Spectacle before 1800 Theatre and Dance - Golden Legend

Spectacle before 1800Theatre and Dance

March 2021

Golden Legend, Inc.11740 San Vicente Blvd, Suite 109

Los Angeles, CA 90049

Table of Contents~Delete4Dieux tutélaires de l'Auvergne, Les

~Delete5festival. La Brillante journée ou le carrousel des…~Delete6fireworks Grande description de la fête superbe du…

~Delete7fireworks. Description des magnificences et feux de joye~Delete8La conservation de la personne du roi, sujet…

~Delete9Magnifiqves Ceremonies faites a l’arrivee de Leurs Maiestez…~Delete10Voltaire. Plaidoyer pour le sieur Travenol fils, de…

~Delete11Aigueberre, Jean, Les trois spectacles ou Polixene, tragédie en un…~Delete12Aigueberre, Jean, Seconde Lettre du Souffleur de la Comédie de…

~Delete13ballet, Recueil of 13 ballets performed at L’Academie Royale…~Delete14Beaunoir, pseud, Le Ramoneur prince et le prince ramoneur, comedie…

~Delete14Benserade, Isaac, Les OEuvres de Monsieur de Bensserade~Delete15Chenavard, A, Theatres Antiques leur Grandeur Comparee

~Delete16Dancourt, Florent, Les vendanges, comedie~Delete17Dorat, Claude, La Feinte par amour, comedie en trois actes…

~Delete17Dorvigny pseud, Les fausses consultations, comedie en 1 acte, representee…~Delete18Du Peschier, La comédie des comédies

~Delete19Duclos, Antoine, Le Bal Pare a monsieur de Villemorieu Fila…~Delete20Duclose, Marie, Duclose in the role of Ariane

~Delete21Dumaniant, pseud, Les Intrigants, ou Assaut de fourberies, comedie en…~Delete22Fagan” pseud, Les Caracteres de Thalie

~Delete23François l’Hermite, Pantheé, Tragedie de Monsieur de Trista~Delete24Genest, Charles, Zélonide princesse de Sparte, tragédie

~Delete25Gilbert, Gabriel, Rodogune: tragi-comédie~Delete26Goudar, Ange, Le Brigandage de la Musique Italienne. Magnum sine…

~Delete27Guarini, Battista, Il Pastor fido.Tragicomedia. Le Berger fidelle~Delete27Guichard, Jean, Le Bucheron, ou les Trois souhaits, comedie en…

~Delete28La Calprenède, Recueil of four plays by La Calprenède, bound…~Delete29La Chapelle, Les Carosses d'Orleans Comedie par le sieur D.L.C

~Delete30Lancret, Nicolas, Marie Sallé. Se vende a Paris chez l'auteur d'entre…~Delete31Louis XIII, Two rare plaquettes concerning the double marriage of…

~Delete32Molière, Benserade, Molière and His Ballets: Recueil of 12 Librettos…~Delete33Monsigny, Pierre, Rose et Colas. Comedie en un acte

310-385-1903 • [email protected] of Contents ii

~Delete34Monvel pseud, L'Amant bourru, comedie en 3 actes et en…~Delete35paterre, J.B, La Danse. Engraving by Pierre Filloeul 1696–after…

~Delete36Petronius Arbiter, La matrone d'Ephese: comedie par Mr B*** A~Delete37Rameau, Pierre, Le maitre a danser: Paris: Ches Jean Villette…

~Delete38Robineau de, La Philosophe, Anti-Drame~Delete39St. Aubin, Ballet dansé au Théatre de l'Opera, dans le…

~Delete40Terence, Publii Terentii Afri. Comoediae Sex Ad Optimorus Exemplarium…~Delete41Torelli, Giacomo, Feste theatralie per la Finta Pazza drama Etching…

~Delete42Torri, Pietro, Abelle, Oratorio~Delete43Various, Sammelband. Jansenist plays

~Delete44Verdy du, Recherches sur les carrousels anciens et modernes~Delete45Villedieu, Marie, Memoires de la vie de Henriette-Sylvie de…

310-385-1903 • [email protected] of Contents iii

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Dieux tutélaires de l'Auvergne, Les.

divertissements avec une ouverture, chœurs et

symphonie variée...Mis en musique part M Vignot,

Maître de Musique, & exécuté au Concert public di

Claremont-Ferrand, en Fevrier 1744. A Clermont-

Ferrand de ‘’Imprimerie de Pierre Boutaudon, 1744.

Quarto. 18th century marbled boards. 4p. Mended at

folds with silk, obscuring a word or two.

The program for a divertissement avec une

ouverture, Choeurs & Symphonie variée;:Set in the

mountains near Clermont with Recitatif, Airs,

Choeur, and a Marche Guerrier

The printer is Pierre Boutaudon Printer-librarian;

printer of the King, of the Bishop and the clergy;

from the city and college of Clermont-Ferrand;

Brother-in-law of Lyon printer-librarian Aimé de La

Roche.

Not in OCLC; however, it really does exist: A note

in the Bulletin historique et scientifique de

l'Auvergne Académie des sciences, belles-lettres et

arts de Clermont-Ferrand, 1902: M. P. Le Blanc

possède un exemplaire de cette plaquette très rare la

présente comme ayant a un goût et des talens

parfaits en musique.

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(festival). La Brillante journée ou lecarrousel des galans Maures, entreprispar Monseigneur le dauphin: avec lacomparse, les courses, et des madrigauxsur les devises. . Se vendra à Versailles le jour du

carrousel, et se débite. Paris: Chez la Veuve

Blageart, Court-neuve du Palais, au Dauphin, 1685.

Original edition. Watanabe O’Kelly #1953, etc.

Quarto. .

La Brillante journée is the first equestrian parade

and carrousel that took place at the palace of

Versailles June 4th and 5th 1685. This printed

programme for the festival includes descriptions of

costumes and setting, as well as, a list of the

participants and a summary of the events.

Completed shortly before the event, the 70p

programme was published for the notables at the

event and for the enthralled public of Paris who

could get the programme at the booksellers or at

Versailles. It provided (and still provides) a factual

guide to the participants, details of their dress, the

order of the parade and a summary of the contests

that followed

The printed programme La Brillante journée is a“remarkably full treatment” of events of the carrouselwhich was organized and led by Louis, Dauphin ofFrance (1661-1711), son of Louis XIV. Versailles, seat ofroyal power of Louis XIV and his family, had becomeone of the most ornate and sumptuous courts in Europe.The parade carrousel included exotic animals, orientalluxuries, and Arabian horses. The décor and jeweledaccessories (including that of the women who rode in the

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(fireworks) Grande description de la fête superbe dufeu d'artifice et des illuminations, Le. La grandedescription de la fête superbe du feu d'artifice et desilluminations de M. le duc d'Ossonne, pour l'heureusearrivée de l'Infante Reine à Paris.[Paris.] De l'impr. de laV. Grou, ruë de la Vieille Bouclerie, à l'Image S. Jacques.[1722].

