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{{Infobox person
[[Image:Ducis, Jean-François.jpg|thumb|right|Jean-François Ducis.]]
| name = Jean-François Ducis

| image = <!-- just the filename, without the File: or Image: prefix or enclosing [[brackets]] -->
| alt =
| caption =
| birth_name =
| birth_date = {{Birth date|1733|08|14|df=yes}}
| birth_place = [[Versailles (city)]]
| death_date = {{Death date and age|1816|03|31|1733|08|14|df=yes}}
| death_place =
| nationality = French
| other_names =
| occupation = [[dramatist]]
| known_for =
}}
'''Jean-François Ducis''' (August 14, 1733 &ndash; March 31, 1816) was a [[France|French]] [[dramatist]] and adapter of [[Shakespeare]].
'''Jean-François Ducis''' (August 14, 1733 &ndash; March 31, 1816) was a [[France|French]] [[dramatist]] and adapter of [[Shakespeare]].


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His father, originally from [[Savoy]], was a linen draper at Versailles; and all through life he retained the simple tastes and straightforward independence fostered by his bourgeois education. {{sfn|Chisholm|1911}}
His father, originally from [[Savoy]], was a linen draper at Versailles; and all through life he retained the simple tastes and straightforward independence fostered by his bourgeois education. {{sfn|Chisholm|1911}}


In 1768, he produced his first tragedy, ''Anzlise''. The failure of this first attempt was fully compensated by the success of his ''[[Hamlet]]'' (1769), and ''[[Romeo and Juliet|Roméo et Juliette]]'' (1772). ''Œdipe chez Admèle'', imitated partly from [[Euripides]] and partly from [[Sophocles]], appeared in 1778, and secured him in the following year the chair in the Academy left vacant by the death of [[Voltaire]]. Equally successful was ''Le Roi Lear'' in 1783. ''[[Macbeth]]'' in 1783 did not take so well, and ''Jean sans peur'' in 1791 was almost a failure; but ''[[Othello]]'' in 1792, supported by the acting of [[François Joseph Talma|Talma]], obtained immense applause. Its vivid picturing of desert life secured for ''Abufard ou la Famille arabe'' (1795), an original drama, a flattering reception.{{sfn|Chisholm|1911}}
In 1768, he produced his first tragedy, ''Anzlise''. The failure of this first attempt was fully compensated by the success of his ''[[Hamlet]]'' (1769), and ''[[Romeo and Juliet|Roméo et Juliette]]'' (1772). ''Œdipe chez Admèle'', imitated partly from [[Euripides]] and partly from [[Sophocles]], appeared in 1778, and secured him in the following year the chair in the Academy left vacant by the death of [[Voltaire]]. Equally successful was ''Le Roi Lear'' in 1783. ''[[Macbeth]]'' in 1783 did not take so well, and ''Jean sans peur'' in 1791 was almost a failure; but ''[[Othello]]'' in 1792, supported by the acting of [[François Joseph Talma|Talma]], obtained immense applause.
Its vivid picturing of desert life secured for ''Abufard ou la Famille arabe'' (1795), an original drama, a flattering reception.{{sfn|Chisholm|1911}}


On the failure of a similar piece, ''Phédor et Waldamir, ou la famille de Sibérie'' (1801), Ducis ceased to write for the stage; and the rest of his life was spent in quiet retirement at Versailles. He had been named a member of the Council of the Ancients in 1798, but he never discharged the functions of the office; and when Napoleon offered him a post of honor under the empire, he refused. Amiable, religious and bucolic, he had little sympathy with the fierce, sceptical and tragic times in which his lot was cast. "Alas!" he said in the midst of the [[French Revolution|Revolution]], "tragedy is abroad in the streets; if I step outside of my door, I have blood to my very ankles. I have too often seen Atreus in clogs, to venture to bring an Atreus on the stage."{{sfn|Chisholm|1911}}
On the failure of a similar piece, ''Phédor et Waldamir, ou la famille de Sibérie'' (1801), Ducis ceased to write for the stage; and the rest of his life was spent in quiet retirement at Versailles.
He had been named a member of the Council of the Ancients in 1798, but he never discharged the functions of the office; and when Napoleon offered him a post of honor under the empire, he refused.
Amiable, religious and bucolic, he had little sympathy with the fierce, sceptical and tragic times in which his lot was cast. "Alas!" he said in the midst of the [[French Revolution|Revolution]], "tragedy is abroad in the streets; if I step outside of my door, I have blood to my very ankles. I have too often seen Atreus in clogs, to venture to bring an Atreus on the stage."{{sfn|Chisholm|1911}}


