Instruct: Given a question, retrieve relevant passages that answer the question.
Query: When did Jean-Baptiste Poquelin adopt his stage name Moliere?
Some French authors have shown a preference for mononyms. In the 17th century, the dramatist and actor Jean-Baptiste Poquelin (1622–73) took the mononym stage name Molière.
The main bronze sculpture, showing Moliere seated under a portico under an imposing arch, is by Bernard-Gabriel Seurre (1795–1875) and cast by the fonderie Eck et Durand. Under him is an inscription flanked by two marble female sculptures by Jean-Jacques Pradier (1792–1852), 'Serious Comedy' and 'Light Comedy' - each holds a scroll listing Moliere's works. Right at the bottom are lion masks, from which the water pours into a semi-circular basin. A commemorative medal for the fountain's inauguration was designed by François Augustin Caunois in 1844 - an example of it is in the musée Carnavalet (ND 0367).
Guillaume Apollinaire was one a group of poets whom Poulenc had met as a teenager. Adrienne Monnier's bookshop, the "Maison des Amis des Livres", was a meeting place for "avant-garde" writers including Apollinaire, Max Jacob, Paul Éluard and Louis Aragon. Apollinaire, the illegitimate son of a Polish noblewoman, was described by the critic Edward Lockspeiser as the prominent leader of Bohemian life in Montparnasse. Among his achievements were to bring to prominence the painter the Douanier Rousseau, and to invent the term "surrealism", of which he was a leading exponent. In June 1917 the audience for the first performance of Apollinaire's "drame surréaliste", "Les Mamelles de Tirésias", at a theatre in Montmartre included Jean Cocteau, Serge Diaghilev, Léonide Massine, Henri Matisse, Pablo Picasso, Erik Satie, and the young Poulenc. Many years later Poulenc said that though he had been immensely amused by the farcical piece it did not occur to him at the time that he would ever set it to music.
In 1758, a young Jacques-Jean le Coulteux du Molay (1740–1823), equerry to King Louis XV, and his wife Geneviéve –Sophie le Coulteux de la Noraye (painted below in 1788); built the chateau, his first large residence, in the heart of Normandy’s woodland countryside, close to Rouen, his birthplace. Jacques-Jean was a wealthy and well known banker, who had one son (Jacques Félix Le Coulteux du Molay was born Paris 29 June 1779 and died in Dijon 1 April 1812) with Genevieve before their divorce. During their time together they also bought the famous Malmaison near Paris – some of those styles are reflected in the chateau you now stand. Jacques-Jean later married Alexandrine Sophie Pauline Le Couteulx; the couple had three children.
Leblanc introduced Sherlock Holmes to Lupin in the short story "Sherlock Holmes Arrives Too Late" in "Je sais tout" No. 17, 15 June 1906. In it, an aged Holmes meets a young Lupin for the first time. After legal objections from Doyle, the name was changed to "Herlock Sholmes" when the story was collected in book form in Volume 1.
In 1900 he wrote his first novel "Mirely, ou le petit trou pas cher" (pornographic), which was eventually lost. Apollinaire's first collection of poetry was "L'enchanteur pourrissant" (1909), but "Alcools" (1913) established his reputation. The poems, influenced in part by the Symbolists, juxtapose the old and the new, combining traditional poetic forms with modern imagery. In 1913, Apollinaire published the essay "Les Peintres Cubistes, Méditations Esthétiques" on the Cubist painters, a movement which he helped to define. He also coined the term "orphism" to describe a tendency towards absolute abstraction in the paintings of Robert Delaunay and others.
Little is known of his early years, but Jacques de Molay was probably born in Molay, Haute-Saône, in the County of Burgundy, at the time a territory ruled by Otto III as part of the Holy Roman Empire, and in modern times in the area of Franche-Comté, northeastern France. His birth year is not certain, but judging by statements made during the later trials, was probably around 1250. He was born, as most Templar knights were, into a family of minor or middle-ranking nobility. It is suggested that he was dubbed a knight at age 21 in 1265 and is known that he was executed in 1314, aged about 70. If correct, these dates lead to the belief that he was born about 1244.
Rollin received minor work following "Les trottoirs de Bangkok"; in 1985, he resumed his pseudonym work as Michel Gentil in a non-pornographic feature, the slapstick comedy, "Ne prends pas les poulets pour des pigeons" which reunited Brigitte Borghese and Gérard Landry from his previous film, and included French actor and comedian Popeck. Rollin was hired for the work and therefore his real name was not attached to the project. In 1988, he received the uncredited directorial role in the erotic sequel "Emmanuelle 6", in which he also served as screenplay writer. The film suffered many flaws during production under direction from Bruno Zincone and Rollin became involved in an attempt to salvage what he could and see that production was completed for the financiers.
Guillaume Apollinaire (; 26 August 1880 – 9 November 1918) was a French poet, playwright, short story writer, novelist, and art critic of Polish-Belarusian descent.