4to. Modern wrappers. 4p including permis dimprimer,19 Mars 1722 signed “De Baudry.” Uncut. Descriptionof the fireworks, designed by Mr. Berin (Dessinateurordinaire du Cabinet du Roy, & Inventeur desIlluminations merveilleuses), for the entry into Paris ofLouise d’Orléans (1709-1742), wife of Luis I, SpanishInfante (1707-1724).

Some copies, not this one, contain an engraving of thefloating Temple of Hymen on the Seine opposite theQueen’s apartment in the Louvre. SeeWatanabeO’Kelly, Simon #2014-2015.

$500

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(fireworks). Description des magnificenceset feux de joye. faits a Paris le 28 juillet 1649

par l'illustrissime... monseigneur l'ambassadeur

de la serenissime Republique de Venise aupres de

sa majeste tres chrestienne pour la grande

victoire navale obtenue contre l'armee

turquesque en Asie, consistant en la déroute &

perte generale de ladite armee, & de Sept mil

hommes Turcs de tuez. Paris : par A. Estienne,

1649.Watanabe-O’Kelley#1794. Quarto. 19th

century wrappers.. Leaf of title, verso blank, 2p la

Royalle Ville de Paris, 3p relation, 3p poetry in

French, Italian, Greek, leaf of blank. Collation; 1l,

A1, B-C2. Clean copy, a few stains

This is a detailed description of the fireworks in

Paris along the Seing to celebrate the Venetian

victory over the Turks in 1649 in the Bay of Smyrna.

$500

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La conservation de la personnedu roi, sujet du feu d'artificeélevé devant l'hôtel de ville, parles ordres de MM. les prévôt desmarchands et échevins de la villede Paris, pour la solennité de lafête de Saint-Jean-Baptiste, enl'année, 1712. . Paris : J.-F. Grou, 1712.

Permission 22 June. 14" x 19" sheet printed in 4pps,

single fold. Unbound as issued. Printed on laid

paper with the watermark of Louis XIV and

woodcut on title page.

A description of the oration and participants of the

celebration. Included is a warming to citizens of the

dangers of the bonfire and fireworks created in front

of l’Hotel de Ville for the feast of John the Baptist,

June 24, close to the summer solstice. This

celebration is traditionally accompanied by great

bonfires.

In the fifth century, as Christianity spread through

France, the focus of the summer solstice celebrations

turned to John the Baptist on June 24 — his feast

day. Traditionally, bonfires would be lit on the eve

of June 24 in order to honor the saint. OCLC: 1

copy: BDF

$350

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Magnifiqves Ceremonies faites a l’arriveede Leurs Maiestez dans la ville de Paris,Les . Paris: Bureau d'Adresse. 20 Aoust 1649.

Quarto, disbound, remains of stitch holes. 8p.

collation A-B2. Entry into Paris of Louis XIV, 11

year old King of France and Anna of Austria (1601

-1661) Queen Mother. The route and the notables

(royal, civil and clerical) are identified\. The

fireworks are described, as are the “superbes

tapisseries” snf the ornaments on the shopfronts as

they pass Port St. Denis and before the Palais de

Luxembourgh.

Not in OCLC. A copy is located in the Catalogue de

Bibliothèque de la ville de Bordeaux. #2019,

Durand, 1851

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Voltaire. Plaidoyer pour le sieurTravenol fils, de l'Académieroyale de musique, deffendeur &demandeur contre le sr. deVoltaire & Mr. l'Abbéd'Olivet ... demandeurs &deffendeurs. Mannory, Louis. Plaidoyer

pour le sieur Travenol fils, de l'Académie royale

de musique, deffendeur & demandeur contre le

sr. de Voltaire & Mr. l'Abbé d'Olivet ...

demandeurs & deffendeurs. Paris: Bullot, 1746.

Original edition of an account of the lawsuit against

Voltaire brought by Louis-Antoine Travenol (ca.

1698- d 1783). Quarto. Old wrappers.. Pagination:

1p title with head-piece, initial. Pp2-32text with

imprint of Joseph Bullot, 1746 and signed Me

Mannory, Avocat on last page. Collation: A-D4.

Very clean copy. Uncut.

An early pamphlet in the quarrel between Louis

Travenol and Voltaire. Travenol (Paris 1698 - Paris

1783) was a French violinist, composer and author

of pamphlets. He joined the orchestras of the Opéra

in 1739. A gifted violinist he also composed one

book of violin sonatas and other works. He is

remembered, however, for his perverse talent of

writing pamphlets that brought lawsuits down upon

his head. When Voltaire was elected to the

Académie Française in 1746, Travenol reprinted a

libellous document by Baillet de Saint-Julien against

Voltaire, causing a legal suit by Voltaire that became$400

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Aigueberre, Jean Dumas D’ (Frenchlawyer and author. 1692-1755). Les trois

spectacles ou Polixene, tragédie en un Acte;

L’Avare Amoureux, comédie en un Acte; Pan et

Doris, Pastorale Héroique, en un Act; Avec un

prologue. Paris:Tabarie, 1729. Original edition.

Lancaster. French Tragedy at the time of Louis XV

and Voltaire 1715-1744. p.625.

A gifted playwright and a life-long friendof Voltaire

For an entertainment at Sceaux, Aigueberre

agreed to write an opera. He ultimately

produced Les Trois Spectacles consisting of a

prologue, a one act tragedy Polixène, a comedy

L’Avare amoureux, and a pastoral opera Pan et

Doris. The important prologue features a group

of aristocrats discussing the relative merits of

tragedy, comedy and opera. Most highly

criticized as a “monstre” is the one-act tragedy

Polixène; however, the tragedy is defended for

its novelty and its power because it moved the

Duchess of Maine to tears.

Les Trois Spectacles was performed the 9th of

July 1729 with music by Jean-Joseph Mouret

(1682-1739) the celebrated composer in charge

of music for the Nuits de Sceaux. After Sceaux

Les Trois Spectacles was presented at the

Théâtre Français.

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Aigueberre, Jean Dumas d. .Seconde Lettre du Souffleurde la Comédie de Roüen, au Garçon de

Caffé ou Entretien sur les Defauts de la Declamation.Paris: Chez Tabari. Paris: Chez Tabarie, 1730. Originaledition. Lancaster: French Tragedy p123n66. (CitingBnF).

“the birth of the modern critique of recitation.”Vicentini

The most useful source of information aboutacting in the Comédie-Française in theeighteenth century, Scott

After criticism was levied at his three-part drama TroisSpectacles, 1729, Aigueberre wrote several pamphletsin defense. Of these essays, the Seconde Lettre duSouffleur de la Comédie de Roüen is the mostimportant. Here, Aigueberre discusses the declamationstyles of twenty actors of the Comédie-Francaise,detailing their strengths and weaknesses. This isconsidered to be the most important analysis of methodacting during the period.