[[Image:Ducis.jpg|left|thumb|Medal portraying Jean-François Ducis.]]
[[Image:Ducis.jpg|left|thumb|Medal portraying Jean-François Ducis.]]
Though actuated by honest admiration of the great English dramatist, Ducis is not Shakespearian. His ignorance of the [[English language]] left him at the mercy of the translations of Pierre Letourneur (1736-1788) and of Pierre de la Place (1707-1793); and even this modified Shakespeare had still to undergo a process of purification and correction before he could be presented to the fastidious criticism of French taste. That such was the case was not, however, the fault of Ducis; and he did good service in modifying the judgment of his fellow countrymen. He did not pretend to reproduce, but to excerpt and refashion; and consequently the French play sometimes differs from its English namesake in everything almost but the name. The plot is different, the characters are different, the ''motif'' different, and the scenic arrangement different. To ''Othello'', for instance, he wrote two endings. In one of them Othello was enlightened in time and [[Desdemona (Othello)|Desdemona]] escaped her tragic fate. ''Le Banquet de l'amiti'', a poem in four [[canto]]s (1771), ''Au roi de Sardaigne'' (1775), ''Discours de reception de l'académie française'' (1779), ''Épîtres a l'ami'' (1786), and a ''Recueil de poésies'' (1809), complete the list of Ducis's publications.{{sfn|Chisholm|1911}}
Though actuated by honest admiration of the great English dramatist, Ducis is not Shakespearian. His ignorance of the [[English language]] left him at the mercy of the translations of Pierre Letourneur (1736-1788) and of Pierre de la Place (1707-1793); and even this modified Shakespeare had still to undergo a process of purification and correction before he could be presented to the fastidious criticism of French taste.
That such was the case was not, however, the fault of Ducis; and he did good service in modifying the judgment of his fellow countrymen.
He did not pretend to reproduce, but to excerpt and refashion; and consequently the French play sometimes differs from its English namesake in everything almost but the name.
The plot is different, the characters are different, the ''motif'' different, and the scenic arrangement different.
To ''Othello'', for instance, he wrote two endings.
In one of them Othello was enlightened in time and [[Desdemona (Othello)|Desdemona]] escaped her tragic fate.
''Le Banquet de l'amiti'', a poem in four [[canto]]s (1771), ''Au roi de Sardaigne'' (1775), ''Discours de reception de l'académie française'' (1779), ''Épîtres a l'ami'' (1786), and a ''Recueil de poésies'' (1809), complete the list of Ducis's publications.{{sfn|Chisholm|1911}}


==References==
==References==

Revision as of 19:41, 12 December 2013

Jean-François Ducis
Born(1733-08-14)14 August 1733
Died31 March 1816(1816-03-31) (aged 82)
NationalityFrench
Occupationdramatist

Jean-François Ducis (August 14, 1733 – March 31, 1816) was a French dramatist and adapter of Shakespeare.

Biography

Ducis was born in Versailles. His father, originally from Savoy, was a linen draper at Versailles; and all through life he retained the simple tastes and straightforward independence fostered by his bourgeois education. [1]

In 1768, he produced his first tragedy, Anzlise. The failure of this first attempt was fully compensated by the success of his Hamlet (1769), and Roméo et Juliette (1772). Œdipe chez Admèle, imitated partly from Euripides and partly from Sophocles, appeared in 1778, and secured him in the following year the chair in the Academy left vacant by the death of Voltaire. Equally successful was Le Roi Lear in 1783. Macbeth in 1783 did not take so well, and Jean sans peur in 1791 was almost a failure; but Othello in 1792, supported by the acting of Talma, obtained immense applause. Its vivid picturing of desert life secured for Abufard ou la Famille arabe (1795), an original drama, a flattering reception.[1]

On the failure of a similar piece, Phédor et Waldamir, ou la famille de Sibérie (1801), Ducis ceased to write for the stage; and the rest of his life was spent in quiet retirement at Versailles. He had been named a member of the Council of the Ancients in 1798, but he never discharged the functions of the office; and when Napoleon offered him a post of honor under the empire, he refused. Amiable, religious and bucolic, he had little sympathy with the fierce, sceptical and tragic times in which his lot was cast. "Alas!" he said in the midst of the Revolution, "tragedy is abroad in the streets; if I step outside of my door, I have blood to my very ankles. I have too often seen Atreus in clogs, to venture to bring an Atreus on the stage."[1]

Medal portraying Jean-François Ducis.

Though actuated by honest admiration of the great English dramatist, Ducis is not Shakespearian. His ignorance of the English language left him at the mercy of the translations of Pierre Letourneur (1736-1788) and of Pierre de la Place (1707-1793); and even this modified Shakespeare had still to undergo a process of purification and correction before he could be presented to the fastidious criticism of French taste. That such was the case was not, however, the fault of Ducis; and he did good service in modifying the judgment of his fellow countrymen. He did not pretend to reproduce, but to excerpt and refashion; and consequently the French play sometimes differs from its English namesake in everything almost but the name. The plot is different, the characters are different, the motif different, and the scenic arrangement different. To Othello, for instance, he wrote two endings. In one of them Othello was enlightened in time and Desdemona escaped her tragic fate. Le Banquet de l'amiti, a poem in four cantos (1771), Au roi de Sardaigne (1775), Discours de reception de l'académie française (1779), Épîtres a l'ami (1786), and a Recueil de poésies (1809), complete the list of Ducis's publications.[1]

References

Attribution
  •  This article incorporates text from a publication now in the public domainChisholm, Hugh, ed. (1911). "Ducis, Jean François". Encyclopædia Britannica (11th ed.). Cambridge University Press.

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