally belonging to him, and whose harshness male expresses, so to speak, the physiognomy of the author. If the details of versification does not suffer from it the scrutiny, if the reading of his plays is rugged and difficult, the energy of its characters and the strong colors of his paintings always produce a large effect on the stage. But his characters lack depth and life, making his tragedies assembly strange energy and blandness, atrocities and inconsistency. (Source Wikipedia - compilation of authors cited)
This edition contains Volume 1: Crébilllon praised (by d'Alembert), ode on the death of Crebillon epistle to the King, foreword by the author, Idomeneo, Atreus & Thyestes, Electra. Volume 2: Rhadamisthe & Zenobia, Xerxes, Semiramis Pyrrhus. Volume 3: Catiline Catiline scene and found in the papers of Mr. Crebillon, Triumvirate, academic discourse, eulogy of Marshal Villars, to M. de Fontenelle, compliment to the King to the King, written by various authors and epitaph Mr. Crebillon.
The prints of drawings by Marillier are "real caricatures" of the ancient tragedy. The features of the faces of the characters show the horror and amazement. They are very expressive.
Citation: Cohen, col. 264 (ed. 1912).
COPY IN NICE CONDITION FOR THE AGE.
Price: EUR 500