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(ballet). Recueil of 13 ballets performed atL’Academie Royale de Musique, 1737-1755, Paris. Bound in one volume,quarto, contemporary calf. With printedand corrected index tipped in to frontpastedown. . This is an important period for the

development of ballet in France with the maturity of

Jean-Phillipe Rameau’s music; the debate over

French versus Italian musical forms; and the

introduction of the “Danse d’Action,” precursor to

Noverre’s reforms in movement; all of which are

reflected in these ballet texts

1. Les Amours du printemps. 1739

2. Les Fêtes d’Hébé. 1739. e.o.

3. Zaide, reine de Grenade. 1739

4. Dardanus . 1739

5. Nitetis. 1741. e.o.

6. Ballets comiques: Don Quichote chez la

Duchess, Les Amours de Ragonde. 1743. e.o.

7. Isbé, 1742. e.o.

8. Le Pouvoir de l'amour. 1743. e.0

9. Les Caractères de la folie. 1743. e.o.

10. L'École des amans. 1745.

11. Zélindor, Roi des Silphes. 1745. e.o.

12. Les Augustales. 1744. e.o.

13. Les Festes de Polimnie. 1745. e.o.

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"Beaunoir", (pseud of Alexandre-Louis-BertrandRobineau) M. de; Pompigny, Maurin de. Le Ramoneurprince et le prince ramoneur, comedie-proverbe en 1acte, en prose representee pour la premiere fois aParis, sur le Theatre des Varietes-amusantes, le 11Decembre 1784. Paris: Chez Cailleau, Imprimeur-Libraire..., 1785. Original edition. Soleinne (2316).

The first play in the Ramoneur [chimney sweep] trilogy.Its dialect is notable for its use of the "patois" of thecountryside. Very popular in the late 18th century whentastes had turned toward the life of the average“citoyen.”

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Benserade, Isaac de. Les OEuvres de Monsieur de

Bensserade. Paris: chez Charles de Sercy, 1697. (56),

424, (4); (10), 427pp. + an engraved title-page in

each volume. Two vols., sm. 8vo, contemporary

mottled calf, spines gilt (one upper joint a bit

cracked). First edition. Benserade (1613-1691) had a

long career as a court poet. In particular he provided

many of the librettos for Lully's celebrated ballets,

and these text occupy the whole of the second

volume here. His single most famous poem is his

"Sonnet sur Job" (1651), which came into rivalry

with Voiture's "Urania," and divided the court wits

into two parties, the Jobelins and the Uranists.

Tchemerzine II, 147-8; Beaumont, p. 52 (the Dutch

contrefacon of 1698); not in Magriel, Niles/Leslie,

or Derra de Moroda

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Chenavard, A.-M. Theatres Antiques leur GrandeurComparee. . Lyon:Mougin-Rusand, 1880. Small quarto.6p + folding chart. This short work compares thediameters of 37 ancient theatres from the smallest theatreat Catane in Sicily which is only 43 meters in diameter tothe largest theatre of Bacchus at Athens in Greece of175m. An interesting folding chart provides details andalso shows the popularity of theatres in the 80 and 90meter diameter range.

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Dancourt, Florent Carton (1661-1725). Les vendanges,comedie. Paris: Chez Thomas Guillain, a la descente duPont-Neuf, pres les Augustins, a l'image S. Louis., 1694.Original edition. (Soleinne 1496). 8vo. Modern wrappers.

The play was completed on October 1, 1691, too late forperformance during the vintage season. Like l'Opera devillage, this is a comedyvaudeville with much patois ofpeasant customs and speech. Charming and light, theplaywas given 17 times in 1694 and twice the next year.The play had music

by Grandval (not published in the libretto). Another playon wine vintages Les vendanges de Suresne comedy in 1act, in prose, based on Du Ryer's play of the same nameand with a divertissement with music by J.C. Gillier wasfirst performed at the Théâtre- François, Paris, 15October 1695. It was not published until 1700 A ParisChez Pierre Ribou,

Florent Carton Dancour (known as Sieur d’Ancourt)(1661-1725) was born at Fontainebleau to a wealthyfamily and trained as a lawyer. Dancourt married anactress, Francois Lenoir de la Thorilliere, then devotedhimself to the theatre, winning great acclaim as an actor,especially as Alceste in Moliere's Le Misanthrope.Turning to playwriting , his plays concern problems ofthe impoverished nobility and the social climbing middleclasses. He also, as in Les vendanges, depicts the lovesand intrigues of village life. He wrote over sixtycomedies and ballets. Vanbrugh’s The Confederacy isadapted from Dancourt's Les bourgeoises a la mode.

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Dorat, Claude-Joseph (1734-1780). La Feinte paramour, comedie en trois actes et en vers... Editionconforme a la representation. Paris: au Theatre deMoliere, rue Martin; Au Theatre du Vaudevill; Al'Imprimerie, rue des Droits de l'Homme no. 44, An IVe[1795]. First acted 31 July 1773. Soleinne 1969; 3432.8vo. 19th cent red morocco, title in gilt on spine. Paper abit browned. 54pp., cast list, includes: Melle Dologny, M.Mole, Monvel.


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Dorvigny (pseud. of Louis-Francois Archambault; [1734-1812]). Les fausses consultations, comedie en 1 acte,representee, pour la premiere fois, sur le theatre desVarietes, en decembre 1780. Paris: Caileau, 1781.Original edition. Soleinne 2197.

A comedy about the legal problems of a theatre company,the Troupe de Franville, in its relation to the Avocat-Consultant Dainval.


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Du Peschier, Nicolas [compiler]. La comédie descomédies. . Tradvite d'italien en langage de

l'orateur françois, par le Sievr dv Péchier. Paris:

Nicolas La Coste, 1629. Original edition. Brunet

16418. Soleinne 1039. Lancaster I, 365-367.

12mo. (4 1/2 x 6 1/4"). Early 19th-century quarter

brown morocco, flat spine with title and date in gilt,

pink floral boards.

La comédie des comédies, a four-act comedy in

prose and verse for eight characters, is cleverly

structured as an Italian comedy translated into

French. The play, however, is not translated from

Italian but consists of the frequent quotation from

the letters of the essayist Jean-Louis Guez de Balzac.

Balzac’s “swelling phrases and metaphorical

expressions are cleverly caricatured” (Lancaster,

367). The model for the play is an Italian farce in

which le Docteur (modeled on Balzac) has an

inflated notion of his erudition. It is a rare theatrical

satire probably compiled by a member of the

Feuillant sect. La comédie des comédies was never

played in theatres.

La comédie des comédies is of great interest to the

student of Balzac because it compiles numerous

examples of quotations from Balzac’s early letters

when he was developing his influential prose style.

It was soon reprinted in several editions in 1629

indicating its popularity, at least in the reading. It

was never performed.

OCLC, North America: IBV, MUQ. Rare.

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Duclos, Antoine-Jean (Engraver, French, 1742–

1795) after Augustin de Saint-Aubin, (Artist,

French, 1736–1807). Le Bal Pare a monsieur de

Villemorieu Fila. Paris: 1774. Third state. (Bocher,

#402)

Le Concert. A Madame la Comtesse de Saint

Brisson; Par son très Humble et très Obéissant /

Serviteur . Etchings and engravings. 1774,Paris. These two prints were published as apair.

