* A French parody by Paul Scarron became famous in France in the mid-17th century, and spread rapidly through Europe, accompanying the growing French influence.

Paul Scarron, engraving by Antoine Boizot, 1736

Scarron became employed by the bookseller Quinet and called his works his " marquisat de Quinet.

The most famous mock-heroic poems in French were Le Vergile Travesti ( The disguised Vergil ) by Paul Scarron ( 1648 – 52 ) and The Maid of Orleans by Voltaire ( 1730 ).

In 1669, when Madame de Montespan's first child by Louis was born, she gave Mme Scarron a large income and staff of servants at Vaugirard to raise the child in secrecy.

Saint-Simon was told by his father-in-law that the King had initially disliked Madame Scarron, but, as he tired of Madame de Montespan's bad temper, began to find her rival increasingly sympathetic.

In 1680, the repertoire consisted of the collection of theatrical works by Molière and Jean Racine, along with a few works by Pierre Corneille, Paul Scarron and Jean Rotrou.

El Amor al uso was adapted by Scarron and again by Thomas Corneille as L ' Amour de la mode, while La Gitanilla de Madrid, itself founded on the novela of Cervantes, has been utilized directly or indirectly by PA Wolff, Victor Hugo and Longfellow.

* October 6 – Paul Scarron, French writer ( b. 1610 )

Jean de La Fontaine, Corneille and Paul Scarron were a few of the many artists who enjoyed his patronage.

* October 6-Paul Scarron, dramatist and novelist ( born c. 1610 )

He was on terms of intimate friendship with Scarron, with whom he exchanged verses, with Ménage, and with Pellisson.

Paul Scarron ( c. July 1610 – October 6, 1660 ) was a French poet, dramatist, and novelist, born in Paris.

Scarron was the first husband of Françoise d ' Aubigné, who later became Madame de Maintenon and secretly married King Louis XIV of France.

Scarron was the seventh child of Paul Scarron, a noble of the robe and member of the Parlement of Paris, and Gabrielle Goguet.

In 1638, Scarron became crippled.

According to this story, Scarron, while residing at Le Mans, once tarred and feathered himself as a carnival freak and was obliged to hide in a swamp to escape the wrath of the townspeople.

Another story has Scarron falling into an ice-water bath during the Carnival season.

Whatever the cause, Scarron began to suffer from miserable deformity and pain.

Scarron returned to Paris in 1640.

Jodelet was the first of many French comedies about a servant who takes on the role of master, an idea that Scarron borrowed from the Spanish.

Scarron had initially dedicated Typhon to Mazarin, who was not impressed with the work ; Scarron then changed it to a burlesque on Mazarin.

In his early years, Scarron was something of a libertine.

In 1649 a penniless lady of good family, Céleste Palaiseau, kept his house in the Rue d ' Enfer, and tried to reform the habits of Scarron and his circle.

: Que le pauvre Scarron sommeille.

: That poor Scarron slumbers.

Scarron was very prolific as an author.

Scarron also wrote some shorter novellas, including La Precaution inutile, which inspired Sedaine's Gageure imprévue ; Les Hypocrites and may also have inspired Molière's Tartuffe.

Presenting an individualized Negro character, it would seem, is one of the most difficult assignments a Southern writer could tackle ; ;

But Aristotle kept the principle of levels and even augmented it by describing in the Poetics what kinds of character and action must be imitated if the play is to be a vehicle of serious and important human truths.

For both Plato and Aristotle artistic mimesis, in contrast to the power of dialectic, is relatively incapable of expressing the character of fundamental reality.

Experience is not seen, as it is in classical rationalism, as presenting us initially with clear and distinct objects simply located in space and registering their character, movements, and changes on the tabula rasa of an uninvolved intellect.

If many of the characters in contemporary novels appear to be the bloodless relations of characters in a case history it is because the novelist is often forgetful today that those things that we call character manifest themselves in surface behavior, that the ego is still the executive agency of personality, and that all we know of personality must be discerned through the ego.

The Agreeable Autocracies is an attempt to explore some of the institutions which both reflect and determine the character of the free society today.

This is what necessitates the nonsystematic character of his astronomy.

One who invites such trials of character is either foolhardy, overconfident or too simple and childlike in faith in mankind to see the danger.

Trevelyan is militantly sure of the superiority of English institutions and character over those of other peoples.

I have said before how difficult it is to make any precise statements with regard to the character of the Greek and Elizabethan public.

Truly, that Liberals should choose Louis 14, as a bogey-symbol of conservatism is grotesquely ironic, considering the Louis 14, character of their Grand Monarque, FDR: not only in his accretion of absolute power and personal deification, ( le roi gouverne par lui meme ), but in the disastrous effects of his spending and war policies.

I have observed that being up on a horse changes the whole character of a man, and when a very small man is up on a saddle, he'd like as not prefer to eat his meals there.

For what Sam Rayburn's life in this House teaches us is that loyalty and character are not divisive and there is no such thing as being for your country and neglecting your district.

The sentimental pure heart of Galahad is gone with the knightly years, but I still believe in the heart of the George Meredith character that was not made of the stuff that breaks ''.

The theory behind this is, of course, fundamentalist in character.

The theory claims to show by analysis that when we say, `` That is good '', we do not mean to assert a character of the subject of which we are thinking.

The moments of sung melody, in the usual sense, come most often when the character is actually supposed to be singing, as in folk songs and liturgical chants.

A quiet but sturdy theme, somewhat folklike in character, appears whenever the old monk speaks of the history he is recording or of his own past life:

The most unusual feature of Boris, however, is the use of the greatest character of all, the chorus.

He knew instinctively that next to voice and face an actor's hands are his most useful possession -- that in fiction as in the theatre, gesture is an indispensable shorthand for individualizing character and dramatizing action and response.

No one seriously contends, of course, that the domineering wife is, sexually speaking, a new character in our world.