Modern historians agree that the Templar of Tyre's document does not designate Jacques de Molay, but instead designates the Mongol general "Mûlay". Earlier historians however, regularly confused the two. This confusion was further expanded in 1805, when the French playwright/historian, François Raynouard, made claims that Jerusalem had been captured by the Mongols, with Jacques de Molay in charge of one of the Mongol divisions. ""In 1299, the Grand-Master was with his knights at the taking of Jerusalem."" In 1846, a large-scale painting was created by Claude Jacquand, entitled "Molay Prend Jerusalem, 1299" ("Molay Takes Jerusalem, 1299"), which depicts the supposed event. Today the painting hangs in the Hall of the Crusades in the French national museum in Versailles. And in the 1861 edition of the French encyclopedia, the "Nouvelle Biographie Universelle", it says in the "Molay" article:
Louise-Marie-Madeleine Guillaume de Fontaine (after marriage known as Madame Dupin; 28 October 1706 – 20 November 1799) was a French "saloniste".
Apollinaire eventually moved from Rome to Paris and became one of the most popular members of the artistic community of Paris (both in Montmartre and Montparnasse). His friends and collaborators in that period included Pablo Picasso, Henri Rousseau, Gertrude Stein, Max Jacob, André Salmon, André Breton, André Derain, Faik Konitza, Blaise Cendrars, Pierre Reverdy, Alexandra Exter, Jean Cocteau, Erik Satie, Ossip Zadkine, Marc Chagall, Marcel Duchamp and Jean Metzinger. He became romantically involved with Marie Laurencin, who is often identified as his muse. While there, he dabbled in anarchism and spoke out as a Dreyfusard in defense of Dreyfus's innocence.
Ballet was further shaped by the French "ballet de cour", which consisted of social dances performed by the nobility in tandem with music, speech, verse, song, pageant, decor and costume. When Catherine de' Medici, an Italian aristocrat with an interest in the arts, married the French crown heir Henry II, she brought her enthusiasm for dance to France and provided financial support. Catherine's glittering entertainments supported the aims of court politics and usually were organized around mythological themes. The first "ballet de cour" was the "Ballet de Polonais." This Ballet was performed in 1573 on the occasion of the visit of the Polish Ambassador. It was choreographed by Balthasar de Beaaujoyeulx and featured an hour-long dance for sixteen women, each representing a French province. "Ballet Comique de la Reine" (1581), which was also choreographed and directed by Balthasar de Beaujoyeulx, was commissioned by Louise of Lorraine, queen consort of King Henry III, son of Catherine, to celebrate the marriage of Henry's favorite the Duke de Joyeuse to Marguerite de Lorraine, the sister of Queen Louise. The ballet lasted for more than five hours and was danced by twenty four dancers: twelve naiades and twelve pages.
In Prince Michael of Greece's research on the descendants of Jean-Phillipe de Bourbon, he feels "certain that he [Jean-Phillipe] was the son of Charles III, the Constable of France, the richest and most famous and powerful member of the family". In Prince Michael's book "Le Rajah de Bourbon", Jean-Phillipe married the Portuguese sister of the Christian wife of Akbar, was also given a large amount of land and became a Rajah (king) in India. He also explains how Jean-Phillipe was the first Bourbon French king, Henry IV's nephew and how sometime before 1560, Jean-Phillipe embarked on a worldwide adventure before landing at the gates of Akbar's empire. His subsequent marriage to Lady Juliana after she tended to him during a severe illness and was then gifted to him by Akbar, produced a long line of Bourbons in Bhopal, India.
Having learned to sew during her six years at Aubazine, Chanel found employment as a seamstress. When not sewing, she sang in a cabaret frequented by cavalry officers. Chanel made her stage debut singing at a "cafe-concert" (a popular entertainment venue of the era) in a Moulins pavilion, "La Rotonde". She was a "poseuse", a performer who entertained the crowd between star turns. The money earned was what they managed to accumulate when the plate was passed. It was at this time that Gabrielle acquired the name "Coco" when she spent her nights singing in the cabaret, often the song, "Who Has Seen Coco?" She often liked to say the nickname was given to her by her father. Others believe "Coco" came from "Ko Ko Ri Ko", and "Qui qu'a vu Coco", or it was an allusion to the French word for kept woman, "cocotte". As an entertainer, Chanel radiated a juvenile allure that tantalized the military habitués of the cabaret.