Le Bal Pare The scene is a ball in an elegant salon.

The details, particularly the faces, are carefully

executed.

Le Concert is set in a large salon with a painted

ceiling and busts on pedestals between the windows.

On three sides, an audience surrounds an ensemble

of chamber musicians. At this moment, only a

pianoforte, cello, violin and oboe (or transverse

flute) are playing. A woman may be singing in back

of the musicians

Contemporary comments aqbout these prints:

InAffiches, Annonces et Avis divers, 14

décembre 1774: "There appear two new prints in

the most pleasant genres, engraved after the

drawings of M. de Saint-Aubin, by M. Duclos, and

making companions. They are also worthy of

decorating the most elegant Boudoirs and the

Portfolios of the curious. One is titled: "Le Bal

paré"; the other, "Le Concert"...[these can be had] in

Paris, at Sr Chereau fils ... Price, 4 deliveries 10 s.

each. Also: “There are certain prints like certain$1,450

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Duclose, Marie-Anne de Chateauneuf (1668-1748).Duclose in the role of Ariane,. Engraving on Paper.(Paris) 1714. Engraved by Louis Desplaces (1632-1739).After a painting by Nicolas de Largilliere (ca. 1656-1746) [cf: Benizet III, 217]. Large folio (20" x 15"), withgood margins. A fine impression with rich contrasts inshading, and excellent detail indicating this is an earlyimpression before the engraving plate had been worn.Framed.

Mari-Anne de Chateauneuf Duclose (1668-1748). Frenchactress who was accepted by the Comédie Française in1693, where she acted in tragic roles, later replacing MlleChampmesle and sharing feminine leads with MlleDesmares. Her strength lay in declamation, and she wasadmired in the roles of Molière. Her great talent waseclipsed by her volatile temper and by the changingstyles of acting best exemplified by that of AdrienneLecouvrer, her young rival.

Duclos in the role of Ariane is one of the grand portraitsof the French baroque theatre and one of the treasures ofLe Musée de la Comédie Française (Dacier, 20)

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"Dumaniant", (pseud. of Antoine Jean Bourlin, 1752-1828). Les Intrigants, ou Assaut de fourberies,comedie en 3 actes et en prose, representee, pour lapremiere fois, a Paris, sur le Theatre du Palais-Royal,le 6 aout 1787. Paris: Cailleau, 1787. Original edition.Soleinne 2249.

Les Intrigants, is notable for its depiction of the plight ofwomen. It includes a subplot featuring a secret marriagein which the virtuous Honesta married a rascal who,when time had withered her, forced her to pose as hissister.


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“Fagan” pseud of Barthélemy-Christophe Fagan. LesCaracteres de Thalie. . Comédie en trois actes, avec unprologue et un divertissement. Paris, Prault fils, Year:1737, Original edition.

Les Caracteres de Thalie consists of three discreetone act plays, l’Inquiet, l’Etourderie , Les Originauxeach with a different structure and theme, each playedtogether to form a complete work.

Fagan was particularly interested in the structure andeffects of drama. Les Caracteres de Thalie is anexperiment composed of a prologue followed by threeshort plays each of a different genre in order to presentthe different types of comedy then popular on theParisian stage. Les Caracteres de Thalie consists of acomedy of characters l’Inquiet; of Intrigue l’Etourderie*;and of Episode Les Originaux.** According to notes inthe BnF’s record of

Fagan’s plays, Les Caracteres de Thalie reflects aningenious and nnovative idea to assemble the differentkinds of comedy into a unified whole, introduced by aPrologue.

A forgotten playwright who ought to beremembered, In his own time. Fagan was influentialand celebrated even by Voltaire who thoughtFagan’s La Pupille, 1734, was the most completepetite pièce on the French stage

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François l’Hermite (c. 1601 – September 7, 1655).

Pantheé, Tragedie de Monsieur de Trista.

Paris: Augustin Courbe, 1639. Priv 23 Feburary 1638; Achevé10 May 1639. Tragedy in five acts, verse. Tchemerzine X.P.417 for original 4to edition with same dates as this the 12moedition. 12mo. 19th century vellum.Based on Xeonophon’stouching tale in the Cyropadeia books V-II, Tristan’s versionfinds Queen Pantheé of Susa (Assyria) captured by Cyrus Kingof Persia. Her poise and her beauty cause her to be discoveredand spared. The play was popular enough to be mentioned asone of the 41 plays in Poisson’s Baron de la Crasse and in thepreface to Corneille’s Sophonsibe. It was reprinted three timesafter the author’s death. Durval published a Panthée at aboutthe same time (Paris: Courbé, 1639). His was also based onXeonphon’s Cyropaedia. This subject had also been treated byAlexandre Hardy.

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Genest, Charles-Claude de (1639-1719.

Zélonide princesse de Sparte,tragédie. Genest, Charles-Claude de (1639

-1719). Zélonide princesse de Sparte, tragédie.

Paris: Claude Barbin, 1682. Original edition of

Genest’s rare first play. Barbier 19559; Herissant,

Catalogue des livres de la bibliotheque de feue

madame la Marquise de Pompadourean (1765)

1045; Lancaster IV 212-214; Soleinne 1488.

Five-act tragedy in verse. Preface in prose. The play

was successful on the stage, although critics found it

to lack both action and to have an excessive number

of récits, faults to which Genest himself confessed.

Nevertheless, it was acted almost 20 times at the

Comédie Française, and was also given at Saint-

Germain at Versailles and in November of 1682 at

Fontainbleau. It remained in the Comedie Français’

repertory until 1705, with 45 as the total number of

performances there.

Because of his early dramatic work, Genest was

considered a potentially major playwright whose

later plays were even more well received than

Zélonide After a brief career on the Paris stage,

Genest instead became a fixture in planning and

writing the theatrical entertainments for the Duchess

of Maine at her private estate at Sceaux (about

which see full description at the link below)

$1,500http://goldenlegend.com/pdfs/genest.pdf

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Gilbert, Gabriel . Rodogune: tragi-comédie.

Paris: Chez Antoine Sommaville, 1646. Original

edition: issued simultaneously by A. de Sommaville,

A. Courbé, and T. Quinet. (The name on the title-

page is Rodogune, but elsewhere the character

appears as Rhodogune. Quarto. Bound in

contemporary mottled calf, spine with raised bands

lettered in gilt, with ornaments.Tragic comedy in 5

actd, verse.

A warrior queen of 17th century Frenchdrama

As is well-known, Pierre Corneille wrote a play

Rodogune: Princesse des Parthes, Tragedie (Paris:

Quinet, or Sommaville or Courbé, 1647). The

resemblances between Gilbert’s tragi-comedy and

Corneille’s tragedy is “too striking to be ignored.”

The framework of the two plays is the same; many

details are “identical” and only the dénouement is

different. In Corneille, the play rushes on to a tragic

conclusion. In Gilbert’s, “a pacific influence turn the

course of the tragic action, and the happy end

follows. In contradiction to her Amazonian

character, she pleads the weakness of her sex”

(Pellet, 62-3).

