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Francois Ponsard (1814-1867). The Reader's Biographical Encyclopaedia. 1922

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Francois Ponsard (1814-1867). The Reader's Biographical Encyclopaedia. 1922 Dictionary Biographies Literary Criticism Welcome Terms of Service ⧏ Previous Next ⧐ Contents Bibliographic Record Hugh Chisholm, et al., eds.  The Reader’s Biographical Encyclopædia.  1922.
17,000 Articles from the Encyclopædia Britannica, 11th & 12th eds. François Ponsard (1814–1867) French dramatist, born at Vienne, department of Isère, on the 1st of June 1814. He was bred a lawyer, and his first performance in literature was a translation of Manfred (1837). His play Lucrèce was represented at the Théâtre Français on the 1st of April 1843. This date is a kind of epoch in literature and dramatic history, because it marked a reaction against the romantic style of Dumas and Hugo. He received in 1845 the prize awarded by the Academy for a tragedy “to oppose a dike to the waves of romanticism.” Ponsard adopted the liberty of the romantics with regard to the unities of time and place, but he reverted to the more sober style of earlier French drama. The tastes and capacities of the greatest tragic actress of the day, Rachel, suited his methods, and this contributed greatly to his own popularity. He followed up Lucrèce with Agnès de Méranie (1846), Charlotte Corday (1850), and others. Ponsard accepted the empire, though with no very great enthusiasm, and received the post of librarian to the senate, which, however, he soon resigned, fighting a bloodless duel with a journalist on the subject. L’Honneur et l’argent, one of his most successful plays, was acted in 1853, and he became an Academician in 1855. For some years he did little, but in 1866 he obtained great success with Le Lion amoureux, another play dealing with the revolutionary epoch. His Galilée, which excited great opposition in the clerical camp, was produced early in 1867. He died in Paris on the 7th of July of the same year, soon after his nomination to the commandership of the Legion of Honour. Most of Ponsard’s plays hold a certain steady level of literary and dramatic ability, but his popularity is in the main due to the fact that his appearance coincided with a certain public weariness of the extravagant and unequal style of 1830.

1   His Œuvres complètes were published in Paris (3 vols., 1865–1876). See La Fin du théâtre romantique et François Ponsard d’après des documents inédits (1899), by C. Latreille.

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