"Ballet des Polonais" was one of the first works to be recognized as a true court ballet. The spectacle was commissioned by Catherine de’ Medici in 1573 to celebrate the election of her second son, Henry of Anjou, as King of Poland. Performed at the Tuileries Palace and organized by the Italian dancing master, Balthasar de Beaujoyeulx, the hour-long ballet consisted of sixteen amateur French ladies representing the sixteen provinces of France. Describing it as the most beautiful ballet ever made on earth, the court observer Brantome recounted that they “danced their ballet so curiously designed, with so many turns, swerves, and sinuosities, interlacings and minglings, confrontations and withdrawals, that [it was surprising that] no lady ever failed to be at her appointed turn or place.” Although its combination of verse, song and dance had been used before, the intricate figure dancing involved in the "Ballet des Polonais" marked the beginning of the French style that would become the dominant continental school over the next century.
The play formed the basis for an opera with a libretto by Lorenzo Da Ponte and music by Mozart, also called "The Marriage of Figaro" (1786). In 1799, another opera based on the same play, "La pazza giornata, ovvero Il matrimonio di Figaro", was produced in Venice with libretto by Gaetano Rossi and music by Marcos Portugal.
Jean-Jacques Rousseau subsequently sent an inflamed letter to Madame Dupin, who returns him expressing her concern. This doesn't stop the writer for much and only the intervention of Louise's stepson put an end to his attentions. But Madame Dupin was hardly spiteful and some months after these incidents, takes Rousseau in her service and put him in charge of the education of her son Jacques-Armand for eight days pending for a new tutor. Subsequently, the Dupins taken Jean-Jacques Rousseau as secretary after their return from Venice in 1745, when he is not yet a writer and for a modest salary. His job was to take notes and research for the book projected by Madame Dupin, namely "the defense of women in the 18th century are discussed in minor ... until they died". Madame Dupin stood Rousseau almost to a subordinate or, in the words of Grimm and Marmontel, she gives him leave the day it receives academicians. Jean-Jacques Rousseau feels bitterness after leaving his job as a secretary in 1751, but will always keep good relations with the Dupin family. Madame Dupin provides financial support to his wife, Marie-Thérèse Levasseur, who gave birth to five children abandoned by Rousseau to the Foundling Hospital. As for Louis Claude Dupin, his bound with Rousseau came for their common passion for music. The stepson of Madame Dupin was interested in physics, chemistry and natural history, hoping to integrate the Academy of Sciences and the philosopher did write an unfinished book, popular science to "Institutions of Chemistry".
Other Paris artists took part in the war; the poet Guillaume Apollinaire, for example, went into the army and was seriously wounded in 1916. While recovering in Paris, he wrote "Les Mamelles de Tirésias" and coined the word Surrealism in the program notes for Jean Cocteau and Erik Satie's ballet "Parade". He also published an artistic manifesto, "L'Esprit nouveau et les poètes". The war-weakened Apollinaire died of influenza during the Spanish Flu pandemic of 1918 and was interred in the Père Lachaise Cemetery.
Between 1880-1882, a young clerical student in Paris named Jean Parisot published what was purported to be "material of the Taensa language, including papers, songs, a grammar and vocabulary"; this generated considerable interest among philologists. There was doubt about this material for many years; noted American anthropologist and linguist John R. Swanton conclusively proved the work to be a hoax in a series of publications in 1908-1910.
Jacques de Molay (; c. 1243 – 18 March 1314), also spelled "Molai", was the 23rd and last Grand Master of the Knights Templar, leading the Order from 20 April 1298 until it was dissolved by order of Pope Clement V in 1312. Though little is known of his actual life and deeds except for his last years as Grand Master, he is one of the best known Templars.
In 1661, Moliere moved his company into the theater built by Cardinal Richelieu at the Palais-Royal. After the death of Moliere in 1673, the composer Jean-Baptiste Lully expelled Moliere's actors from the theater and used it for performances of operas. Chased from their home, the actors of Moliere moved to a different theater, called La Couteillle, on the modern rue Jacques-Callot, where they merged with their old rivals, the company of the Hôtel de Bourgogne. In 1680, the new company was officially chartered by the King as the "Comédiens de Roi", which became known as the Comédie-Française. In 1689, they were forced to depart because of complaints that the actors were a bad influence on the neighboring noble students of the Collège des Quatre-Nations. They moved further south on the left bank to the modern rue de l'Ancienne-Comédie, where they remained until 1770, before moving back to their present home at the Palais-Royal between 1786 and 1790.
It has borne several names, including "rue de la Fontaine-Molière", "rue Traversière-Saint-Honoré" before 1843, earlier the "rue Traversine" or "Traversante", and in 1625 "rue de la Brasserie" or "rue du Bâton-Royal". It is notable for collège Jean-Baptiste-Poquelin, named after the playwright Jean-Baptiste-Poquelin, the real name of Molière.
The Molière was an international train operated by SNCF, initially linking Paris and Düsseldorf. The train was named after Jean Baptiste Poquelin using his stage name.
Jean-Baptiste Poquelin is raised by his father and his grandfather because his mother dies when he's still very little. He works as a handyman, studies the law at a university and travels the country as an actor before he becomes the celebrated playwright Molière who impresses firstly the Duke of Orleans and then even King Louis XIV.