The dissimilar dénoument of Gilbert’s piece need

not be considered a blunder, but rather an intentional

device.

$2,500http://www.goldenlegend.com/pdfs/gilbert.pdf

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Goudar, Ange (1720-1791). Le Brigandage de laMusique Italienne. Magnum sine viribus ignisincassum furit. (Virgil.Georg. III.99.100). [?Paris]:

1777. 8vo. Contemporary stiff wrappers & ties,

lettered in old ink on spine; half title bookplate on

verso. 156p. Uncut. Probably a large paper copy,

with wide margins measuring 5 3/8 x 8 7/8". First

edition. RISM notes two editions. This, the first

edition of 156pp.; the second, Amsterdam in Paris in

1780, 173pp.

Goudar, a staunch supporter of French music,

vehemently attacks Italian music in the present

work, but presents interesting ideas about the

musicality of the Italian language, as well as the

French. Goudar has comments on the castrati by

writing that he is a "charming Neapolitan

nightingale who leads a flock of warbling feathered

friends, among whom the cuckoo is singled out for

causing marital troubles whenever he served as a

singing teacher for French ladies".

Ange Goudar, (1720-1787) was a Frenchman from

Montpellier who lived in Switzerland, England and

Italy, wrote over thirty works (some with his wife)

on subjects ranging from ballet to agrarian

economics. His wife, Sara Goudar, deserves study as

an early English ballet critic. She is still quoted in

scholarly journals for her comments which help to

distinguish English from Italian forms of opera of

the period. She undoubtedly had some influence in

the writing of this work.

References: Cortot, p. 90; Eitner IV, p. 317; RISM

BVI, p. 372; Bibliotheque Royal de Belgique,$1,250www.goldenlegend.com/pdfs/goudar.pdf

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Guarini, Battista. Il Pastor fido.Tragicomedia. LeBerger fidelle. Tragicomedia del signor Cavalie BatistaGuarini. Faict en Italien & François, pour l’utilité de ceuxqui desirent apprendre les deux langues. Reneu & corigéen ceste derniere edition. Rouen: Chez Iacques Caillove,1648,

12mo. Contemporary vellum. xii, 310 leaves of text.With Italian and French on facing pages.

Il Pastor fido stands with Tasso’s Aminta as theoutstanding achievement of the Italian pastoral drama. Itwas begun in 1569 but not published until 1590. Thepopularity of Pastor Fido itself in France was due to thenumerous editions in Italian, in French Le Bergerfidelle and, as here, in bi-lingual editions that werecreated for students and others who wished to studyrefined Italian.

OCLC: North America. UIU only. This is the onlyCaillove edition located in OCLC.

$850

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Guichard, Jean-Francois (1731-1811). Le Bucheron, oules Trois souhaits, comedie en 1 acte, melee d'ariettes.Paris: C. Herissant, 1763. Original edition. Soleinne3231.

Based on a tale by Perrault, Les trois souhaits; . Thelumberjack or the three wishes is a Comedie meleed'ariettes or French operas with spoken dialogue.


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La Calprenède [pseud. of Gauthier de Coste,

Seigneur de la Calprenède] (ca. 1610-1663.

Recueil of four plays by La Calprenède,bound together, of which three areoriginal editions. (1637-1650). LaCalprenède as a dramatist This is acollection of four of La Calprenède’s earlyplays (he wrote nine), Including threeoriginal editions, including his first play,Mithridate, and his masterpiece, Le Comted’Essex, an English historical tragedy aboutElizabeth I and the Earl of Essex. Thecollection should provide valuableinformation on La Calprenèdé’s earlycareer as an author before he turned to thenovel.

1. La Mort de Mithridate. Tragedie. Paris:Anthoine de Sommaville, 1637. Originaledition.

2. Le Clarionte, ou le Sacrifice Sanglant.Tragi-comédie. Paris: Antoine deSommaville, 1637. Original edition.

3. La Mort des Enfans d’Herodes, ou Suitede Mariane. Tragedie: Paris: AugustinCourbe, 1639. Original edition.

4. Le Comte d’Essex. Tragedie. Paris:Toussainct Quinet, 1650. Second edition(original was 1639). This is the firstappearance in French theatre to depict the$3,500

www.goldenlegend.com/pdfs/calpren.pdfFull Description:

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La Chapelle, Jean de. Les Carosses d'Orleans Comediepar le sieur D.L.C. Paris, Jean Ribou, 1681. Originaledition. Soleinne 1481.

With its depiction of persons from various backgroundsassembled at an inn, Les Carosses d’Orleans bears aresemblance to Moliére’s les Fâcheux and Poisson’sAprès-soupé des Auberges. The author was obviouslytrying to reproduce comic types that one might meetwhile journeying across the country. “Its lively dialogue,amusing succession of scenes, and picture of mannerswould probably make it worth reviving even today. Withthe exception of the Festin de Pierre, no other play givenfor the first time at the Guénégaud before the union of thetroupes met with such long continued success”(Lancaster)

$850www.goldenlegend.com/pdfs/LaChapelle.pdf

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Lancret, Nicolas, 1690-1743. . Marie Sallé. Se

vende a Paris chez l'auteur d'entre du quai de la

Féraille ala croix de Perles et chez Sr. De

Laramessin rüe de Platre a la 4e porte cochena

adroit par la rüe St. Jacques et ches la Ve de F.

Chereau rüe St. Jacques au deux pilliers d'or a

Veu Privilege du Roy. 1732. Bocher.#71. Height

17 ½" ie 1' 5 ½ 444.5m; Length 22" ie 17 ½

558mm. Framed. Sallé to front, feet in fourth

position, arms à la seconde, elaborate ankle-length

gown. Background left, trio of women dancing.

Background right, four boys playing woodwind

instruments in front of the Temple of Diana, heavy

foliage. Engraved by L'Armessin, Nicolas de, 1684

-1753.

Marie Sallé, one of the most prominent dancers of

her time, was a daughter of a tumbler. She became

a student of Françoise Prevost at the Academie

Royale in Paris. In 1725, the English theatre

manager John Rich took her to London where she

appeared to great popularity. In fact, Sallé’s

greatest success was in London because of the

stagnant rules of classical ballet at the Paris Opera

that prevented innovation “The particular beauty of

Sallé’s dancing lay in extraordinary grace,

expressive gesture and vivid pantomime.” (Moore

30). Her great popularity led her to be compared

to Marie Camargo. As a result, Lancret created a

painting of Sallé that was very similar to that he

had made of Camargo.* $3,000http://www.goldenlegend.com/pdfs/salle.pdf

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Louis XIII. Two rare plaquettes concerning the doublemarriage of Louis XIII and his sister Elisabeth. 1615.

(Élisabeth de France). Discours véritable dece qui s'est passé à Bordeaux sur lesfiançailles et espousailles de Madame soeurdu Roy avec le prince juré d'Espagn Où sontdescrites les ceremonies, les noms desaßistans, et les adieux de part et d'autre, audepartement demadicte dame: Ensemble lesnoms des Chefs de ceux qui on prins lesarmes, & passé la Riviere de aronne, pourempescher le voyage. Troyes: PierreChevillot, 1615

A festival account of the marriage ceremony ofthe 13 year-old Élisabeth de France (b. 1602),laterally Isabella (de Bourbon), Queen Consortof Philip IV, King of Spain. Élisabeth was sisterto King

Louis XIII of France under the Regency of theirmother Marie de' Medici. The two siblings werevery close. When Élisabeth was ten years old,negotiations were begun for a double marriagebetween the royal families of France and Spain;Elisabeth would marry the Prince of Asturias(the future Philip IV of Spain) and her brotherLouis would marry the Spanish Infanta Anne.

--With--

(Louis XIII). La sortie du Roy de sa ville deBordeaux, pour retourner à Paris: Ensemblele ombre des seigneurs, chefs, capitaines &gens de guerre, qui l'assistent au retour deson voyage de Guyenne. Troyes: PierreChevillot, 1615. Leaf of title, verso blank; pp 3

$2,500www.goldenlegend.com/pdfs/LouisXIII.pdf

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Molière, Benserade et al. Molière and HisBallets: Recueil of 12 Librettos for

Ballets and Mascarades in Paris, 1645-1669 Original editions. Provenence: Bookplate

of Albert-Jean Guibert, the Molière bibliographer.

1. Ballet de l’oracle de la Sibile de Pansoust Dansé

au Palais Royal, & à l’Hotel de Luxembourg. .

Paris: Jean Bessin, 1645. 2. Ballet de la Revente

des habits du ballet. S.l.n.d., 7 pp.. Édition

originale. Silin p 251-3 (ca 1655) Beauchamps

lists the ballet in 1655 on 6 January, but he lists it

again as being danced in 1661. La Vallière has it

performed in 1661. 3. Mascarade des fripiers.

Allans par les ruës, & se servants de leurs hait

pour faire voir ce qu’ils en ont à loüer pour le

Carnaval. S.l.n.d., 4 pp. ( 1551- 1661 4. Xersès,

Comedie en musique del Signor Francesco

Cavalli. Avect six Entrées de ballet qui servent

d’intermede à la Comedie: Paris, Ballard, 1660, 5.

Ballet royal de la naissance de Vénus. Dansée

devant sa Majesté le 26. De Janvier 1665. Paris:

Ballard, 1665. 6. Le Triomphe de Bacchus dans

les Indes. Mascarade. Dansée devant sa Majesté le

9. Janvier 1666. Paris: Ballard, 1666. 7. Le Ballet

des muses. Dansé par sa Majesté à son Chasteau

de S. Germain en Laye le 2. Decembre 1666.

Paris: Ballard, 1666-7. 8. Le Carnaval.

Mascarade Royale. Dansée par sa Majesté le dix-

huitiéme Janvier 1668. Paris: Ballard 1668. 9.

Relation de la feste de Versailles. Du dix-huitiéme

Juillet mil six cens soixante-huit. Paris., Pierre Le

soldwww.goldenlegend.com/pdfs/Molrecu.pdf

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Monsigny, Pierre-Alexandre (1729-1816). Rose et Colas.

Comedie en un acte. Monsigny, Pierre-Alexandre

(1729-1816). Rose et Colas. Comedie en un acte.

Representee pour la premiere fois par les Comediens

Italiens. Le Jeudy 8. Mars 1764. Paris: Herissant,

[1764]. References: RISM M 3272; BUC 900. Folio,

154pp. Engraved score and leaf of title.

Contemporary quarter calf and marbled boards.

Spine a bit worn, especially at the crown. Text very

clean, with a few leaves darkened. A very nice copy.

Rose et Colas, one of Monsigny's most popular

works, premiered at the Comedie-Italienne on the

8th of March 1764, and was subsequently performed

throughout Europe, both in French and in

translation. Libretto by Michel-Jean Sedaine. With

Rose et Colas, Sedaine and Monsigny returned to

one of the standard themes of opera comique: two

young peasants crossed in love. Rather than

representing a backward step after the powerful and

tormented language of "Le roi et le fermier," Rose et

Colas was an attempt to convey the quintessence of

traditional opera comique -- and perhaps to outdo

Favart on his own ground.

$1,000

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Monvel (pseud. of Jacques-Marie Boutet 1745-1812).L'Amant bourru, comedie en 3 actes et en vers libres,representee par les Comediens francois ordinaires duRoi, le Mercredi 14 aout 1777. Dediee a La Reine.Paris: Vve Duchesne, 1777. Original edition. Soleinne(2170). First performed November 22, 1775, GrandTheatre de la Monnaie Bruxelles.

8vo. 19th century cloth and boards. Light soiling to firstand last pages. 67pp. Cast list. L'Amant bourru, based onthe novel of Madame Riccoboni, is an elegant drawingroom comedy with 6 characters. It is considered Boutet'sbest play. The play's great popularity was due to the leadacting of the two great comedic rivals: M. Mole andBoutet himself. Reference: Chefs-d'oeuvre des auteurscomiques... Paris: Firmin Didot Freres, 1846.

$350

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paterre, J.B. . La Danse. Engraving by Pierre Filloeul(1696–after 1754) after a painting by J.B. Paterre (1695-1736). Paris: chez sur que graveur du Roy, 1738.

Large engraving on laid paper, with eight lines of poetryin French, publisher's logo at bottom (19 3/4 x 15 1/2").Large margins. Slightly soiled, two minor marginal tears,minor tape remains verso. Very good copy.

La Danse is created in the lyrically charming andgraceful Rococo style, perhaps based on Watteau**.The scene pictures eight figures in a clearing with acupid upper right (seemingly not a statue) looking downon the scene. At left a boy plays a pipe while a couplecenter left dances. She holds his hand while he extendshis left arm holding a castanet. To the right, one coupleembraces while one couple reclines watching thedancers. A lone woman, perhaps a sympathetic chaperon,stands above the two couple with shawl extended.

Le Danse is engraving no. 4 from the suite Les Plaisirsde la Jeunesse.

$750www.goldenlegend.com/pdfs/Paterre.pdf

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(Petronius Arbiter) Boindin, Nicolas (1676-1751); LaMotte, M. de (1672-1731); (Antoine Houdar). Lamatrone d'Ephese: comedie par Mr B*** A. A Paris:Chez Pierre Ribou, proche les Augustins, a la descente duPontneuf, a l'Image S. Louis, 1702. Original edition..Cioranescu, A. 18. s; 36563. Permis. Sep. 30, 1702. 12moDisbound. 46pp. Lacking last leaf (ads? Blank?) Note(s):"Avec permission." By Antoine Houdar de La Motte with thecollaboration of Nicolas Boindin. First performed Theatre de larue des Fosses Saint-Germain, Paris, France , September 23rd,1702. One act in seventeen scenes in prose.

Taken from Petronius Arbiters Satryicon.

Antoine Houdar 1672-1731 was a talented poet, playwright,critic and literary theorist who suffered from paralysis andpartial blindness most of his life.. Although he condemnedslavish adherence to the unities and the dramatic conventionsestablish by Corneille and Racine, his own dramas abandonedhis revolutionary opinions and conformed to the conventions ofthe day. Houdar was author of almost 40 plays and ballets.

Reference: Brenner, 1947, # 7820; Solenine 1587; MaupointM.200; Green, Joseph Hollingsworth. Menander to Marivaux:The History of a Comic Structure (1977) Locations: OCLC:CTY UAB

$1,000

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Rameau, Pierre. Le maitre a danser: Paris: Ches JeanVillette Fils, rue S. Jacques, a Saint Bernard, 1734Second edition, with additions. (the first being 1725)."One of the most important books in the history ofdance literature . . . it contains the clearest and mostdetailed descriptions available of the structure andexecution of the basic steps used in social andtheatrical dance‚” (Hilton, 49).

Illustrated with dance notation of [60] copper-engraved plates signed by Rameau, comprisingfrontispiece and 59 additional engravings of dancepositions, floor diagrams, and hand movements.

Rameau sets down for the first time, verbally andwith illustrations, the five basic positions for the feet,which had been notated but not analyzed in hisseminar work Chorégraphie (1700).

$8,500www.goldenlegend.com/pdfs/Rameau.pdf

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Robineau de Beaunoir, Abbe. La Philosophe, Anti-Drame. Paris: Duchesne, 1775. 8vo. Disbound. Finecopy. 72pp., uncut with half title. Soleinne (2250).Original edition. Cioranescu 18.53528.

In his Avertissement, the author defines an anti-drame assomething between a comedie and drama, slightly like a"parade." It is one of a small group of plays, Wadecounts 19 in all, that in the last half of the eighteenthcentury, depicted the "philosophe" of middle-class life.


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St. Aubin, Augustine de. (artist) . Ballet dansé auThéatre de l'Opera, dans le Carnaval duParnasse. Acte Ier. Dedié, è Monseigneur, le Duc

de la Valiere; Pair et Grand Fauconnier de France,

Chevalier des Ordres du Roi, Brigadier de ses

Armées, Gouverneur et Grand Senechal de la

Province de Bourbonnois et Capitaoine des Chasses

de la Capitainerie Royale de la Varenne du Louvre,

Par son très humble et très obéissant serviteur,

Basan. G. De St. Aubin Pinxit; F. Basan Sc. A

Paris, ches Basan, Graveur, rue St. Jacques.

[c.1760]. Etching and engraving, platemark 14 5/8"

X 12 3/8", with margins. On laid paper with

watermark (unreadable). On verso, tape tipped to

upper corners; small ½" closed tear at bottom right

margin and mid right margin.

The etching suggests a scene from the first act of

Carnaval de Parnasse : ballet héroïque en 3 actes et

un prologue (premiere 1749). Louis Fuzelier (Paris,

1674-1752) librettists; Jean-Joseph Cassanéa de

Mondonville (Narbonne 1711-1772) composer. On

the left on a hill in the distance, Pegasus rears on his

hind legs; in the center in a forest settings are four

couples dancing in costumes. To the right is a figure

in theatrical costume with a puppet in his right

hand, pointing, with his left to the dancers; a

group of women behind are watching the dancers.

In the lower left a woman is seated with a man

who is paying more attention to her than to the

dancers. An audience is seated in the rear of the

image.

$1,450http://www.goldenlegend.com/pdfs/parnassus.pdf

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(Terence). Publii Terentii Afri. Comoediae Sex AdOptimorus Exemplarium fidem recensitae. Paris:Natalem le Loup Jacobum Merigot, 1753. First editionwith engravings by Gravelot.

2 vols. 12mo. Original wrappers, uncut and unopened.Occasional faint foxing. Wrappers a bit frayed and dusty,but an excellent copy. Illustrated with a portrait ofTerence, as well as 37 vignettes and 28 "culs-de-lamps" (tailpieces) after Gravelot, engraved by Delafosseand Sornique. Gravelot was the pseudonym of Hubert-Francois Bourguignon.

Cohen/Di Ricci note that the engraved tail piecesthroughout this edition are remarkable in that theyrepresent almost every type of historic theatrical mask,based on Roman theater. References: Cohen/DiRicci, pp.982-83; Ebert 2:22527; Schweiger 2:1069.

$850www.goldenlegend.com/pdfs/terence.pdf

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Torelli, Giacomo. Feste theatralie per laFinta Pazza drama (Etchingfrom the 1645 Paris Livret.[Etching: A courtyard settingAct I-3 to Act II-7]. [Corte della reggia

del. Re di Sciro. A Palace Courtyard ] [etching]

Feste theatralie per la Finta Pazza drama del Sig.

Giulio Strozzi, Rappresentate nel piccolo

Borbone in Parigi quest anno MDCXLV, et da

Giacomo Torelli da Fano Inventore...] Paris,

1645). (Bjurstrom p251); Sartori 10097.

Etching on laid paper, bunch of grapes watermark

with initials. 10” x 13 1/4”.

The opera La Finta Pazza (The maiden feigning

madness) had music by Francesco Sacrati (Italian

1605-1650) and libretto by Giulio Strozzi (Italian

1583-1652). It was first performed in Paris on 19

September 1645 at the Salle du Peitit Bourbon,

Louvre. Cardinal Mazarin who wanted to introduce

Italian opera to France had arranged for the original

scenic designer, from the 1641 Venetian production,

Giacomo Torelli (Italian 1608-1678) to come to

Paris to oversee the production.

La Finta Pazza is considered to be the second

French opera and the “first French operatic hit”

particularly because the striking effects of Torelli’s

machine enchanted the viewer through the use of

“the stage decorations, the ingenuousness of the

machines and the admirable scene changes, until

now unknown in France and which captivate the$1,500http://www.goldenlegend.com/pdfs/Torelli2.pdf

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Torri, Pietro. Abelle, Oratorio. . Valenziena

(Valenciennes): Presso Gabrielle Francesco Henry,

Stampatore Regio, 1711 Original edition. Oratorio

libretto in three acts, in verse. Libretto. 12mo.

Collation: A-D8, E3. Eighteenth-century polished

calf.

Abelle is one of the few Italian sacredoratorios of the period that was staged astheatre. “Theatrical performance of oratorios—

with scenery, costumes, acting and memorized roles

—was highly exceptional in Italy before the mid-

eighteenth century; such performance of Italian

oratorios appears slightly less exceptional outside

Italy. Prior to the mid-eighteenth century, six Italian

oratorios are thus far known to have been performed

as operas—all six are by Pietro Torri (1650- 1737)

and were written for the elector of Bavaria

Maximilian II Emanuel (1662-1726) between 1692

and 1727” (Smither, 50).

Torri’s sacred oratorios were performed in place of

operas during Lent. Their subjects were generally

taken from the Old Testament or the lives of saints.

These were rediscovered only a few years ago. The

phrase “Oratorio teatrale” in some of their titles

indicates stage performance (such works were also

staged later in Munich). According to the account of

a court lady, Torri’s Abelle was performed “like an

opera when it was revived at the Salvator theater in

1734” (Buelow, 301).

$2,500http://www.goldenlegend.com/pdfs/Torri.pdf

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Various. Sammelband. Jansenist plays. [Three 18thcentury Jansenist plays bound together].

Arlequin Janseniste.....Le Saint deniche, ou labanqueroute des marchands de miracles... Le DocteurFagotin, comedie en trois actes.

All three plays concern the bitter theological, and alsolegal rivalries, that inflamed French intellectuals from thelate 17th century, surrounding the ideas of CorneliusJansen who published his Augustianis in 1640.


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Verdy du Vernois, Adrien Marie Francois de (1738-1814). Recherches sur les carrousels anciens etmodernes . Suivies d'un Projet de jeux équestres àl'imitation des tournoys de l'ancienne chevalerie. Danslequel, on démontre l'utilité que la noblesse retireroit durétablissement de ces jeux, autrefois l'école de l'adresse etde la valeur.

(Paris?: Cassel)1784 8vo. 19th century vellum. ii], [iv],[3]-155, [1] blank. Collation [], *2, A-J8, K6 [K1 onstub]. Very clean copy, occasional slight foxing.Ornaments in text.

After discussing the Roman circuses, and Chevalerie inthe middle ages, the tournament itself is discussed (pp37-107) in its forms and participants (including theplacement of the audience). Following this, the textanalyzes the modern reintroduction of these types ofgames (pp108-155).

Barbier 21795; Brunet IV 15991; Querard X p.107;OCLC: North America: Society of the Cincinnati,Virginia, Metropolitian Museum(?)

$800

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Villedieu, Marie-Catherine-Hortense de (1640?-1683).Memoires de la vie de Henriette-Sylvie de Moliere.

Premiere [-Seconde] Partie. Paris: C. Barbin,

1671.12mo. 19th century cloth. 78, 69pp. Each part

with separate title page. A-C12, D6; A-B12, C11.

Very good copy with slight darkening to pages of

first part.

Memoires de la vie de Henriette-Sylvie is an

epistolary novel from a character's point of view.

Completed in 1674, "the Memoires comprises six

long, first-person letters... [that] tell the story of an

abandoned infant of uncertain parentage who, as a

young woman, is thrown out into the world on her

own after her foster father attempts to rape her. The

Memoires is neither an autobiography, nor a novel,

nor memoir, nor an epistolary novel, but a text that

has something of all these genres... This is her most

striking work. The text, which has a number of

picaresque elements, skillfully mixes real events

from the author's life with fictional adventures,

creating a first-person tale of an independent and

enterprising woman" (Kuizenga).

This work, along with Scud'ey's epistolary fiction

Lettres amoureuses de divers auteurs de ce temps

(1641), are the first French examples of the narrative

form that would be so popular in the eighteenth

century (Stephens). Villedieu is credited by historian

Pierre Bayle with the invention of the gallant tale,

which replaced the long sentimental novels that had

been fashionable

$1,200http://www.goldenlegend.com/pdfs/villedieu.pdf

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IndexA

Abelle, Oratorio, 42Aigueberre, Jean, 11Aigueberre, Jean, 12

bballet, 13Ballet dansé au Théatre de l'Opera, dans le…, 39Beaunoir, pseud, 14Benserade, Isaac, 14

CChenavard, A, 15

DDancourt, Florent, 16Dieux tutélaires de l'Auvergne, Les, 4Dorat, Claude, 17Dorvigny pseud, 17Du Peschier, 18Duclos, Antoine, 19Duclose in the role of Ariane, 20Duclose, Marie, 20Dumaniant, pseud, 21

FFagan” pseud, 22Feste theatralie per la Finta Pazza drama Etching…, 41festival. La Brillante journée ou le carrousel des…, 5fireworks Grande description de la fête superbe du…, 6fireworks. Description des magnificences et feux de joye, 7François l’Hermite, 23

GGenest, Charles, 24Gilbert, Gabriel, 25Goudar, Ange, 26Guarini, Battista, 27Guichard, Jean, 27

IIl Pastor fido.Tragicomedia. Le Berger fidelle, 27

LL'Amant bourru, comedie en 3 actes et en…, 34

Page 1Golden Legend, Inc. 310-385-1903 • [email protected]

La Calprenède, 28La Chapelle, 29La comédie des comédies, 18La conservation de la personne du roi, sujet…, 8La Danse. Engraving by Pierre Filloeul 1696–after…, 35La Feinte par amour, comedie en trois actes…, 17La matrone d'Ephese: comedie par Mr B*** A, 36La Philosophe, Anti-Drame, 38Lancret, Nicolas, 30Le Bal Pare a monsieur de Villemorieu Fila…, 19Le Brigandage de la Musique Italienne. Magnum sine…, 26Le Bucheron, ou les Trois souhaits, comedie en…, 27Le maitre a danser: Paris: Ches Jean Villette…, 37Le Ramoneur prince et le prince ramoneur, comedie…, 14Les Caracteres de Thalie, 22Les Carosses d'Orleans Comedie par le sieur D.L.C, 29Les fausses consultations, comedie en 1 acte, representee…, 17Les Intrigants, ou Assaut de fourberies, comedie en…, 21Les OEuvres de Monsieur de Bensserade, 14Les trois spectacles ou Polixene, tragédie en un…, 11Les vendanges, comedie, 16Louis XIII, 31

MMagnifiqves Ceremonies faites a l’arrivee de Leurs Maiestez…, 9Marie Sallé. Se vende a Paris chez l'auteur d'entre…, 30Memoires de la vie de Henriette-Sylvie de…, 45Molière and His Ballets: Recueil of 12 Librettos…, 32Molière, Benserade, 32Monsigny, Pierre, 33Monvel pseud, 34

PPantheé, Tragedie de Monsieur de Trista, 23paterre, J.B, 35Petronius Arbiter, 36Publii Terentii Afri. Comoediae Sex Ad Optimorus Exemplarium…, 40

RRameau, Pierre, 37Recherches sur les carrousels anciens et modernes, 44Recueil of 13 ballets performed at L’Academie Royale…, 13Recueil of four plays by La Calprenède, bound…, 28Robineau de, 38Rodogune: tragi-comédie, 25


Rose et Colas. Comedie en un acte, 33

SSammelband. Jansenist plays, 43Seconde Lettre du Souffleur de la Comédie de…, 12St. Aubin, 39

TTerence, 40Theatres Antiques leur Grandeur Comparee, 15Torelli, Giacomo, 41Torri, Pietro, 42Two rare plaquettes concerning the double marriage of…, 31

VVarious, 43Verdy du, 44Villedieu, Marie, 45Voltaire. Plaidoyer pour le sieur Travenol fils, de…, 10

ZZélonide princesse de Sparte, tragédie, 24


Spectacle before 1800 Theatre and Dance - Golden Legend

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